Dominique Fils-Aimé has long since planted herself in the music realm with JUNO Awards and praise from critics and fans alike, and she’s continuing her journey in 2023 with the release of ‘Our Roots Run Deep’ on September 22nd. We talked about the album as a garden, the flourishing nature of her minimalistic approach to song, the beauty of Black culture in music, and more in this back-and-forth exchange. 

Kendra: You’re not new to the game with best-selling albums and JUNO Awards to your name, but thinking back to way back when – what do you think your eight-year-old self would think of where you are today? What would she be surprised by most? 

Dominique Fils-Aimé: The eight-year-old (who is still very much alive in me haha) already loved singing and creating back then, she also firmly believes there is nothing out of reach, so I think she is simply happy, grateful, and excited that life keeps proving us right! 

Kendra: So ‘Our Roots Run Deep’ will be the latest in a long line of impressive releases from you, but is there anything you do as part of your creative process that you feel helps you elevate yourself artistically with each release? 

Dominique Fils-Aimé: First of all, thank you; my art is clearly a reflection of me, therefore my creative process is intricately linked to my personal self-growth journey. I wish to remain connected to joy and excitement. My mission will always remain to create paths between us and the illusion of what we consider “other.” Meditation and explorations of new instruments help me keep my curiosity muscle active.

Kendra: With roots being mentioned in the album title, and your second single being “Feeling Like a Plant” I have to ask, if you were to build a nursery of plants and whatnot based on the overall vibe of the new album – what sort of foliage and flowers would we see displayed? 

Dominique Fils-Aimé: It would be a warm and humid garden with a body of water where every plant and tree is welcome to thrive! Filled with exotic and rare plants like Albo monsteras half moon, birds of paradise, Callisia Repens Pink Lady, string of hearts because they are so cute, mother of millions, etc. It would be a garden full of beautiful odd-looking plants, and I would cherish their uniqueness. 

Kendra: For “Feeling Like a Plant” you went with a minimalist approach, something I feel helps push the vocals to the forefront. Do you feel artists tend to shy away from creating songs like this because there is no room to hide behind elaborate musical arrangements? 

Dominique Fils-Aimé: My Soul naked in public. This is what putting my vocals in the forefront feels like to me. I cannot speak to the reasons why other artists do not go there but one thing I can say is that it was definitely a deliberate choice of mine to be more open and candid in this album, so reading this question made me smile. 

Kendra: Now, throughout your career, you’ve always pulled from music that has roots in Black culture from tribal to blues to jazz – and as I was writing this I stumbled across something about Luther Vandross and how often his music is sampled. All of that said, do you think Black artists tend to pull from the past more often than not and pay homage to what came before them because if they didn’t, the mainstream would let those styles and sounds go by the wayside? 

Dominique Fils-Aimé: I believe the black musical legacy is indelible. Honouring the ones who paved the way before us is one of the values I have integrated as part of my creative process. I believe their impact echoes through time and communities in a way no other artistic movement has. Sampling from legends like Luther Vandross is definitely a way to keep the music alive and actual, but I also think it’s because it is just soooo good, we never get tired of it! 

Kendra: Now it’s time for a side note – with it being September AKA Self Improvement Month, I’m asking everyone to give us a song they like to put on when they are in self-care mode… 

Dominique Fils-Aimé: I have two types of self-care modes, one that is anchored in explosive joy and the other in peaceful resting. For joy I go with Aiza’s “Cocoa Butter,” for relaxation it has been the same for years, Sampa the Great’s “Energy” or 432Hz music. 

Kendra: And lastly, with ‘Our Roots Run Deep’ out on September 22nd, what else do y’all have planned as we head into fall?

Dominique Fils-Aimé: I am so excited to be touring Europe this fall and discovering what the live version of this album will sound like! Since creating is my favorite activity, I will definitely be painting and writing more music, getting ready for the next albums. 

The post The Audible Roots of Dominique Fils-Aimé  appeared first on ZO Magazine.

Representing New Jersey and making the entire Garden State proud is Reg Mason. A hip-hop artist with a bit of an alternative twist, Reg Mason has carved out his own lane and isn’t slowing down anytime soon with his new album, ‘TESTDRIVE’’ which is out now. We talked about the games and music found on the record, personally evolving, and more like the difference between Chess and Checkers. All of that and then some in this new back-and-forth exchange. 

Kendra: You mention in your music you’ve been at this for a minute, but when exactly did you start to focus on making music? 

Reg Mason: I released my first song called “Pearls” in early 2015, I wanna say. I was 16 then but I’ve written songs as early as ‘09. I didn’t become an active musician until 2015. 

Kendra: Usually, the idea of coming-of-age stories is reserved for teen movies and whatnot in Hollywood, but in the grand scheme of things we’re always growing into the next phase of our lives. What transpired in your life that motivated this album to be the overall representation of this chapter in your own story?

Reg Mason: Once I moved out of my childhood home, my wheels started turning on the idea of immortalizing a moment in time. Music is an easy way to do that because it’s an audible Time Capsule. So I wanted to have a time stamp of this trying time, to appreciate my growth later. 

Kendra: Now, this month I also talked to an alternative country artist. I found that interesting as you also have an alternative vibe to your music. Why do you think so many genres are adopting alternative aspects right now? 

Reg Mason: Genre is basically nonexistent haha. The days of sticking to one thing are kinda over. Historically, so many cultures overlap and adopt from one another (even down to the food) so why should music be any different? 

Kendra: So with songs like “CHECKERBOARD!” you’ve noted that it’s digging into this idea you have about yourself, and that’s to continuously evolve. Does that mean overall like from mentally to creatively? 

Reg Mason: Throughout everything! Careerwise, physically, mentally, and spiritually. When we’re cut, we bleed and heal. Our bodies are meant to take some blows and then they reconfigure and learn how to move through it. “CHECKERBOARD!” is a checklist of all I hope to see.

Kendra: Listening to the record, I found it interesting that “CHECKERBOARD!” was this very energetic track that felt mainstream, while “CHESSBOARD’” reminded me more of the neo-soul, philosophical hip hop. Is that because checkers is the more commonly played game, while chess is the thinking man’s game? 

Reg Mason: Absolutely correct! When I tell you, you’re the only person to catch that so far lol. You actually structured that really well, but yes that’s the exact concept. I also love the contrast in general.

Kendra: In “handshakes’” you note your Jersey Boy grit. What exactly does that mean to someone now from the Garden State? 

Reg Mason: It just means having that hunger for greater things. Knowing that you gotta get your hands dirty for what you want and more likely than not, things won’t be given to you. There’s a certain kind of security in knowing that whatever I receive, will be earned properly in due time.

Kendra: Now it’s time for a side note – with it being September AKA Self Improvement Month, I’m asking everyone to give us a song they like to put on when they are in self-care mode…

Reg Mason: “Make It Better” by Quelle Chris. That song has gotten me through some times, the instrumental feels like I’m having my hair washed by someone I care for.

Kendra: And lastly, with ‘Testdrive’ out now, what else do y’all have planned as we head into fall? 

Reg Mason: Shows, videos, merch, vinyl, and even more music. 

The post Reg Mason and The Game of Life  appeared first on ZO Magazine.

Kendra: With the album being called ‘Hypnagogia,’ I have to assume that one of you has experienced something quite interesting while falling asleep. If not, what about the period between being awake and the first wave of sleep that inspired this album?

Marius: A few years ago I experienced hypnagogia of some sort. I was taking a nap on my couch when I suddenly woke up, or at least I thought I did. I could not move my head, and my eyes were pinned at one specific location on the wall. I remember telling myself, “What the heck is going on, and why can’t I move my head”?

I was slowly panicking, and I was trying to figure out what was going on. Suddenly I started to hear bird sounds and wings flapping like crazy in my children’s bedroom, and it sounded very chaotic. I remember thinking about why the window wasn’t closed, and that must have been the reason for the sudden bird invasion. I could still not move my head.

Suddenly my phone started ringing loudly. I could not reach it, nor could I see who it was calling. 

I thought to myself, “Guess it’s work calling me to tell me I’m late for work.” The doorbell suddenly started ringing as well, and now there was complete chaos surrounding me. The birds in the bedroom, the phone ringing constantly, and the doorbell ringing. I started to scream and was about to go completely nuts. Then all of a sudden, I could move my head, and all the sounds were suddenly gone. I remember feeling like I didn’t wake up from a dream, it felt like I was awake all this time. It was a mind-blowing experience, but not something I would like to experience again. 

Kendra: Sleep paralysis is also very common during this state and as someone who has dealt with that – you and I know, 10/10 would not recommend. It’s quite terrifying. With that, what song off ‘Hypnagogia’ do you think the average sleep paralysis demon would enjoy most and why?

Marius: I would have to say “Pandæmonium.” That track is based on my experience with hypnagogia and strongly related to my experience with it. The build-up on that track is how I personally felt at that time and the reason why that track sounds completely nuts. Every time I listen to it I feel almost obnoxious, and it’s almost as if I’m about to hold my breath. 

Kendra: Now, ‘Hypnagogia’ is your third record to date with the last dropping back in the year that shall not be named. Was there anything you left on the cutting room floor while recording ‘Colours out of Space’ that made its way onto the new album?

Jostein: We actually had a couple of songs that did not make it onto the album and from the album before that we considered using a couple of them on the new album and maybe developing them a bit more so they would fit the sound and style on the new record, but in the end, we prefer to start with a fresh mindset when we’re going to record a new album. We also felt really creative and really enjoyed making this album so there was no need to dig up old stuff either. But there definitely are some similarities here and there from the previous albums as well. 

Kendra: So I’m not sure if you’re familiar with the TV series ‘Unsolved Mysteries’ but “Thantosis” really gave me those vibes, but then I was surprised with the jazzy elements that were layered in. Overall that song, to me, felt like it was plucked right from the wondrous era of the ‘80s. Is that a decade you often find yourself admiring? 

Jostein: Hehe, I think it’s becoming our thing to sprinkle some jazzy elements here and there and that really enhances this track with Jørgens Munkeby’s amazing saxophone on the track as well. It was planned from the start to hopefully get him to lay down those jazzy elements and with him being a former member of Jaga Jazzist as well, naturally, it turned out great. When it comes to the eighties, what’s not to like? 

All of us are really big fans of ‘80s music especially and a lot of the arpeggios and synths we incorporate into the music are inspired from that decade. Actually, we have discussed making a purely ’80s-inspired album, a kind of a dark pop thing maybe. We’ll see!

Kendra: On the flip side, “Dance Macabre” felt like it was part of a Broadway show of some kind. Have you ever thought of pairing Pixie Ninja’s sound with the world of theater?

Jostein: Haha, that’s interesting! Well, we’re often told that our music would be a perfect fit for different kinds of movies as they often got a soundtrack feel to them and we would definitely be up for that job, as well as theater. We are big fans of Motorpsycho, and they have done a couple of soundtracks to some Norwegian plays, which is just amazing. So yeah, that would be a great challenge and a lot of fun.

Kendra: Now it’s time for a side note – with it being September AKA Self Improvement Month, I’m asking everyone to give us a song they like to put on when they are in self-care mode…

Jostein: I would probably listen to Meshuggah – “In Death/Is Death” as I am a metalhead as well. That song just makes me feel like I’m on top of the world and the composition and technicality just drives me nuts, In a good way!

Marius: I listen to a really wide variety of music genres. So for the time being I have been playing a game on my Nintendo Switch called ‘Metroid Prime’ (remastered). I am totally hooked on the soundtrack for the time being, and would like to point out one specific track called: “Tallon Overworld.” It’s very metal and I like it! 

Kendra: And lastly, with ‘Hypnagogia’ out on September 8th, what else do y’all have planned as we head into fall? 

Jostein: We would love to get out and play this album live for everyone, so I guess we are probably going to start rehearsing and putting a tour together. Probably won’t be until 2024, but who knows! Maybe we’ll start working on some new stuff in the studio as well.

The post Rocky Nights with Pixie Ninja appeared first on ZO Magazine.

Forever inspired by the creativity in all realms of art, sophie meiers has channeled all of that and then some into a soundscape listeners can easily imagine into their own realities on ‘spark__space,’ out now on Epitaph Records. The new record was on the table when it came to this back-and-forth exchange, as well as trust, anime, and what’s to come.  

Kendra: You dropped a couple of records before 2023, and this year you’ve already got one under your belt. What made you want to break up your releases this year and share them with the world a couple of months apart from one another?

sophie meiers: Breaking up the releases for these EPs has allowed me to showcase the visual and sonic landscape for each individual world. I had an expansive body of work, spanning many different genres – so I created “portals” that embody and capture their varied styles and identities. I want each project to be an entryway to the next world, their stories to guide the listener through this immersive art project.

Kendra: When I listened to ‘shine__space’ I felt transported to my teenage bedroom in the early 2000s watching indie movies like ‘Ghost World.’ On the flip side, ‘i was the right one’ feels a little more present. Did you find yourself drawing from different places for ‘shine__space’ and ‘spark__space?’

sophie meiers: Ahh that’s so cute. I definitely agree with you, it was my intention to create a strong contrast between the (three) projects. ‘shine__space’ is very metallic and sequenced — lots of inspiration coming from synth-wave/synthpop/new wave electronic music. whereas ‘spark__space’ is warm and stripped back; leaning primarily towards organic production, live instruments, and lots of alternative/indie influence. Drawing from these different feelings and places is what makes writing so rewarding and interesting to me.

Kendra: Speaking of ‘i was the right one,’ this came after a sour relationship but it’s more about yourself. Did you find yourself working all of this out inside your mind as you penned this track?

sophie meiers: Absolutely. That day in the studio I was able to digest and vocalize what I had been feeling over the past two years — and how it all came to a point. It was really revelatory to be able to understand that the pain I was experiencing was due to self-betrayal, not the actions of anybody else. Untying the convoluted knots and confusion in my own mind allowed me to look at the situation for what it was. It was such a memorable day for me, looking back. finding words to put to something so complicated is powerful and freeing. I can’t describe the feeling.

Kendra: For those who may not have music as an outlet, do you have any advice for those looking to work out their own internal trust issues?

sophie meiers: Shit hahaha, you’re asking the wrong guy. Something that has helped me tremendously is acceptance. You truly and objectively cannot control other people’s feelings or actions, and worrying about hypothetical situations is just subjecting yourself to suffering that hasn’t happened yet, and might not ever happen, surrendering yourself to the unknown is terrifying, but trying to control things beyond your power is impossible. I have to remind myself that I don’t want to sacrifice my tenderness or love; caring is truly one of the most special and pure feelings in the world.

 Why should I deny myself of feeling happiness, experiencing warmth, and small little moments of understanding? (even if i end up getting hurt) it hurts to hurt. It hurts to not hurt. Authentically feeling your emotions and showing your care is infinitely more courageous than fighting it off or becoming closed-hearted. it’s okay to be sensitive and vulnerable, and when you trust yourself it becomes your shield and safety net. because even if other people hurt you, you understand your own value and can hold yourself to that standard. baby steps. 

Kendra: It’s also hard not to notice the visual artistry that goes into what you do. Who were some artists you loved growing up that not only inspired you musically but also visually?

sophie meiers: Thank you so much! I’m heavily inspired by the world around me – by earth and science and stars. Organic and inorganic forms. Destruction and decay. Outside of my vague and ambiguous answers- I fucking love art; painting, drawing, photography, sewing, graphic design, textiles, digital art, 3d/CGI, VFX, makeup, sculpture, early net graphics – anything I can get my hands on. 

I was heavily inspired by my early exposure to the internet: meme pages, Tumblr, forums, early HTML websites, and primitive CGI. Also ancient practices like woodworking, masonry, architecture, classical painting. I have a hard time naming any artist individually because I was always so absolved in the art itself versus who was creating it. I have a lot of respect for people who work across different mediums to breathe life into their ideas.

Kendra: Your style reminds me a lot of anime. With that, is there an anime that you’d love to have your music featured in?

sophie meiers: I love anime. God this is hard. It would be fucking amazing to score and write the soundtrack to a limited series. I love psychological/horror/avant-garde/sci-fi/mecha/supernatural/disturbing shit, so it would be really cool to do something within that realm. I’d have to think about something that is still coming out with new episodes!

Kendra: Time for a side note – So August is a huge month for me, with so many loved ones’ birthdays being celebrated, so I’d love to know what song you’d dedicate to your loved ones, be it friends, family, or both…

sophie meiers: I hope you have a great month celebrating with your loved ones! My song “things will change” is dedicated to one of my little brothers. 

Kendra: Lastly, with ‘spark__space’ out on August 24th, what else can the people out there expect from you as 2023 rolls along?

sophie meiers: Tons of new music, visuals, and art projects. I have the last EP in the trilogy coming out after ‘spark__space.’ Different sound, different visuals, different world. Can you guess the name?

The post finding the right one with sophie meiers appeared first on ZO Magazine.

Portland’s Roselit Bone is set to drop ‘Ofrenda’ on August 25th, and on top of that, they’re set to zig-zag here and there from Washington to Utah and many places in between until October. We sat down with Roselit Bone’s own Charlotte McCaslin to talk about the new music, combating life on the road, and more in this back-and-forth exchange. 

Kendra: A few years separate ‘Ofrenda’ and your last release from 2019, and during that time, a heck of a lot happened in our collective reality. Most of which was mentally draining, so with that – when did you all have the mental capacity to get back into creative mode and start working on the new album?

Charlotte McCaslin: There were a lot of false starts during the writing and recording process and half the lineup of the band changed by the end of it. It was hard to practice in 2020 while staying safe so a lot of the work was done remotely, and there was a lot of pre-production and demoing done before we headed into a proper studio at the end of 2021. I still am not sure I have the mental capacity to be on a stage again, desperately trying to sell enough T-shirts to pay for gas to the next town, but here we are. 

Kendra: Now Portland is where y’all call home, and it’s known for a multitude of things, including those food cart pods. With that, what local spot like that would you say has the perfect dish that matches up with the overall aesthetic and vibe of ‘Ofrenda?’ 

Charlotte: The veggie corn dog at Lift Off. It is substantial, half synthetic, and corn-based. By its nature a very, very sad food, it is elevated by the dreamy atmosphere and the care taken with its creation. The veggie corn dog at Lift Off has borne witness to several breakups and absorbed many tears of mine over the course of writing ‘Ofrenda.’

Kendra: One of the songs I really loved on the new record is “Crying in the USA” because, after 9/11, country music went hard towards patriotism. Toby Keith basically transformed himself into a bald eagle by 2002, so it’s interesting to hear a band like yours have this country sound but at the same time speak out against America’s antics – and there was a lot to pull from in recent years. For you, what’s the most embarrassing thing about this country and its policies at the moment, and do you think that we’ll be able to overcome the continuous BS from D.C.?

Charlotte: I don’t feel embarrassed to be from America and I don’t feel like I’m directly speaking out about its antics. I think America is a collapsing country, and most other countries will follow suit as climate change upends all governments and systems.  

I’m trans and there are very few places on the planet where I feel remotely “safe,” so I kind of just feel sick to my stomach when people find glee in arguing about politics like it’s a football game. I’m not trying to make ironic leftist country music, I’m just venting and lamenting and trying to escape into a song while the world spirals out of control. I think this is fully in line with a lot of country music traditions. I don’t think a video of my band and I slapping our asses in front of a hay bale is going to enlighten anyone about anything but the compromised state of our mental health. 

Kendra: On the flip side, you have “Your Gun,” and this song deals with a more personal aspect of life and life on the road vs. when the touring is said and done. Are you preparing to do anything different before you head out this year to combat the initial feelings that led you to pen this track?

Charlotte: I suppose I’ve done over a year of therapy to prepare. My life is much different than it was when I wrote “Your Gun.” I have a very happy and healthy relationship now, with our violinist Faith, so instead of coming home to a nightmare or crime scene, I guess I’ll just be a little bummed if our house plants don’t get watered. With my partner on tour with me, facing everything with the same enthusiasm, the road feels like home. 

Kendra: And this is going to be a lengthy run out on the road. You’ll start at the end of August in Washington and wrap up in early October out in Utah. Being an 8-piece, how much practice goes into the live shows so that no one is stepping on anyone’s toes figuratively and literally?

Charlotte: We don’t obsessively practice, our other jobs take up too much of our time, but we’ve been doing this for so long that a lot of the kinks have been worked out and it only takes a few days on tour for us to tighten up. I do a lot of arranging of each members’ parts in order to make the best use of what little time we have to play music together. 

Kendra: Time for a side note – So August is a huge month for me, with so many loved ones’ birthdays being celebrated, so I’d love to know what song you’d dedicate to your loved ones, be it friends, family, or both…

Charlotte: The title track, “Ofrenda” is a song for my friends. It’s not particularly hopeful, but I hope it can be like another warm body in the room when someone is grieving a death or feeling like ending their own life. 

Kendra: Lastly, with ‘Ofrenda’ out on August 25th and a tour already booked and ready to go, what else can the people out there expect from you as 2023 rolls along?

Charlotte: We’re hoping to shoot a few more music videos in the fall, but aside from that we don’t have much planned for 2024. I’ve been doing all the booking myself this year and it has cut into the time I get to actually spend playing music, so I’m hoping we can find a worthwhile agent before we plot out our next moves. A lot depends on how this upcoming tour is received so I’m putting everything I have into making the shows memorable.
Kendra: Lastly, with ‘Ofrenda’ out on August 25th and a tour already booked and ready to go, what else can the people out there expect from you as 2023 rolls along?

Charlotte: We’re hoping to shoot a few more music videos in the fall, but aside from that we don’t have much planned for 2024. I’ve been doing all the booking myself this year and it has cut into the time I get to actually spend playing music, so I’m hoping we can find a worthwhile agent before we plot out our next moves. A lot depends on how this upcoming tour is received so I’m putting everything I have into making the shows memorable.

The post Lift Off with Roselit Bone appeared first on ZO Magazine.

If I were an investor looking to bring a band to Broadway, I’d put my money into LEONE. Everything from the vocals to the theatrics of the music is there, but of course, they’d have to be up for it. Find out if that’s something this Brooklyn-based group would be up for because it is something that came up when discussing their 2023 release, ‘GTFOH,’ out on August 18th. That, breakups, and more await in this back-and-forth exchange. 

Kendra: This isn’t your first musical endeavor seeing as you were in a glam rock band, Deitre, before. It’s not uncommon for artists to explore new avenues. Just look at Taylor Swift! Alas, I’m curious as to what was the sort of catalyst that led you down this new path in Leone?

LEONE: The pandemic was very much the catalyst for LEONE. DEITRE decided to take a break due to obvious reasons and I was left with no musical outlet. I was put into a position where I had no choice but to rely on myself, pick up the guitar, and REALLY take the time to learn it.

Kendra: It’s a new path but I felt like elements of your past were still ever present in “Kiss ‘Em Bye Bye.” This song, right out of the gate, hit me with next-level theatrics that felt very rock and roll still. I think it’s because your vocals sound like they belong on Broadway. Were you ever involved in the theater realm?

LEONE: That’s a huge compliment! Thank you so much. I attempted theater, and have done a couple of things in high school, but realized at a young age that songwriting is very much my passion and telling someone else’s story and using someone else’s words doesn’t fulfill me in the way it fulfills other people. However, I would never close that opportunity if it were to be presented and I felt like it was a role I resonated with.

Kendra: But yes, let’s talk more about “Kiss ‘Em Bye Bye” because I love it so much, especially the no-holds-bar lyrics. I love a song that just gives it to you straight and this song is just that. There is no hiding what this song is about, but it did make me wonder – was this based on a singular breakup or was it the culmination of relationships gone sour?

LEONE: Yes, “Kiss ‘Em Bye Bye” is based on a singular breakup. The breakup I sang about on the first EP. It was important for me to paint the picture of what happened because it was so burnt into my memory.

Kendra: In this, you sing, “…when I finally found the strength to leave you, I left that night.” Not everyone winds up finding that strength though. What’s your advice to those still searching for that in themselves to move on from those not-so-great situations?

LEONE: Oh god. It’s so much easier being said than actually done. I was presented with red flags that whole relationship and chose to still stay and fight for what I thought was worth it. I guess my advice would be that ONLY YOU know if something doesn’t feel right; and if you choose to ignore it, you will continue having your gut scream at you until you change your situation. Trust… I’ve tried to ignore it. You’ll make yourself sick.

Kendra: Another line from this song that had me obsessed was, “Hope that ass pic was worth losing mine.” It felt like a line that the TikTok generation would attach itself to and make videos for. You may not have given something like that a second thought when writing, but do you think that artists today do try and weave in possible viral moments into their music since social media plays such a huge role in marketing now?

LEONE: I mean, I’m sure some people do that, but I like to believe not everyone is that calculated.

Kendra: As for the record, ‘GTFOH’ is an EP that centers around reclaiming power. When you realized that it was time to take control of your life again, did you immediately turn to making music?

LEONE: Every single aspect of my life immediately turns to music. It’s a sick obsession.

Kendra: Time for a side note – this month we’re asking everyone to pick a song for our ‘ZO Summer 2023’ playlist. So what summer anthem would you add, and why? 

LEONE: Any song by TVOD; not only are they friends, but they’re fucking baddies who make kickass music.

Kendra: Lastly, with ‘GTFOH’ out on August 18th, what else is on the horizon for you at the moment? 

LEONE: We are continuing to grow our sound and are already working on songs for the next album. So stay tuned!

The post Kiss LEONE Hello appeared first on ZO Magazine.

Kendra: You eventually took the piano skills from your childhood and your love of poetry from your adolescence and, from it, started to create music, but what was that sort of aha moment that made you realize to put two sorts of passions into one?

Julian Talamantez Brolaski: Thank you for that question. I think probably deep down I already knew they were one. But when I was living in Berkeley, I fell in love with old country music on the college radio station. I heard artists like Charlie Patton, Hank Williams, the Carter Family, and Kitty Wells. And most of all I wanted to emulate Hank’s lonesome voice break and learn some of these songs. So I got a guitar, taught myself three chords, and you know, the truth came to me. 

I was into writing a lot of formal verse at the time. You know, poems that rhyme—sonnets and things like that. I was studying medieval and Renaissance literature, where poetry and songs were often the same thing. And I’d been writing poems since I was a kid, so putting it all together wasn’t a far leap.

Kendra: Because you didn’t grow up immersed in country music, I’m interested to know what artists were you listening to as a youth in Southern California?

Julian Talamantez Brolaski: Omigosh—well, a lot of classical music. And then your usual ’90s fare. I kind of got into Riot Grrl music for a minute in the early-mid ’90s. I loved Nina Simone. Some gothic and industrial music, indie rock music. 

There is a great record store in Encinitas where I grew up—Lou’s Records. That’s where I first heard artists like Wu-Tang Clan, Fugazi, and PJ Harvey being played. I confess to being very moved by Tori Amos at the time. There wasn’t the internet in those days, so to find out about music you really had to look around.

Kendra: On top of being a musician, you’re highly educated, with an MFA in poetry and a Ph.D. in English to your name. You also taught for several years. Do you think being in front of a classroom helped prepare you for the highs and lows that come with being a live performer?

Julian Talamantez Brolaski: Wow, you dug deep! I don’t tend to front my education on the internet. I got those degrees because I was trying to figure out how to be a poet in the world. And I love to live a life of the mind. Being a professor is very performative—you have to hold people’s attention. 

I’d been reading poetry out loud since I was a teenager, but I was still really shy. Grad school helped me learn to talk in front of people. And teaching, too. I started off as a substitute teacher for elementary and high school when I still looked like a high school student myself. Teaching the younger kids was a good way to ease into teaching adults; I felt less shy around five-year-olds. Later, I taught for many years as an adjunct professor, and occasionally I have gotten the privilege to teach poetry and creative writing, which is wonderful. 

I think teaching and giving poetry readings both gave me the form of being on stage. But being a poet prepared me the most for performing music live because it taught me how to emote from the heart. 

Kendra: People will hear those songs live soon – as you’ve noted, you plan on touring once ‘It’s Okay Honey’ drops on August 4th. Which, speaking of the new record – what poet do you think would appreciate the lyricism of this album most and why?

Julian Talamantez Brolaski: That’s a great question. Living or dead, I might ask, if we were speaking live. I would say that the songwriters who are also poets might appreciate this record. In my fantasy world—Leonard Cohen beyond the grave; Bob Dylan, it would be a dream if he ever listened to my songs. And the poets who are also songwriters—Joy Harjo, Ana Božičević, and Patti Smith. 

Kendra: Let’s talk about what’s on this record a little more, starting with “No More Lonesome Heartache,” which you’ve noted is both a love and lust song. Love that, because I think we often hear so many that are either or, but in reality, it’s nice to have both on the table. Why do you think we often separate the two in songs and in life?

Julian Talamantez Brolaski: Well, love songs are obvious; I mean, they’re the natural outpouring of pop music. And sometimes a good lust song makes its way in there, and those are always fun, too. Maybe for love songs, there’s something about keeping it pure and true? And for lust songs, keeping it purely naughty, no strings attached? But a love and lust song is like the complete package. 

Kendra: Another song on the record is “Covid-19 Blues,” which a lot of music in the past couple of years has had this subject – but most have been sort of underlying. What made you want to be so upfront about the pandemic and its impact?

Julian Talamantez Brolaski: I was thinking about the Blues tradition of songs about illness, like the “T.B. Blues” and things like that. I wanted to speak the grief of what was in front of us. So as I felt the deepening difficulties of the pandemic, the song just started to naturally develop. I also wanted to do something along the lines of Hank Williams’ “Long Gone Lonesome Blues,” which has this elaborate, substantive yodel part, a yodel that’s over words that have real meaning, not nonsense words like “yodelay’ee.”  

I made “covid” into six syllables: “co-o-o-o-0-ovid.” When I finally uploaded the song for digital distribution, I laughed about how many songs have that same title. It’s a natural impulse to respond to the blues with the blues. 

Kendra: Time for a side note – So August is a huge month for me, with so many loved ones’ birthdays being celebrated, so I’d love to know what song you’d dedicate to your loved ones, be it friends, family, or both…

Julian Talamantez Brolaski: Probably the title song, “It’s Okay Honey.” It’s a song that’s meant to soothe in times of difficulty. It’s meant to be a healing song, like that universal salve: “This too shall pass.” Writing that song was sort of a gift I gave to myself, that I can now give to others. 

Kendra: Lastly, with ‘It’s Okay Honey” dropping on August 4th and some rumblings of touring thereafter, what else can the people out there expect from you as 2023 rolls along?

Julian Talamantez Brolaski: There’s also a songbook coming out concurrent with the album. My publisher, Wave Books, is putting it out—and it will have song lyrics, chords, and some ephemera like handwritten lyrics and setlists. I also have a chapbook of poems coming out in the fall from Asterion Projects called “Sky Hammer.” And I’m touring a Western tour from August 7th to the 15th, with shows in Seattle, Olympia, Portland, Eugene, Santa Cruz, Oakland, Cayucos, and Santa Barbara, and you check my website for more tour dates in the fall and winter.   

The post Everything’s Okay with Julian Talamantez Brolaski appeared first on ZO Magazine.

There are always a multitude of directions conversations can take and when we linked up with Lincoln Mick from The Arcadian Wild, it led us towards the expected like the band’s new album, ‘Welcome,’ out on July 21st, but we also took a left turn and discussed whether or not AI was something musicians were starting to worry about. So music, AI, and more with The Arcadian Wild await in this back-and-forth exchange. 

Kendra: Let’s talk about the video for “Lara” first because as a band that got their start playing house shows, this sort of felt like an homage to the past. For artists that skip that part of touring, did you learn any life lessons about the road playing those shows back in the early days?

Lincoln Mick: Those first few years really shaped our perspective on the nature and the purpose of our work together. There was a lot of mutual trust thrown around between us and the fine folks who invited us to play in their living rooms or backyard and then fed and housed us. 

We had to get good at graciously and gratefully receiving hospitality, and then turn around and somehow become hosts in someone else’s home. It was a really interesting and deeply meaningful practice, and we attempt to come with a similar posture to all the club and theater shows we play in this era. We’re still playing host in someone else’s house, and we have an opportunity to make each person in the audience feel welcome and like they belong. Hopefully, we’ve set a good table, and everyone walks away at the end of the night with something nourishing and sustaining.

Kendra: As for the song, I want to get into the inspiration of it in a second but first – it’s been noted that the person who started writing this in 2019 came out the other end a year or so later changed. How do you think “Lara” would’ve wound up without the trauma from, well, 2020?

Lincoln: Isaac wrote that one, so speaking not as the primary writer on this one, but rather one of the humble collaborators, I think the lyric of “Lara” had mostly been finished pre-COVID, with maybe a little bit of team tinkering before everything shut down. I think good music has this lovely quality of acquiring richer meaning over time, and that has definitely happened with that tune. Isaac wrote a great song, and it’s richer when experienced through the lens of the last couple of years.

Kendra: What about your July 2023 release, ‘Welcome?’ What direction do you imagine it would’ve taken if we’d never been tossed into a collective whirlwind?

Lincoln: Again, I don’t know that Welcome would have necessarily been made manifest without the COVID experience. I think the songs are kind of buzzing with this renewed sense of gratitude for the practice of gathering. I’ve heard that for some writers, the time in isolation was creatively prolific, but that simply was not my experience. Once I sort of saw the little rays of hope shining through in the spring of ‘21, I was finally able to start making music again. The whole time we were writing and arranging these songs, we got so much energy from collectively asking ourselves, “Can you imagine what it will be like to finally be in a room with people again and share this music together?!” 

Kendra: Back to “Lara,” because this made me cry. You all started working on this after a friend mentioned her daughter was going through some stuff, so it’s so beautiful that you gave her this song – but when you were her age, what song or artist did you always turn to when you needed a boost?

Lincoln: The music we make is so incredibly different from what I was listening to during those years. I was super into alt-rock and pop-punk. Relient K was (and, honestly, probably still is) my favorite band. At 31, that music still makes me feel sixteen, in the most triumphant and exuberant way.

Kendra: Ahead of “Lara” you dropped “Dopamine,” which is such a fun song to listen to as you all layer your vocals throughout. What I also loved was this, like, “Expectation of the age of information” because with AI continuing to be pushed in our faces, it’s hard not to think about how far science and tech have come since even the ‘90s. I know the movie and TV industry is battling AI right now, but is this a conversation musicians are having as well in regards to AI taking their place? 

Lincoln: Hopefully we’re still a ways off from really coming under fire from the robots trying to make music, but I think it’s important to participate in and listen to the conversation long before it becomes a problem in our little corner. We’ve definitely started fooling with tools that we don’t fully know how to wield yet, and I feel for visual artists, authors, and other creative professionals who suffer in these uncharted waters. 

Kendra: AI can’t tour though, at least I hope it never can because I love live music and y’all have a lot of that coming up with over 30 dates on the books. When you aren’t playing or driving, do you get a chance to explore the cities you’re in?

Lincoln: That is a win on the human side of things for sure. Yeah, usually our tour schedule is pretty tight, but sometimes we’ll get a day off in a cool place, or a coveted short drive between gigs. We’ve got some rock climbers, gym bros (the friendly, sweet kind), and runners in this crew, and we try to fit in little outings so everyone has some kind of opportunity to scratch those itches and take care of themselves. In certain regions and cities, we run into friends or family, and we try to carve out time for our people to catch up with their people if it’s possible. Life lived on the road is expensive physically, emotionally, and spiritually, and it’s important for everyone to get these little individual or collective wins along the way.

Kendra: Time for a side note – this month we’re asking everyone to pick a song for our ‘ZO Summer 2023’ playlist. So what summer anthem would you add, and why? 

Lincoln: I mentioned RK, so I’m going to advocate for “Bummin’” off their record Air For Free. It’s a fun tune, and as a Nashville resident, I like the “Wedgewood and 8th” reference.

Kendra: Lastly, with ‘Welcome’ out on July 21st, what else is on the horizon for you at the moment?

Lincoln: Just LOTS of time on the road, which we mostly look forward to. We’ve been sitting on this record for about a year, just aching to finally be able to share the music in real life with real people in real rooms with real oxygen. It’s tough being away from home so much, but more often than not, one of the gifts our audience offers us is a sense of place and belonging. We step on stage wanting to make sure everyone else feels welcome and seen, but we typically walk away feeling pretty warm and fuzzy, too.

The post Welcome, The Arcadian Wild appeared first on ZO Magazine.

As a young Black kid, there were two genres of music GROOVY could connect to back in the day. Each of them helped influence the path he set himself down as he grew into his own and started to develop as an artist. Today, his sound feels centered around the basic foundation of humanity; love. Whether it be for his home state or a girl who’s captured his attention, GROOVY is writing about it and now talking about all of that and then some, including his latest single, “BADGURL.” 

Kendra: Having a father that was involved in music must’ve made it easier for you to see it as a viable option for you in the future, but what do you think sparked your initial interest in creating music? 

GROOVY: I think I’ve always had some sort of attraction to making music, but it wasn’t until I became close friends with an artist from my hometown that I started to see music as a career path.

Kendra: On the surface, House and hip-hop have their differences, but what would you say are the things that make them similar enough that you found yourself enamored with both at a young age?

GROOVY: House and hip-hop are two genres that I could really relate to as a young Black kid. At the cook outs, we played house music, and in the car, my pops let me listen to Kanye’s ‘Graduation’ as long as I didn’t tell my mom, haha. The two genres both take influence (or completely sample) music from black artists of the past. There is history and soul in both genres. Luv em both.

Kendra: That’s what you grew up on, but as you got older and started to develop your style, you found yourself in this place that harkens back to the early 2000s R&B scene. What about that era of the genre do you think helped separate itself from ‘90s R&B? 

GROOVY: I think 2000s R&B is when pop and dance music started to have a real influence in the genre. Chris Brown, Ciara, Neo, and Beyoncé, just to name a few really livened up rhythm and blues for me as a kid. ‘90s R&B is still the choice for an intimate night with your sweetheart, though.

Kendra: We can hear your take on the genre in your latest single, “Badgurl.” Right away, I was into the video because of the ‘Grease’ and ‘Pretty Woman’ VHS tapes. They are two of my favorite movies, but also, as the video played on, very apparent as to why those were chosen as this is about a woman and her interest in sexual empowerment. Both movies showcase aspects of that. While the song can be interpreted a million and one ways, it felt very much like a feminist anthem. Especially given how much control the government wants over female bodies as of late. Was this song at all inspired by politics? 

GROOVY: I’d say this song is more inspired by culture, and the women’s cultures are different than our own. When I have had experiences with women from, say, the Caribbean or West Africa, their families have strict guidelines on what a young woman should be. Nine times out of ten, she isn’t that cookie-cutter mold that her parents put in front of her, so she struggles. “BADGURL” is about me trying to help that girl discover who she is. 

Kendra: What do you think are the three things that define a modern-day Badgurl? 

GROOVY: Confidence, originality, and streaming “GROOVY.”

Kendra: Switching gears for a second, you’re a New Jersey native, and that’s a state – top 10 when it comes to home state pride. Where does that New Jersey pride stem from? Because no one from Iowa is that hype about being from Iowa, haha

GROOVY: I think people from Jersey feel like underdogs. People are always comparing us to New York and Philly, and they never credit all we have to offer here. I’m proud to be from Jersey because I know the talent and creativity we’re home to; time for the rest of the world to wake up.

Kendra: Time for a side note – this month, we’re asking everyone to contribute a song to our ‘ZO Summer 2023’ playlist. So what summer anthem would you add, and why? 

GROOVY: “jersey luv” by GROOVY & B Jack$, it’s my favorite song right now; definitely a summer banger. 

Kendra: Lastly, with “Badgurl” out now, what else is on the horizon for you at the moment? 

GROOVY: Spreading the word, collaborating with artists who I like, and just living the lifestyle. I’m having a great time so far, so I’m excited for the future. 

The post GROOVY Delivers Nothing but Luv appeared first on ZO Magazine.

Kendra: Looking back at, say 2018’s “Flowerbomb” and comparing that musically and lyrically to where you are now, what do you feel has contributed the most to your artistic growth? 

Siena Liggins: I’ve grown a lot since “Flowerbomb.” Obviously, the subject matter of my songs has maintained some consistency. I’m still singing about love, sex, and connection. I think I’ve got a new perspective now. I’ve lived a lot more life, so there’s more experience, and you can hear that in the music.

Kendra: For a few years, you were dropping singles and making a name for yourself, and then ‘Ms. Out Tonight’ seemed to take you to the next level. After that album, you took a bit of a step back from releasing but came back stronger than ever with three singles out so far this year; “3 Bad,” “Sneaky Links,” and “RENT FREE.” Are there plans to drop a few more? 

Siena Liggins: “RENT FREE” was the last single release before the album, ‘FLOOZY.’ comes out. Coming off the success of ‘Ms. Out Tonight,’ I wanted to give it time to breathe while also creating and planning the release of my next body of work. I wouldn’t say I took time off because I’m always working, but it’s not easy for everyone to understand all the moving pieces for an independent artist. The behind-the-scenes takes time, relentlessness, and perseverance, and when you like things to be beautiful, flawless, and BIG (like me), it takes time. 

Kendra: Since we just mentioned it, “Rent Free” is such a fun listen. When it kicks off, I sort of feel like I’m in a 2000s teen movie with that sort of pop-rock intro, and then we get into this cool pop sound. Are your musical influences as eclectic as your latest single? 

Siena Liggins: Sometimes I feel guilty about how all over the place my musical influences are. I wanted “RENT FREE” to feel nostalgic. It’s a nod to millennialism, and it’s supposed to be reminiscent of the 2000s pop hits, but it’s my song. So, all the things that impress me are inevitably going to influence what I make. That’s why it’s hard to box me. My music is pop and R&B and hip-hop and alternative and hyperpop, and… and… and…

Kendra: Your music also lingers in a good way. I think that’s because of that pop base. Pop music is meant to stay around and wiggle into the base of your brain. With that, what do you think are some of the most quintessential pop earworms to date?

Siena Liggins: There are too many good answers to name just one; “Oops I Did It Again,” “Single Ladies,” “Super Bass,” “We Found Love,” “We Belong Together,”… the list goes on forever.  

Kendra: On the flip side, on top of music, you’re also involved with activism. Being a Black woman, I know all too well the reality that comes with that, but how does being part of the LGBTQ+ community also play into how you navigate the world because, let’s face it – being anything but a straight, white, rich, Christian man in America is wild right now…

Siena Liggins: I like to look at my life and existence as an expression of my activism. I move strategically through the world, not because I want to, but because I have to in order to maintain the integrity of my identity in a way that feels true and right for me. I’ve become less concerned with spreading a message and letting my work speak for itself. I’m not going anywhere.

Kendra: Time for a side note – this month, we’re asking everyone to pick a song for our ‘ZO Summer 2023’ playlist. So what summer anthem would you add, and why? 

Siena Liggins: My summer anthem is “RENT FREE,” of course. But if I have to pick a song that isn’t mine– I’m gonna go with “Put It On The Floor” by Latto. Rip me out the plastic!

Kendra: Lastly, with a few singles out now, including “Rent Free” and the Wonderstruck Festival on July 8th, what else is on the horizon for you at the moment? 

Siena Liggins: Everything is always changing and moving fast in today’s world. I’ve got an album next week and a few shows to close out the summer, but you’ve really got to follow the journey to make sure you don’t miss anything.

The post Living Rent Free with Siena Liggins appeared first on ZO Magazine.