Darby McNally

On Repeat: Jay Som

Posted on by Darby McNally

Jay Som - Cara Robbins - EW Gen 1 - LOW RES

California-bred solo artist Jay Som—real name Melina Duterte—is a favorite here at Vinyl Mag and indie pop’s newest gem. Though describing her music as just “indie pop” is limiting; her sound has a harsher, grittier element that separates her from other artists in her genre. Musically gifted, Melina plays all the instruments on her records herself. The arrangement flows naturally, evident in the effortless instrumentation in her songs. Her first record, Turn Into, was a collection of demos that ended up getting more attention than she had expected. Her most recent album, Everybody Works, is the first official record Melina created for release and a treat for anyone who appreciates honest and raw musicianship. We were fortunate enough to have a chat with her about the new record and her love for her dogs.

Vinyl Mag: You recently played SXSW. How was that whole experience?

Melina Duterte: It was very very fun and super overwhelming. We had 10 showcases, which was all my fault. I really wanted to have the SX experience. Other than that, it was cool. I got to see a lot of bands.

VM: Congrats on the release of Everybody Works. We love it here at Vinyl. It’s also getting a lot of attention from music sites like Pitchfork and SPIN. Is it a relief to get such a positive response on something you essentially poured a part of yourself into?

MD: Of course. I think like, this being the very first album I’ve worked on with a label, for it to have such a positive and wide reception is amazing. It’s still very crazy to me that people buy the record and come to the shows.

VM: Everybody Works is musically similar to Turn Into, but there’s obviously been an evolution that’s taken place. How would you say you’ve grown as an artist in between the two records?

MD: I guess in terms of my musicianship and kind of my ability as a producer. It’s been more refined throughout the year. Turn Into was just like a collection of demos. In between Turn Into and Everybody Works, I had enough time to sort of grow. It’s a natural, organic sort of progress.

VM: The music video for “Baybee” has a bit of a Wes Anderson vibe. Was that your intention?

MD: That’s the first time someone has said that.

VM: I think it was the fur hat. It’s very Moonrise Kingdom.

MD: You know what, now that you mention it, yeah!  I do see that.  All credit goes to the directors, Charlotte Hornsby and Jessie Ruuttila. It was all their idea.

VM: You do a great job of capturing dreamlike instrumentation while still maintaining a rock ‘n’ roll edge. Do you make a conscious decision to merge the two or is that just something that naturally unfolds?

MD: Something that naturally unfolds. I listen to, I guess you would say, harder music? I’m very interested in guitar rock. I like loud dynamics.

VM: You’re also a trumpet player. Is there a chance for more brass in future Jay Som tracks?

MD: It’s definitely on this record. I didn’t make it very obvious though. I wasn’t like, “here’s the trumpet!” I think in the future I will have more. I’m experimenting a lot with how the trumpet sounds.

VM: We’ve been stalking your Twitter and couldn’t help but notice you have a very cute dog. Is it hard to go on the road without him?

MD: Oh my gosh, yes. I have two dogs. They live with my parents. It’s very hard to be away from them. They’re just the cutest and sweetest dogs ever. All dogs are great. I get very homesick, and actually petting a dog is so therapeutic. It’s crazy to be away from them for so long.

VM: Speaking of Twitter, you recently tweeted that you might quit music to live on a farm. Should we be worried?

MD: Absolutely not. That was definitely one of my post-tour emo moments. I was tired. We were driving back from the Pacific Northwest, and there were just lots of farms we were passing. I definitely love farms, but that’s in the very far future.

VM: Do you have any music recommendations for our readers?

MD: The band Palm just released a song called “Walkie Talkie.” They’re coming out with an EP soon. They’re literally the best band ever. We saw them a million times at SX.  Also, if you could see them live, that’s very important.

VM: What’s your dream artist collaboration?

MD: Definitely Andy Shauf. He’s this songwriter from Canada. He has this super funky accent. He makes incredible music. It really is one of my dreams to work with him. I think he’s on a whole different level.

Catch Jay Som on tour now. Seriously though—do it. Dates below:

FRI 19 MAY – The Green Door Store, Brighton, UK
FRI 19 MAY – The Great Escape 2017, Brighton, UK
SAT 20 MAY – Paradiso Noord, Tolhuistuin, Amsterdam, Netherlands
TUE 23 MAY – The Garage, London, UK
WED 24 MAY – Sebright Arms, London, UK
FRI 26 MAY – SUN 28 MAY – Sasquatch! Music Festival 2017, George, WA, US
THU 1 JUNE – SUN 4 JUNE – Nelsonville Music Festival 2017, Nelsonville, OH, US
TUE 6 JUNE – Rough Trade NYC, Brooklyn, NY, US
WED 7 JUNE – SUN 11 JUNE – Northside Festival 2017, Brooklyn, NY, US
THU 8 JUNE – SUN 11 JUNE – Bonnaroo Music Festival 2017, Manchester, TN, US
SAT 17 JUNE – Potrero Del Sol Park, San Francisco, CA, US
FRI 30 JUNE – Mountain Winery, Saratoga, CA, US
SAT 29 JULY – SUN 30 JULY – MO POP Festival 2017, Detroit, MI, US
THU 3 AUGUST – SUN 6 AUGUST – Pickathon 2017, Happy Valley, OR, US
SAT 9 SEPTEMBER – Meow WolfSanta Fe, NM, US
SUN 10 SEPTEMBER – Fox TheatreBoulder, CO, US
MON 11 SEPTEMBER – Reverb LoungeOmaha, NE, US
WED 13 SEPTEMBER – The Back Room at Colectivo, Milwaukee, WI, US
THU 14 SEPTEMBER – Subterranean, Chicago, IL, US
SAT 16 SEPTEMBER – Horseshoe Tavern, Toronto, ON, Canada
TUE 19 SEPTEMBER – The Sinclair, Cambridge, MA, US
FRI 22 SEPTEMBER – First Unitarian Church, Philadelphia, PA, US
SAT 23 SEPTEMBER – Rock & Roll Hotel, Washington, DC, US
SUN 24 SEPTEMBER – Local 506Chapel Hill, NC, US
MON 25 SEPTEMBER – The Masquerade, Atlanta, GA, US
WED 27 SEPTEMBER – Sidewinder, Austin, TX, US
FRI 29 SEPTEMBER – Valley Bar, Phoenix, AZ, US
SAT 30 SEPTEMBER – Soda Bar, San Diego, CA, US
SAT 30 SEPTEMBER – SUN 1 OCTOBER – Music Tastes Good Festival! 2017, Long Beach, CA, US

Review: Hoops – ‘Routines’

Posted on by Darby McNally

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As we approach the summer months, easy listening is back and prepping us for spending our days lounging by the water (or on our rooftops). Whether you’re at Santa Monica Beach or drenched in sweat gazing at an awesome city skyline, Hoops should be on your summer playlist.

Just one year after the release of their self-titled EP, the band has reemerged from the depths of dream pop with their debut record. The warm embrace of lead single “Rules” made Routines one of the most anticipated indie releases of 2017, and the band did not disappoint. The record defines Hoops’ sound and solidifies them as a force to be reckoned with.

A close cousin of fellow pop artists Best Coast and Cults, Routines is a sun-soaked, lo-fi treat that is set to make a mark on its genre, tapping into that toes-in-the-sand summer feel that seems to exist in a subgenre on its own. While beachy vibes are not exactly what you’d expect from four guys who’ve spent their lives in Indiana, they make it work.

The record is charmingly minimalistic without being repetitive. This might be a product of the band’s unorthodox songwriting methods; rather than having a designated lead singer, whoever wrote the song will provide vocals for the track. Couple that with a signature reverb-laden guitar and mellow, fuzzy vocals, and you’ve got yourself the perfect sunny day soundtrack.

The album opens with the appropriately titled “Sun’s Out,” a synth-y, bubbly track that sets the tone for the rest of the record. Another thing you’ll find is that Hoops are keen on major chords; their happy-go-luck attitudes shine in their music. Their optimism is revitalizing in a time where indie bands too frequently harp on the same melancholy themes.

“Benjals” is a short instrumental piece with playful drums and a general feel-good vibe. We can only assume the track derives its name from a “Good Neighbor” sketch in which SNL cast member Kyle Mooney gives a satirical take on men who like sports. The theme of the sketch is much like that of the album – lighthearted and endearing while maintaining an air of truth. “Underwater Theme” is the most melancholic on the record, a chilled-out tune that creeps along at a steady pace without losing its whimsy.

With their delightfully sentimental seaside sound, Hoops are a modern day equivalent of The Beach Boys. Still, there are elements of Routines that could easily be attributed to British new wave bands like The Smiths and The Cure; elements like filtered vocals and seemingly effortless musicianship. Bassist Kevin Krauter once explained to us that the band feels most comfortable making music in his parent’s basement. It’s this authenticity that sets Hoops apart and makes their music as fun to listen to as it must have been to make.

7/10

“Popular, Weird, and Big”: Rey Pila Talk ‘Wall of Goth’ EP

Posted on by Darby McNally

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Rey Pila is riding high. Signed to Cult Records, the four-piece just released their Wall of Goth EP, produced by Julian Casablancas. The group’s roots in Mexico City have influenced their sound, which oozes broody, garage rock. Their last album, The Future Sugar, is a larger-than-life record with an ’80s flare.  The band is currently in the middle of a festival bend to support its release; we caught up with frontman Diego Solórzano while he was in his hometown of Mexico City to get an in-depth look at the EP and discuss the difficulties of breaking into the New York City music scene.

Vinyl Mag: What’s the meaning behind the title of Wall of Goth?

Diego Solórzano: I guess we’re secretly goth in a way, or if not, we’re big fans of that culture. We’re huge fans of bands like Siouxsie and the Banshees. We feel they don’t have enough recognition, like they should be 10 times more popular. It’s not like we’re such a big and popular band that we’re going to put them out there, but we owe them that. There’s a club in Mexico City where people only go to dance. There’s a wall there, where we got the name from, that has a bunch of pictures of goth artists. Musicians but also like romantic writers that were also the first steps toward goth, like Edgar Allan Poe and even Beethoven. He’s considered goth.

VM: If you had to describe the EP in three words, what would they be?

DS: I’d say popular, weird, and big.

VM: When I first heard “Alexander,” it reminded me of Echo & the Bunnymen. Is that early ’80s British sound something that inspires your music?

DS: Well it’s weird, you know, because there are so many bands and all artists in general now talk about their influences. In that song in particular, it was part of a moment. That moment in particular we were trying to do a Cars-inspired song, and that’s what came out. That’s something that’s very interesting about perspective in music in general. Like, you hear something different than we intended you to hear.

VM: What’s it like working with Julian Casablancas?

DS: For this EP, we knew what the studio vibes are with him. It’s cool. It’s fun. It’s really interesting, and he knows what he wants from music. The decisions don’t take that long. It’s definitely a pleasure to work with Julian.

VM: You’re from Mexico City. How did growing up there influence your sound?

DS: There’s a big like ’80s following here in Mexico. Eighties bands are huge here, like The Cure and The Smiths. That part of music I would say influenced us the most. The club that I mentioned before is a place that people who are like 50 years old go to still to hear ’80s music. Mexico City has a lot of different things going on musically. Also it’s a city that’s growing a cult following from a lot of people from all over the world. It’s also a bit dangerous, which makes it exciting.

VM: You guys play a lot of shows in Mexico. Do the shows there have a different vibe than ones in the United States?

DS: We pretty much play an equal amount of shows there [as in the US]. A year and a half ago, we played only shows in the US. When we play in Mexico City, it’s our hometown, so it’s always a great show. People are very excited. The US is different. The response from the crowd is very particular. New York is getting there. We’ve played there so many times. Last time they were so excited, and it was a sold out show. It’s a hard town to break. Salt Lake City is a good place for us. It’s fucking weird. One of the weirdest places I’ve ever seen in my life. Under all the buildings, it’s really dark and kind of evil. We also get good responses in Texas and Vancouver. The people are what make it good.

VM: “Ninjas” recently got played on the Chicago Cubs fancam. Are you guys Cubs fans?

DS: Well, I’m a Yankees fan. But that’s great it’s getting played!

VM: Any music recommendations for our readers?

DS: Jim Williams. He’s French composer, and he’s really cool. There’s a European band called Principles of Geometry. They’re electronic/experimental. Frank Ocean is always on the playlist. Justice’s new album Woman is great. We like that one.

https://www.youtube.com/watch?v=Mq0MKAXkwRM

VM: What’s your dream artist collaboration?

DS: David Bowie. He’s a classic, but he’s the reason I started playing music.

 

Listen to the Wall of Goth EP below!

Bombay Bicycle Club’s Ed Nash Talks Solo Project, Toothless

Posted on by Darby McNally

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Bombay Bicycle Club’s impact on modern indie rock is undeniable. The four boys from England were part of the modern day British invasion that saw the rise of bands like Arctic Monkeys and Kaiser Chiefs. After four gold certified records, the band decided to take a hiatus in 2016. While he deserved a break, bassist Ed Nash isn’t taking a vacation; he chose instead to embark on an endeavor all his own.

Thus Toothless was born, Nash’s solo project that proves bassists deserve way more cred for their musical prowess. His album, The Pace Of the Passing, debuted in January. The record, both fresh and familiar, incorporates elements of the artist’s own distinct sound along with allusions to Greek mythology. We caught up with Nash to talk about his new album and what song he would cover in Radio 1’s Live Lounge.

Vinyl Mag: The Pace Of the Passing is a phenomenal debut. How did it feel to finally get your solo work out in the open?

Ed Nash: It’s fantastic, actually. I’ve been planning on doing it for five or six years, but I never had the time with Bombay Bicycle Club. It’s quite scary as well. I didn’t realize how nervous I would be putting something I created alone out into the world. But mostly, it’s a relief.

VM: Do you feel like you approach the creative process differently for Toothless than you did for Bombay Bicycle Club?

EN: I guess they’re quite a similar process, but the roles I played are very different. For Bombay Bicycle Club, the songs were very much Jack’s songs. He’d write the song, and we’d give him pointers. With Toothless, all the songs start with me and are written by me.

VM: Do you think that being in a successful band prepared you to take on this solo project, or is it like starting all over again?

EN: It prepared me in terms of like writing music and how the business works. You learn tricks. I don’t think anything can prepare you for taking a step forward and taking on the lead role. Certainly I learned how the business works—like what’s a good deal, what’s not a good deal. The only thing I wasn’t fully prepared for was becoming a frontman …

When I say frontman, I mean the main focus of the group.  In Bombay, there was very little attention or pressure on me, whereas with this project everything lives or dies by me, and I am the person that needs to interact with people and get across what the band is about. For example, talking in between songs is always the job of the frontman.  I found this very hard at first, and I don’t think it’s something you can really prepare for; you learn by doing it. I can happily say I feel much better with all the frontman duties.

VM: [Who are your artistic inspirations?]

EN: I love Sufjan Stevens and Nick Cave. What I took from them was to tell stories, and to use your own experiences to talk through the music. With Toothless, that’s what I wanted to do with the songs. I wanted to tell stories through Greek mythology and things like that.

VM: Can you give us any details about a potential US tour?

EN: Actually, I literally just got my American visa. Hopefully in the next couple of months I’ll get to come back. I love coming to the states.

VM: [Bassists are often underestimated.  Why do you think that is?]

EN: I don’t know. Bassists do really have a bad reputation. That’s kind of why I started Toothless. I needed to prove it to myself that I could play music and write music outside of playing bass. Everyone has an opinion. The name Toothless came out of he idea that nobody really expects anything out of a bass player. It’s quite unfair. Hopefully I can change that.

VM: Any music you’ve been listening to lately that you’d like to recommend to our readers?

EN: I’ve been listening to sir Was. It’s kind of like hip-hop and kind of like indie. That sounds like a weird description, but it’s very good.

VM: Do you have any artists in your library that might make you lose your indie street cred?

EN: One of my favorite records ever is Ozzy Osbourne’s debut Blizzard of Oz. It’s incredibly lame. When I was like 12 learning to play guitar, all I would do was listen to that album and learn how to play the guitar solos. That one would probably make me lose my indie cred.

VM: Bombay Bicycle Club played Radio 1’s Live Lounge a couple times. If you played the Live Lounge as Toothless tomorrow, what would be your potential cover song?

EN: I think about cover songs all the time. I really would like to cover “I Really Like You” by Carly Rae Jepsen. I’d like to make it a guitar song. That’d be fun.

Review: Tei Shi – ‘Crawl Space’

Posted on by Darby McNally

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As improvements in technology have expanded musical possibilities and resulted in a surge of experimental music, it can be difficult for an artist to differentiate themselves in such an extensive landscape. For Grimes-approved new wave pop artist Tei Shi–real name Valerie Teicher–this isn’t an issue.

Born in Argentina, the 26-year-old singer-songwriter and producer makes music that isn’t confined to one genre but is still instantaneously recognizable as her own. Her first EP Saudade was the first taste we got of Tei Shi, also marking her first collaboration with producer Luca. It was their collaboration on a cover of Beyoncé’s “No Angel” that put them on the map; a unique take on an already acclaimed track was the boost Tei Shi needed. Now, she’s back with a full-length album comprised of a fusion of synths, evocative vocal loops, and a tinge of childlike whimsy.

As expected, Crawl Space a reflection of her eccentric musicality, but it also serves as a window into her own life experiences. The album opens with a clip of what appears to be a young Tei Shi speaking Spanglish as she learns how to record vocals via a cassette player, an homage to her Argentine roots and an allusion to the inspiration behind the album name; when she was younger, Tei Shi overcame her fear of the dark by entering a crawl space. Interludes featuring her younger self are interspersed throughout the record, chronicling her growth from fresh-faced newcomer to musical veteran.

“Keep Running,” the lead single from the record, is both catchy and otherworldly. The music video features a silk-clad Tei Shi performing karaoke at a neon house party, exploring the different rooms while seemingly invisible to other partygoers. Heavy drum hits bring a larger-than-life character to the song as Tei Shi croons a vocally demanding chorus.

The album’s other single, “How Far,” is mellower. Haunting vocals surf over Eagles-esque electric guitar, bringing the listener into Tei Shi’s world. “Justify,” a track in which Tei Shi is almost exclusively whispering over an electronic beat, is reminiscent of FKA Twigs. “Say You Do” belongs more in the pop world, baring a likeness to fellow alt-pop artists Sky Ferreira and Charli XCX. Crawl Space takes a welcome turn with “Como Si,” a slow, sultry track that Tei Shi sings entirely in Spanish.

While the variety of elements on this record are undoubtedly unique to Tei Shi, it’s her own personal style and stage presence that set her apart from other experimental artists. She describes her music as fitting into the “mermaid genre,” and we can’t help but agree. Her work is playful yet unforgettably eerie. Its light and spirit mask its uncanny nature.

Crawl Space is an embodiment of Tei Shi’s artistry; it’s the refreshingly introspective body of work that you need in your life. After you become as obsessed with this record as we are, you can catch Tei Shi on tour with Danish artist MØ this year.

8/10

SXSW 2017: Goon x Vinyl Mag

Posted on by Darby McNally

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Los Angeles indie rockers Goon are a breath of fresh air, generating buzz around South by Southwest with their enticingly individualistic lo-fi jams.  Singer-songwriter Kenny Becker leads the quartet, writing songs in his room and fleshing them out with the rest of the band.

Kenny’s affinity for making music stems from an unlikely place; he suffers from a medical condition that periodically deadens his sense of smell and hearing. Instead of letting it bog him down, he decides to make music during the periods in which he can hear clearly. The result is a pleasingly subdued sound that can only be described as summertime music.

They’re first EP Dusk of Punk establishes a seasoned sound that most bands don’t develop until after they pop out a couple of records, which is impressive to say the least. Goon is in the process of creating their debut album, and we caught up with Kenny to get the details.

Vinyl Mag: How many times have you played SXSW?

Kenny Becker: This is our first time playing SX.

VM: Do you have any pre-festival rituals?

KB: Not like officially, but we took a bunch of rest stops just any time we saw them. Also we found this tunnel, and we just yelled at each other. It was very cathartic.

VM: Dusk of Punk dabbles in a variety of musical styles. Is that sort of what we can expect from your first full-length album?

KB: That is a great question. I hope to continue that sort of range. At the same time, I’m not trying to make that, like, something that has to happen at all costs. It was just kind of something that happened from writing songs and just being down with whatever we make. We’re trying to maintain that spirit of music first. We’re trying to not be pigeonholed into a genre.

VM: Are there any specific artists whose sounds you try to emulate or who inspire you in other ways when you’re creating your music?

KB: For me, personally, I’m inspired a lot by Pavement’s sort of sparkly guitar work. Boards of Canada is maybe my favorite band of all time. Their crazy sounds and synth tones are something I kind of aim for a little bit. I guess I would say Pixies, too. 

VM: The album artwork for Dusk of Punk really encapsulates the general feel of the EP. Who created the artwork? Was it one of you guys?

KB: I actually painted that. Actually, before I was trying to pursue music full time, I thought I would be a painter full time, but I kind of ended up being both. I had this phase of painting monster dudes and after doing that, that particular image happened. I ended up really liking it. It kind of looked like the Kid A bear for Radiohead. Kind of simple imagery but still iconic. I just loved that it’s a potentially menacing looking figure for music that isn’t particularly menacing.

VM: What’s your creative process like for writing a song?

KB: Usually I just kind of write a song in my bedroom and record it, and we’ll sort of learn it as a band. And sometimes we’ll end up fleshing it out more as a band, but I usually have a pretty good idea of where I want to take it.

VM: Are there any artists outside of your genre that you’d like to collaborate with?

KB: I’ve thought about this in the past, and I’ve often thought of Bibio. He’s really similar to Boards of Canada, but he’s really capable. His production style is just insane. Every time I listen to a Bibio song, I’m just like amazed.

VM: If you could bring one artist back from the dead to play a show with, who would it be and why?

KB: This is probably the most obvious answer, but it would be Kurt [Cobain]. Jake and I were actually just talking about this last night. He died at this crazy moment where they were still a huge band and they potentially could have continued their upward trajectory. I was hearing recently about how Michael Stipe [R.E.M.] was talking to him about making a new record and making it more acoustic sounding. But on top of that, it’s fucking Nirvana. Playing a show with them would be insane.

VM: What albums have you been listening to recently that you’d like to recommend?

KB: There’s a band called Porches–their album Slow Dance in the Cosmos. It came out in 2013, and honestly it’s just kind of perfect. It’s really good emotional rock ‘n’ roll. I also relistened to In Rainbows and kind of had my mind reblown.

VM: Who are you most looking forward to seeing at SX?

KB: If I had to pick one, it would have to be our friends, minihorse. We played with them in San Francisco. It’s like muscly shoegaze. They’re so in control of their fuzz tones. Also Charly Bliss. They’re kind of like pop grunge in a way.

VM: What’s your favorite part of the festival experience?

KB: It’s just really exciting that so many people are here just for music. It’s easy to get bummed out as a musician, because you feel like nobody really cares about music anymore, which I don’t think is ever really true. Still, it’s cool that they like shut down a city for a day for music.

VM: What would be your dream festival lineup?

KB: Definitely Boards of Canada, because they never play live, and they’re kind of like a bucket list band. It would be kind of a weird lineup. It’d be Pixies, Pavement and our friends, Draag. The term muscly shoegaze also applies to them I guess. They have really cool synth stuff going on.

VM: Do you prefer barbecue or tacos?

KB: I’d have to go tacos. I grew up in San Diego, so I just grew up eating tacos.

SXSW 2017: The Drums x Vinyl Mag

Posted on by Darby McNally

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The Drums‘ origins can be traced back to Bible camp, which is not exactly what you’d expect from a Brooklyn-based experimental pop group. The two founding members of the band—Jacob Graham and frontman Jonny Pierce—met one summer in their early teens and became instant friends.

After the concept for The Drums was developed, the duo tacked on two more members—guitarist Adam Kessler and drummer Connor Hanwick—and in 2009 cranked out their first EP Summertime!, which received a massive amount of praise by the alt-pop press. Soon after, they released their self-titled debut, which was followed by Kessler’s departure from The Drums. After another two albums and a lineup change with Hanwick’s departure, the band released Encyclopedia, their final record as a two-piece, in 2014.

The Drums reemerged on the scene this month with their dreamy single “Blood Under My Belt.” Though Pierce is currently the only official member of the band, Graham is vital to The Drums’ established sound. While it’s Jonny’s faux English singing voice that stands out, it’s the reverb-drenched guitar and synths that link their albums. The Drums are an entity that closely resemble ’80s British rock bands, brooding in an air of melancholia while still oozing an effortless cool. We interviewed Jonny to discuss his new record and how he creates his music.

Vinyl Mag: How many times have you played SXSW?

Jonny Pierce: I’m bad with numbers, dates, timelines, etc., but it feels like I’ve played this festival a thousand times.

VM: Do you have any pre-festival rituals?

JP: I’m not one for rituals or anything ceremonial, really. All that stuff triggers me and brings me back to dark days when we would say grace before each meal. Although lately, I do find myself plugging one side of my nose before walking on stage. It forces me to breathe at a slower pace, which in turn slows my heart rate and calms me. I then take two very generous shots of tequila and bring myself back into a manic state. I still have some growing up to do.

VM: Do you feel like playing a festival has a different vibe than playing at a venue?

JP: Yeah, I mean for the sake of just being transparent, I have to say that it’s rare for me to enjoy a festival show. Music just sounds better indoors. You’ll also find that when your inside, rarely does it rain! No big wind gusts to fuck with my hair either! Cool haircuts are underrated and must be protected!

VM: “Blood Under My Belt” is very uptempo and bright. Is that the vibe on the rest of Abysmal Thoughts?

JP: The new album is in some way a return to form. I’m sticking with the surf tones that often find their way into my records, and this time, I’m blending that sound with all of my influences. Everything from ’90s drum ‘n’ bass to Talking Heads.

VM: Will you be playing anything else from Abysmal Thoughts at the festival?

JP: We’ll see! I gotta feel it out!

VM: Music videos are an integral part of The Drums. Will you be releasing one for “Blood Under My Belt?”

JP: We are in the finishing touches chapter of the “Blood” video. Think motocross and beauty. I think I get the final edit today, actually.

VM: If you had to leave the production of a Drums album to another producer, who would it be?

JP: I’m too hands on to even think about letting anyone else touch my records. I’d rather not make music than have someone else take over. What’s the point, right?

VM: Are there any recent pop records you thought were next level?

JP: I have been really loving Snail Mail‘s new EP. There is something so special about her voice. I hope she never changes. So super pure.

VM: What albums have you been listening to recently?

JP: Oh! Just the Snail Mail EP. I tend to dive into one album at a time and play it to absolute death.

VM: Who are you most looking forward to seeing at SX?

JP: Snail Mail and only Snail Mail! If there’s some good house or techno going on, I might check that out.

VM: What shows are you playing?

JP: My list of shows is on my Instagram!

VM: What’s your favorite part of the festival experience?

JP: Leaving and getting paid so I don’t starve.

VM: What would be your dream festival lineup?

JP: 808 State, A Guy Called Gerald, Roni Size, Massive Attack, debut era Bjork and Add N to (X)–but zero Burning Man vibes.

VM: Do you prefer barbecue or tacos?

JP: I’ve worked too hard to answer this question. Love you!

SXSW 2017: Communist Daughter x Vinyl Mag

Posted on by Darby McNally

communist daughter

Minnesota indie rockers Communist Daughter are on fire. But it wasn’t always smooth sailing for lead singer Jonny Solomon, who had to conquer a few demons before he saw success. Dealing with addiction and mental health problems before the band’s formation, he had several stints in treatment facilities and assumed the worst for his music career.

When Solomon reached rock bottom, he wrote a series of songs that he intended to be a farewell note to those he loved. He invited his friends—who would later become his bandmates—to help him flesh it out. The result was Communist Daughter’s acclaimed debut album Soundtrack to the End, which was released in 2010. However, the singer wasn’t done fighting his own personal fight, and checked himself into rehab soon after the release.

It seems to be true in Solomon’s case that some of the best art comes from the worst situations. He’s now fully recovered, with his positive outlook on life echoing in his music. Communist Daughter’s latest record, The Cracks That Built the Wall, received serious praise from critics. The album is a glistening light with bright guitars and an optimistic message. It’s a reflection of the artist’s upward motion, refusing to let his past weigh him down. We got in touch with him to talk about his SXSW experiences and what advice he has for younger bands as a festival veteran.

Vinyl Mag: How many times have you played SXSW?

Johnny Solomon: Officially this is our second time, but we went down there once for fun. It’s hard to be in Minnesota at the end of winter without dreaming of heading south.

VM: Do you have any favorite memories from the festival?

JS: We don’t go down there with weird industry dreams in our head. To me, it’s a chance to be in warm weather, plus it’s hard to see other bands play when you are always on the road. It’s great to just walk around and stumble into music. But my favorite memories don’t have much to do with music.  We stay outside of the city, a little ranch way out there. My favorite memories are from there, soaking up a different lifestyle.

VM: Do you guys have any pre-festival rituals?

JS: We’re all pretty different about it. SXSW is its own beast, because you can let the logistical nightmares get to you, or you can just realize it’s all crazy and to take it as it comes. That’s why the ranch outside town comes in handy. This is the second time we are going to end our trip with a little acoustic show way out there for the folks that let us stay with them. So that’s a post-festival ritual.

VM: What albums have you been listening to recently?

JS: The Dig’s Blood Shot Tokyo. We just finished up three weeks with them. Probably my favorite band. I never got tired of seeing them night after night, and their album is now spinning around our tour van nonstop. I’m also listening to Hop Along’s Painted Shut. I’m late to the party on them, but I can’t stop listening to it. Such a great band and album. I need to creep on them and meet them. And then Paul Simon‘s Graceland always gets back in my headphones when I head south.

VM: The video for “Keep Moving” is beautifully done. What was the inspiration behind that?

JS: The director (Nate Matson) and I went back and forth a bit with that video. The song is very personal, and he connected with it right away. But it was hard to make a video that complimented that without making it so overtly literal. I was worried, but Nate lined things up right to make it right. It hits all the same themes without being in your face.

VM: Who were some of your musical inspirations for The Cracks That Built the Wall?

JS: The Beach Boys and Jason Isbell and a million other bands. It’s hard to pin down influences since the album was recorded over the course of three years.

VM: What inspired you to name the band after a Neutral Milk Hotel song?

JS: Honestly, I didn’t know it would be a thing, but Neutral Milk Hotel wasn’t around anymore when I started the band. They were one of those mystery bands that put out a masterpiece and then vanished. But it was so personal and intense of a record. I wanted to do that, so when I was writing songs by myself, I just thought I would take that as our name. I hate thinking of band names. They are all stupid until you are big enough for people to attach your music to it. I don’t think twice about my favorite band’s names.

VM: Were there any other songs you considered naming the band after?

JS: “Two-Headed Boy”? It’s hard to remember things from back then. I wasn’t in a really stable mental place.

VM: What advice would you give to an artist playing SX for the first time?

JS: Don’t go there for your own shows. Sure, play some, and be good at it. But don’t go there with some sort of idea that you are going to do anything important. Just enjoy the fact that every indie band you want to see that year is all in one place with tacos and beer, for the drinkers. Also, get all the free stuff you can. Sunglasses for days.

VM: Who are you most looking forward to seeing at SX?

JS: Not sure, I’m still in tour mode. I try not to think more than 48 hours ahead. I’m sure I will have an idea on Tuesday when we get there.

VM: What’s your dream festival lineup?

JS: It changes every day. I make a Spotify playlist, and then those are the only bands I care about for a week. Then I make another one and it’s totally new. But I have some all time favorites. If I were to put one together one off the top of my head [it would be] Paul Simon, Jason Isbell, Jessica Lea Mayfield, Angel Olsen, Hop Along, Death From Above 1979, and The Dig. And us of course. I want to be in my favorite festival.

VM: What shows are you guys playing?

JS: CLIF Bar Bash, SESAC Showcase, Central Presbyterian Church and Best Lil’ Big Fest.

VM: What’s your favorite part of the festival experience?

JS: The energy. It’s food, sunshine, super excited people and shiny free things everywhere. Then I go out of town and eat barbecue and finally get some sleep. It’s the end of three months of touring for us.

VM: We have to ask every artist playing SX: do you prefer barbecue or tacos?

JS: That’s not fair. Everyday food: tacos. Special meal: barbecue. I love barbecue, but I couldn’t eat it every day, because it would kill me. But pretty much every taco everywhere is good. I will eat a taco anywhere, any time.

 

Communist Daughter at SXSW:

3/14 – 3pm The Blackheart – 86 Rainey St – ” CLIF Bar Bash – The Current and NoiseTrade”

3/15 – 11pm Lamberts Downtown Barbecue – 401 W. 2nd St – SESAC Showcase

3/16 – 11:40pm Central Presbyterian Church – 200 E. 8th St.

3/18 – 5pm Tiniest Bar in Texas – 817 W. 5th St. – “Best Lil’ Big Fest”

SXSW 2017: HOOPS x Vinyl Mag

Posted on by Darby McNally

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As South by Southwest gets into full swing, we’re in for another jam-packed week of music and day drinking. With the massive amount of bands playing the festival, dwindling your roster of favorites down to even a couple dozen is a daunting task. Enter Indiana-based indie pop darlings HOOPS, ready to make the top of your must-see list of bands.

Bringing a refreshing take on indie pop, their self-titled EP was received warmly by critics and fans alike. Listening to their music, you might notice that the vocals on any track differ from one song to the next. This is because the band doesn’t have just one lead singer; it has three. Depending on who wrote the song, either band member Drew Auscherman, Kevin Krauter or Keagan Beresford will sing lead while simultaneously playing their respective instruments..

“Rules,” the debut single from the band’s first full-length album Routines–set to release on May 5th–is delightfully lo-fi beach music, perfect for road trips and sinking deep into summer nostalgia. Before the band takes SXSW, we got in touch with singer and bassist Krauter, who told us about what’s on his playlist, their new album Routines and the band’s affinity for free stuff.

Vinyl Mag: How many times have you played South by Southwest?

Kevin Krauter: This will be our first time playing at SXSW.

VM: Do you have any pre-festival rituals?

KK: We haven’t played many festivals, but probably just taking advantage of as much free shit as we can.

VM: Do you feel like playing a festival has a different vibe than playing at a venue?

KK: The vibe is definitely different. Not as intimate as a venue show, which can be a bummer, but on the other hand it can be really fun sometimes playing to the festival crowd.

VM: Can we expect to hear you play some new stuff from Routines?

KK: Our set has a few songs off of the new album. They’re very fun.

VM: Is “Rules” a good indicator of the overall sound on the rest of the album?

KK: Not exactly. It’s produced a similar way, and it kind of represents how we’ve sounded up until now. But the rest of the album is pretty different.

VM: Routines was recorded in a studio and then tweaked in your parent’s basement. Do you guys feel like that’s where you make your most authentic work? 

KK: Yeah, definitely. Working in the studio was a cool experience, and we learned a lot from it. But we’ve always made our music on our own, so I think when we went home and worked on it, we were able to focus pretty closely on the sound we wanted.

VM: Who were some of your musical inspirations while you were making that record?

KK: The Radio Dept.

VM: It’s not common for an indie pop band to rotate lead vocalists. Was that a conscious decision you guys made, or was that just something that happened naturally?

KK: Well, we all write songs, so it’s just always sort of made sense for us to let whoever wrote the song sing it as well. Also, we’ve always been slightly overambitious about singing harmonies, so we ask for three mics on stage anyway.

VM: If you guys were to collab with somebody, who do you hope it would be?

KK: I saw a video once of Connan Mockasin’s band playing with Charlotte Gainsbourg for some French TV program. I think it would be fun to do something like that.

VM: What albums have you been listening to recently?

KK: Savage Mode by 21 Savage. Magnificent Fist by Sean Nicholas Savage. 1999 by Prince. Mister Yellowman by Yellowman. Tuesday Night Music Club by Sheryl Crow. And Front Row Seat to Earth by Weyes Blood.

VM: Who are you most looking forward to seeing at SX?

KK: Omni, IAN SWEET, Lala Lala, Jay Som, Lil Yachty, Furnsss and Stef Chura.

VM: What shows are you playing?

KK: A lot.

VM: What’s your favorite part of the festival experience?

KK: Free stuff.

VM: What would be your dream festival lineup?

KK: Vans Warped Tour.

VM: Do you prefer barbecue or tacos?

KK: Both, baby. Giddy up.

Five Artists Who Could be Huge Pop Stars by the End of 2017

Posted on by Darby McNally

Every spring, we see the release of new pop music as the genre awakens from its winter lull. Upcoming and already established artists vie for a coveted spot on Top 40 radio’s regular rotation, hoping to earn themselves a hit that gets airplay well into the summer and potentially leads to a lasting career. Of course, one single on the Hot 100 won’t thrust someone into superstardom, but it’s definitely the first step. Pop is a hostile genre; there are plenty of one-hit-wonders and artists whose careers fizzle out after a couple of singles. While there is no set formula or instruction manual for becoming a pop star, there are certain characteristics all of them share. Each are effortlessly unique and individualistic while simultaneously being marketable to a huge demographic. This dichotomy is a difficult balancing act, but it’s not impossible. We’ve made a list of five artists who we think could pull it off in the very near future.

1) Noah Cyrus

Noah makes following in the footsteps of an older sibling who just happens to be an ex-Disney superstar look exceptionally easy. After the release of her debut single – the vocally impressive Labrinth collab “Make Me (Cry)” – late last year, she’s proving she has what it takes to carve her own path. She’s also lent her voice to an EDM track produced by Marshmello and Ookay, giving us a taste of her own personal style. With her debut album NC-17 set to release sometime this year, we’re excited to see what the youngest Cyrus has in store.

2) Kehlani

Kehlani is the ultimate comeback kid. After some personal issues took the spotlight at the beginning of last year, the 21-year-old singer-songwriter has since reinvented herself, reemerging onto the scene with an air of unstoppable fierceness. Fresh off of the release of her debut album SweetSexySavage, Kehlani has both the momentum and the image to make it in the pop scene. Her single “Distraction” has been on heavy rotation on hip-hop and R&B stations, and it’s only a matter of time before Top 40 takes notice.

3) SZA

While her discography includes a long list of high-profile collaborations with artists like Rihanna, Chance the Rapper and Jill Scott, it’s SZA’s unique vocal and personal style that make her a good candidate for solo mainstream success. Her debut album CTRL, which will be released sometime this year, is one of the most anticipated of 2017. If the rest of the album is as promising as its first single, Top 40 could be welcoming her soon.

https://www.youtube.com/watch?v=meka6L6qXzw

4) Tinashe

Multitalented R&B songstress Tinashe has been patiently waiting her turn to take over the Top 40 since 2011. A rare gem of the pop world, she’s been writing and producing her own songs, as well as creating high-energy visuals for her performances, for six years. It seems as if she’s been flirting with megastardom for the duration of her career. Her recent collab with Britney Spears was certainly memorable, but it wasn’t enough to push her over the threshold. We believe that Joyride – the 2017 release that will serve as part two of her 2016 release Nightride – will be the album that brings Tinashe mainstream success.

5) Marian Hill

This funky electronic duo is a force to be reckoned with. Comprised of producer Jeremy Lloyd and vocalist Samantha Gongol, Marian Hill writes music from the perspective a woman who is in control of her sexuality, a theme that couldn’t be more relevant to the zeitgeist. Thanks to the single’s placement in an Apple AirPods commercial that aired during the Super Bowl, they’re current single “Down” is gaining traction on mainstream pop radio. The duo’s collab with Fifth Harmony’s Lauren Jauregui was another smart move, drawing in a new demographic of fans outside of their already established fanbase. “Down” shouldn’t be last we see of Marian Hill on the pop charts.