Kendra: It wasn’t too long ago that y’all dropped ‘Leave the Party Early.’ A title that speaks to me – if I were ever invited out, but my lack of a social life aside…because this album got you recognition and attention across the board. Did that add a layer of stress when it came time to record the next record?

Sleeping Jesus: I think that we were more excited than anything else. We recorded this new record in a vastly different way than we did for ‘Leave The Party Early.’ We had just come off a tour in November 2022 and we went into the Magic Barn down in Iowa City in December. We wanted to make something in a new way. And in a way that felt exciting for us too. So, more excitement than stress. Leave The Party Early was definitely a stretching exercise for us. We made a weird electro-pop album and we are really proud of that, but, we were able to record all together in a room and get that feeling from playing live that was thrilling. 

Kendra: Fans are going to get to hear ‘Hollywood Smile’ in November, but without giving too much away – if you had to compare this record to an actor’s smile, whose do you think would best represent the aesthetic of your sophomore release?

Sleeping Jesus: We all agreed on Jack Nicholson’s smile. There is something about his smile that can be comforting and simultaneously sinister too. A Hollywood man, but with a touch of depravity. Definitely Steve Buscemi’s eyes and Gilbert Gottfried’s voice too.

Kendra: We are getting a bit of a taste with the lead single, “Ferdy,” which features such a fun video. I do want to thank you for putting your heart and humor into the music video. This can often feel like a lost artform so I always appreciate a good video in these modern times. Did any of you channel any old favorite videos when it came time to shoot “Ferdy?”

Sleeping Jesus: We looked at The Shins’ “Australia” video and we wanted to bring some of that humor into the video. Our videographer, Harrison Mccormick, watched a bunch of Westerns like the Fistful of Dollars trilogy and we definitely found some inspiration in Reservoir Dogs as well. Harrison did a beautiful job of using some of the classic Western film tropes in our video. His direction and vision that he brought in really brought that video to the next level and we are super fortunate to have him in our camp. 

Kendra: This video features so much, including some not-so-happy goths (which, I guess is on brand?). Were any of you in the clique growing up? If not, what cliques would you say you belonged to back in the day?

Sleeping Jesus: None of us were in a goth clique, unfortunately! I felt like more of a chameleon moving through my school years. Music, a little sports, skateboarding, whatever the flavor of the week was! All of us had a love for music from a somewhat young age though, none of us have strayed from it since.

Kendra: “Ferdy” also has y’all playing at a birthday bash. Have you ever played anywhere as unique as that in real life?

Sleeping Jesus: Oh, one hundred percent. We have played at a gas station in Denton, Texas. Super quirky DIY spot. We did a house show in the middle of the day with Vansire that turned out to be a high school graduation party. A rock and roll wedding chapel. 

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…

Sleeping Jesus: Here’s the list:

Nick’s is “Move On Up” by Curtis Mayfield
Andy’s is “Wait For The Moment” by Vulfpeck
Tyler’s is “Me, Myself and I” by De La Soul
Seamus’ is “Chicken Man” by Evelyn Evelyn
Dante’s is “Gorilla” by Little Simz

Kendra: And lastly, with “Ferdy” out now and ‘Hollywood Smile’ out this November, what else do y’all have planned as we head into fall?

Sleeping Jesus: We are going to tour more coming up. We are looking to get to the coasts. We’ve done both coasts and we are excited to go back and see the country again. We will have some release shows in Minneapolis and our hometown of Winona, Minnesota. In December, we are gonna have a weekend at our home base of No Name Bar and we are super excited about that weekend.

The post Video Premiere: Everybody Get “Ferdy” with Sleeping Jesus appeared first on ZO Magazine.

In a family of doctors, no one is shocked when it’s announced that yet another person is heading off to med school. Well, that’s similar to Veronica Swift and the path she’s currently on. Only it wasn’t white coat ceremonies, but rather life on the road and an innate love of all things music. We began this conversation diving into what she calls a “coming of age experience” growing up amid music. From there we get into why her 13-year-old self internally screamed with excitement, scoring film, and so much more, including her self-titled album, ‘Veronica, Swift,’ that drops on September 15th. 

Kendra: Being that both of your parents shined musically, was there ever a doubt in anyone’s mind that you wouldn’t walk down that path as well?

Veronica Swift: You know how children learn language from an early age? Like if your family’s first language is Spanish, French, etc…you become a fluent speaker by mere exposure at an early age? Well, bebop was this for me, and having grown up on the road in jazz culture (at nightclubs, festivals, and theaters around the country) it never was really a choice of mine, but rather a coming-of-age experience. 

At 9, I just joined my parents on stage and sang age-appropriate songs that I had known through my experiences growing up around that music and repertoire. Then, more and more opportunities were placed before me, that I felt I owed it to my lineage to uphold the traditions of this music. But no, singing Jazz was not ever what I wanted to do or “dreamt myself doing.” In my family, it just made sense! Music was my first language.

Kendra: Because by 9 you’d already dropped a record. At that age I was…Hmm, I was probably stressing over the TGIF lineup or something. Obviously, a lot of growth has happened since then, but what would you say has continued to push you the most towards leveling up with each passing year regarding your artistry? 

Veronica Swift: The journey and mission of an artist is (in my view) to keep pushing yourself towards perfection (whatever that may be to you), and to reach beyond your capabilities to achieve certain goals. Before I was ever singing, before my record at age nine, I had a very sophisticated understanding of harmony, song structure, and melodicism not only from having grown up in a bebop family but because my favorite music was not that of my peers. 

It wasn’t Britney Spears, NSYNC…what got me going was Bach, Stravinsky, Mozart, Rachmaninoff… All the Classical Composers I could get my ears on! At age five I was singing along to harpsichord concertos and studying symphonic scores. It wasn’t until I heard Queen, The Beatles, and Todd Rundgren that I began to see where my “passions” would lie in the world of songwriting too. I followed this continuing outward expansion of the music particularly when diving into the deep-cut glam rock of the ‘70s (I.e. Sweet, Nazareth, etc…) I absorbed every possible note and word. So you can say that I have a high standard that I am with each passing year building towards when finding my place in all these genres.

Truly, I’m following my own musical whims and where my taste leads me, and I listen to that instinct. I know it’ll tell me where I need to go rather than feeling I have to “push” myself. It’s as if I’m being led along a path, and as long as I listen to that instinct, I’ll never be led astray!

Kendra: With your 2023 self-titled, you decided to pay homage to so many artists that span the genre spectrum, and you also worked alongside The Dresden Dolls’ Brian Viglione. I did get a chance to see them once back in the day, phenomenal. How was working with him, and did you take anything away from that experience that you’ll continue to utilize moving forward? 

Veronica Swift: Well, it is a beautiful story! Of course, The Dresden Dolls were one of the only bands that as an artistic outcast weirdo kid, I felt spoke directly to me! Here is a band that didn’t fit in anywhere, and yet paved the way for so many artists like me to not give in to conformity and people-pleasing! That it IS possible to find success in truly being yourself. 

So with my 2021 release, ‘This Bitter Earth,’ I simply had to cover one of their songs; “Sing.” Brian had found me through my cover, and reached out exclaiming that he now was a mega V. Swift fan, which then of course, 13-year-old me began screaming at the top of my lungs! 

I was out in LA and got the chance to meet him, and the connection couldn’t have been more natural and instantaneous. Within four months not only was he joining my band as my drummer, but we were to embark on a lifelong journey as life partners too. The way he’s able to take my music and focus it in and produce it- it’s magic what he does! He knows how my brain works, what I hear for my music, and we have the same taste in songwriting/production styles, so it really couldn’t be more perfect! So what did I take away from this experience? It’s to trust that what you manifest (even as a 13-year-old dreamer) will come to you!

Kendra: Again, this album has you tackling songs from musicals like ‘La Cage aux Folles’ to Nine Inch Nails’ “Closer.” With the latter, Trent Reznor has really made a name for himself in film. Is there a recent movie you would’ve loved to score? 

Veronica Swift: Scoring a film is definitely a bucket list dream of mine! And I’m not just talking about writing songs for a film’s soundtrack, but since I have arranging and orchestration experience (always more to learn), it is a life goal of mine to give this a try as well, particularly after having seen ‘LaLa Land’ which to me, didn’t have to cater to mainstream culture’s taste. 

As a fan of old MGM musicals (and tap) I had high hopes for this one! That “finally, a mainstream body of work that I can connect with.” Once we cater to the mainstream, we erase any possibility of ingenuity and style. Like, I couldn’t remember a single song or melody from that movie, but when you walk away from ‘American in Paris’ or ‘West Side Story,’ now THERE’S a score for you! 

To me, it all comes down to melody first! A strong lyric with a weak melody has much less of an effect compared to a strong melody with a simpler lyric. There’s a way to pay homage to the past while still making something new and fresh. I’d like to think my new record does just that- that it isn’t pastiche because you can connect the through lines from track to track.

Kendra: In regards to the musical aspect, “I Am What I Am” is this fun, energetic song that you can’t help but want to move to. When you were recording this one, did you have your parents in mind? 

Veronica Swift: When conceptualizing a new project, I think “What is the narrative?” Every album has a story arc, and for this one, the only way to make all these genres work was to have some cohesive element which for me is the simple fact that these are all genres that have been important to me at different times in my life. Because it all starts with you and your family, that’s why I chose to have the bebop number right up front, but with a lyric that, along with the lyric of the final track “Don’t Rain on My Parade,” bookends the thematic message of the entire album. 

“No matter what happens to me, I will be living my life knowing I am acting 100% in accordance to my values, and that nobody can tell me how to live or enjoy myself being myself.” 

My mother was a broker on Wall Street before she was a singer. It wasn’t until she happened upon a jazz club one night, saw my father playing piano, fell in love, and began making music with him, that she’d found her calling in life. Just like for me in my relationship; Brian had saved me from pursuing a path that I was not happy or creative on, just singing Jazz was not truly me.

So this parallel with my mother’s past is what I am singing about in “I Am What I Am.” I also couldn’t help but include my early years of singing Bach fugues and preludes, so I wrote a fugue part right in the middle.

Kendra: You’ll be hitting the road in September and October, with some dates in Denmark. How do international crowds compare to the ones stateside? 

Veronica Swift: Crowds are different everywhere you go. There are so many factors, not just geographical, that play into how a crowd reacts. What types of venues you play, your music/performance style, which day of the week, what time of day, etc.? 

While Scandinavian or US midwest crowds have a reputation for being more polite, a jazz club in NYC is a more quiet audience than a rock club in Stockholm or Minnesota! I’ve found that the audience wants permission to let go, no matter where you are, and they will give you (the performer) what you give to them! So in a way, since I started performing rock n’ roll, funk, and soul, I don’t see a difference in audiences from state to state/country to country. I give 1000% up there, and that’s what I get back by the end of my show, every 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…

Veronica Swift: As obvious as it may seem, honestly I keep coming back to “Man in the Mirror.” As a performer, it’s a fine line between people-pleasing and pleasing yourself. Some days you get a little too caught up in “what will other people think of me if I do this or that,” but when I listen to this MJ song, I remember: the only way we can serve others, is by first serving ourselves. I don’t mean selfishly, but If we are not in line with our morals and our mission, then we are feeding the people a lie. For years I was resenting what I did on stage… I sang Jazz and was secretly denying myself music I truly loved. So while Jazz is a piece of who I am, it’s just that: a piece of a larger puzzle, and I could no longer keep the rest of myself hidden away.

Kendra: And lastly, with ‘Veronica Swift’ out on September 15th and some dates already on the calendar, what can fans expect as we head into fall? 

Veronica Swift: Now that the new music and message are out there for all to hear, no one will be confused with where my heart lies! I hope this album makes it plain to see that I am more than just a genre; that we all are more than these labels imposed upon us… and so with that in mind, I want to announce to everyone reading/listening, that you’ll hear a lot more of “ME.” My originals will now finally get to see the light of day and make their way into our show. But don’t worry, we’ll give the jazz fans what they want! Think of my show as a celebration of the “past,” “present,” and “future.”

The post I Am Veronica Swift appeared first on ZO Magazine.

Kendra: In your latest single, “Nightmare” you say you’re “too old/not old enough,” but how old were you when you realized music was something more to you than just something you wanted to listen to?

Dolly Dagger: I was around 14 when I first started writing songs, but it was around 21 that I decided to actually take music seriously as a business which is when I started to learn about the industry, really focus on my songwriting and releasing music properly instead of just as a hobby. 

Kendra: Sticking with “Nightmare,” this song feels like one of the most relatable right now because the world, it’s a mess. Of course, we all have our struggles but do you think that the world and society also being in turmoil makes the weight of our troubles feel heavier? 

Dolly Dagger: Absolutely! I think there’s some comfort in the shared trauma, it comes with a certain understanding towards each other, but I don’t think that necessarily makes it any easier to deal with. We’re all going through something and the world is facing a lot of division among belief systems and values and that’s really hard to navigate as a collective.

Kendra: On the flip side, the video for this song is so fun, and very timely given the US government was like, yeah – aliens, they’re real. But your love of space and its inhabitants came from watching ‘The X-Files’ growing up. If you could travel back in time and pen a song for the show, what do you think it’d be about? Would it be about Mulder and Scully, the government, or simply an alien lifeform?

Dolly Dagger: Ha! I used to watch reruns with my dad in Australia, he was obsessed! I think a campy synth-heavy song to go along with a scene including the Lone Gunmen, there’s something about those three with all their technology and backdoor shenanigans that I always loved watching!

Kendra: ‘The X-Files’ was a wild ride, but life in LA can be just as crazy. When did you make the move there from Australia? 

Dolly Dagger: I think it was officially in 2015, and I’ve been back and forth since then. I’m predominantly here but I’m really looking forward to being in Australia a little more in the future, perhaps playing some shows and taking my American friends on a few road trips. 

Kendra: With that, if you had to compare your upcoming debut EP to a spot in LA that inspired you most, what would it be and why?

Dolly Dagger: That one is easy, Mount Wilson Observatory! It’s my go-to spot when I’m looking to get grounded, I love all the antennas and space vibes and it’s really gorgeous on a summer night. It’s a nice drive up and a couple of years ago, I had my birthday there where we got to view space through the 60-inch telescope! 

Maybe it hasn’t quite inspired the lyrical content, that’s always very emotion-based and usually about people or life events, but it definitely is a place of calm that helped me through all that emotion and obviously inspired some visuals! 

Kendra: Growing up the women in music that were popular were like Britney and Christina, badasses but also very much controlled by the industry. Today, it feels like women are taking the reins completely from what they release to how they move about their careers, including yourself. You are releasing music that doesn’t feel curated by a boardroom of executives. It’s real and expressive. While artists like this have always existed, why do you think that’s more ever-present now with artists like Taylor Swift and Billie Eilish?

Dolly Dagger: I think audiences got sick of the way labels would package those artists and we got sick of their tricks and perfections. When the industry shifted to streaming and social media, it became so much easier for other artists to have a voice and reach their audience which may have previously been ignored by labels. 

With that came a level of depth and authenticity we hadn’t been exposed to through the perfect, shiny pop world of the 2000’s so the labels recognized the changes and realized people connect more deeply with an artist’s true personality, not something manufactured. But we love our Britney /X-tina era and it’s nice to see that even they have a bit more freedom to be who they really want to be these days!

Kendra: Time for a side note – August was just 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…

Dolly Dagger: That’s so cool, my mum and brother have August birthdays! I’d like to dedicate the classic, soulful hit “Lovely Day” by Bill Withers and hope everyone has a lovely, lovely day!

Kendra: Lastly, with your debut EP on the way, what else can the people out there expect from you as 2023 rolls along?
Dolly Dagger: They can expect another music video as well as unhinged videos on social media, maybe some behind-the-scenes leading up to the release, and a chance to get to know my alien friend a little better! But I’m most excited about the live shows and set we’re working on as well as the merch. I can’t wait for everyone to see it because it’s truly a masterpiece that encapsulates the whole EP!

The post Getting Extra(terrestrial) with Dolly Dagger appeared first on ZO Magazine.

With nothing but a fiddle and a dream, Phoebe Hunt embarked on the latest chapter of her life, and the soundtrack to that came together for her 2023 release, ‘Nothing Else Matters,’ available on all major music and streaming platforms now. Alone with an omelet, Hunt discussed the hurdles of being alone, glamorized realities, and more. 

Kendra: You’d played in bands before but as of late are taking on the world with just your fiddle in hand. Were there any unexpected hurdles you faced, or perhaps surprising joys you found in doing your own thing? 

Phoebe Hunt: I’ve been calling this the “alone but never alone” tour…to be fair, I am sitting alone at a diner in Annandale, NY as I respond to this question, eating an omelet and typing words on my phone. But later this evening I have a friend joining me after the show and have been invited to a dinner gathering at her home tomorrow for my night off. 

I have always enjoyed traveling alone because of the freedom and flexibility that it inspires…The spontaneity of being in a creative moment is exhilarating and there is no one to prove anything to. 

It’s still unfolding…and I am still learning what this is really all about for me on a spiritual level. On a physical level, being on the road alone has its perks and its drawbacks. One of the most difficult parts is the actual physical challenge of traveling alone – lugging the merch suitcase around, getting on shuttle buses, etc. is a bit physically strenuous. With a band, we can always have someone stay behind with the “stuff” and utilize the strength of being a part of a team. 

There is also the element of “if a tree falls in the forest and no one hears it, did it really fall?” Entering and exiting the travel experiences alone can bring me into a twilight zone existence. Of course, the people I meet along the way, and the audience help ground me in reality. 

On a musical level, of course, I miss my band! There is nothing like floating atop the musical genius of world-class musicians who catapult you into another dimension. However, there is something profoundly empowering about learning how to trust in my own ability to hold this sacred space for myself. Before the shows, I call in the great spirit and ask that she might channel through me the words and notes that will be most beneficial to those who gather in the audience. 

My connection to the listener becomes of even greater importance and a part of me, a sixth sense if you will, is reading the room and playing the songs that are called upon. I can’t explain it exactly, but sometimes I spontaneously write an instrumental interlude between two songs, which feels intended for a specific soul in the audience who needed that moment. When I play alone I can’t quite stick to the set list. The element of improvisation heightens and something takes over me that guides me to the next song. Sometimes it’s just a little flicker of an idea that pops in my mind or a melody that makes its way into my fingers. 

In that way, I feel taken away by the music. Again, I am still at the beginning of this journey so it has yet to fully reveal itself to me. But I know this much. This is a necessary part of my musical evolution and I am grateful for the opportunity to explore this aloneness…whatever its greater purpose reveals itself to be.

Kendra: Nevertheless, you’ve been releasing music for over a decade now. Which, when you get a second to sit back – do you listen back to your self-titled EP and take mental notes on how you’ve grown since then as an artist? 

Phoebe Hunt: Honestly it’s been a long time since I checked out the EP. Maybe I’ll listen back to it later today just because of this question… 

Each project seems to emerge as a vehicle to teach me the lessons I am meant to learn at that particular time. They each have their place and their own unique storylines in the greater narrative of my life. I honor each project for what it is and try not to compare the past versions of myself with the current one. I am a different person now, yet still the same girl just trying to understand life through a song. 

Kendra: How would you compare who you were on that EP to who you are now with ‘Nothing Else Matters?’ 

Phoebe Hunt: Hmmm…If I have to compare myself to a past version I would say this version is more fearless. I remember back then I had the idea of playing fiddle and singing at the same time and someone in the music biz told me that I should “keep my sound more in line with what people previously knew me as,” so I did. 

Now, I am finally realizing that dream of traveling with just my fiddle and would follow my own heart over some music industry advice any day. Back then I was just trying to wrap my mind around how it could be possible to build a career in this industry. Now, I feel more free to explore, it seems no one really knows how a real career is formed, and from what I have learned – it comes most directly from the artist’s pure, unadulterated heart. 

My goal on this project has always been to strip away any nonsense and just allow myself to express. Most of the nonsense, though it seems, is in my very own mind, so learning to strip that away is a challenge in itself. 

Kendra: This record is one I can fully relate to, especially “Galloping.” Do you think that social media has pushed us into dangerous territory when it comes to dreams and expectations since we’re always left comparing ourselves to the glamorized versions of reality people post online? That’s usually when I feel the lowest, where I’m like, well…I think I’m happy BUT I’m not traveling in Rome like her, or working a fancy job like him…so am I happy? 

Phoebe Hunt: Oh, absolutely. In Buddhist philosophy; comparison is the root of suffering. Our society is built upon consumerism that sells to the weak parts of ourselves that are stuck within the comparative mind. Social media was built upon this very stigma, feeding the weak parts of ourselves in a drive to sell more. Goodness is a double-sided sword. Of course, I buy into it too. You gotta play the game to win…so here we are, “Galloping” again.

Kendra: Let’s talk more about your fiddle. What inspired this choice of instrument? Was it a band, album, or song? 

Phoebe Hunt: This instrument came into my hands at six years old and stayed there. I have my momma to thank for signing me up for lessons and my papa to thank for showing me what real practice looks like. 

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? 

Phoebe Hunt: Nina Simone, “You’ve Got To Learn” because we all must do our best to learn. 

Kendra: Lastly, with ‘Nothing Else Matters’ out now, what else is on the horizon for you at the moment? 

Phoebe Hunt: At the moment I am doing my best to keep up with the album release as well as to release any expectations of what exactly this will mean for me. My mind tends to be goal-oriented and has an idea of what it wants… but my work is to release this without any expectations and let the music be my guide through the wild ride.

The post Carrying On with Phoebe Hunt  appeared first on ZO Magazine.

Kendra: You’re not only someone who found their voice but also a passion for an instrument as well. What sparked your interest in drums, AKA the best instrument?

Malick Koly: My parents! I grew up around my father’s theater company, and my mother, who was also a member, sang, wrote songs, and occasionally played percussion in the plays. The style of theater they revived included a live music component, and so from age two, I would crawl my way to the drumset. Until on my 4th birthday, I got a real set. I say that because I had an electronic one first. 

Kendra: Listening to your latest, “Eaux Rouges,” I couldn’t help but sense a little 2000s Hot Topic, alternative, almost emo vibes going on. Did you ever hit up a Warped Tour back in the day?

Malick Koly: You’re onto something, but funny enough I’m a bit too young to have experienced Warped Tour! By the time I moved to America it was on its last leg and with school and learning English it was hardly in my orbit!! 

However, I grew up on Muse, Blur, the Doves, the Klaxons, Pony Pony Run Run, Jupiter One, Duster, and many others who whether they were searching between alt indie and electronic, always had an emo feel to them! So when I sat down with Paul Cuffari my friend and cowriter on this one, we were like let’s talk about what I’m feeling, and that’s how it went! 

Kendra: People can hear “Eaux Rogues” on ‘Feel Bad Fest.’ However, if you were going to throw an actual festival based on this record in New York City, where would be the ideal spot that’d fit the EP best?

Malick Koly: Summer Stage, Govball, Pitchfork, Celebrate BK, Global Citizen even, because it encompasses many layers and sonic truths that I feel speaks to many worldwide. 

Kendra: The aforementioned single is your third from this EP. When the record started to take shape, did you ultimately know what songs you wanted to introduce to the world ahead of the release, or was that something you waited until everything was said and done to decide on?

Malick Koly: I think I knew what the theme and ideas were, and then the music led the way. The EP tells a story from start to end, so storytelling really directed how this story went as it was being created. 

Kendra: You worked alongside Steve Jordan on this EP. Is there a layer on this record you think would’ve been MIA had you not connected with Steve?

Malick Koly: I would say so! As a young artist who’s been fortunate to have great mentors, it’s a tricky dance between feeling you’re ready and mature vs leaning too hard on the mentorship and not flying away and shaping your own ideas, but Steve makes all those things fluid because he’s made sure to make me understand that it’s a collaboration first and foremost, it’s my music, my stories my ideas and he was here to guide it as opposed to leading, that he left it up to me and was the overseer of things. It is and was the best feeling!

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… 

Malick Koly: It’s hilarious you say that because ‘Feel Bad Fest,’ the EP, is dedicated to the ones I’ve lost, and August 18th is my father’s birthday! 

Kendra: Lastly, with ‘Feel Bad Fest’ out now, what else can the people out there expect from you as 2023 rolls along?

Malick Koly: Well! The jig might be up, after the drop, but the EP has some secret cuts with some very special people involved that may see the light of day, I’ll leave it at that haha!

The post Warped Feelings with Malick Koly  appeared first on ZO Magazine.

What do a John Hughes classic, Nashville, and connection have in common? Well, in regards to what follows below, Jill Andrews and her 2023 release, ‘Modern Age,’ which drops on all major music and streaming platforms on August 18th. We discussed all of the above and then some as we dove into the record that finds itself somewhere between the past and the present. All of that and more await below…

Kendra: It’s been a few years since your last release, which happened to drop in March 2020, a month and year that’ll live forever in the trauma center of our minds. Do you ever look back at not just your own release then but all creative endeavors from 2020-21 and think many didn’t get the love they deserved because of the chaos that was going on in the world?

Jill Andrews: Absolutely. It was such a tragedy for our world and all the microcosms within it. There were so many hopes and dreams dashed during that period of time. It’s absolutely heartbreaking. I guess I count myself lucky when I look around at all of the suffering that fell upon so many people. My record may have not gotten the attention I was hoping for but I am so grateful that I was healthy and safe with my family. 

Kendra: Now you’re back with ‘Modern Age,’ and this album – I cannot wait for it because the themes and overall vibe of it are things that I am very well-versed in and love; nostalgia and this constant then vs. now ideology. With that, if you had a time machine and could go back and make ‘Modern Age’ the soundtrack for one of your favorite Friday night Blockbuster rentals, which movie from back in the day do you think would match perfectly with your 2023 release?

Jill Andrews: ‘The Breakfast Club’ would have been a dream come true. I loved that movie so much growing up. As a refresher, there are five main characters from very different backgrounds. There is a “princess,” “a brain,” “an outsider, “a jock,” and a “troubled” kid. They all find themselves in detention on a Saturday morning. As the day goes on, they come to find that their similarities are deeper than their differences. This movie actually served as an inspiration for my song “Kids,” which deals with the difficulties of trying to fit in as a teenager. It focuses on how different backgrounds affect how we navigate difficult situations and sends some hope that things will get better.

Kendra: Sticking with the past, do you think you would’ve arranged the album any differently if this was an album dropping in 1996 on cassette?

Jill Andrews: I probably would’ve had longer intros to the songs. People really used to dive into 5 or 6-minute songs; no problem. It feels a little more important these days to get to the heart of songs quicker because skipping to the next song requires so little effort. Lucas Morton, the producer, and I intentionally pulled sounds from the ‘80s era, especially a lot of synths, because it felt appropriate and they are also just so dreamy. 

Kendra: You’re exploring a lot on this album, including romance on “Connection.” Do you think that social media has clouded our perceptions of dating and love as a whole?

Jill Andrews: For sure. I think social media has clouded our perceptions in so many ways. We have become so performative as a culture. Truly experiencing moments with our senses feels like such a rarity. We always have our cameras out, ready to record instead. We curate our lives perfectly for everyone to see in pictures instead of being authentic. With dating, much like music, the options are endless, and skipping to the next person is easy and it’s mostly image-driven. There is no accounting for how a person smells, the sound of their voice, or how much they might make you laugh. All that being said, I met my husband on Bumble and that would not have been possible a decade ago. So I am grateful. Sometimes it really works out. It helped that he is a very authentic person and he was looking for something authentic.

Kendra: Let’s try and offer up some help for those looking to connect, well, in Nashville. So where in your city would you recommend people go if they were looking to make meaningful connections?

Jill Andrews: I would probably recommend finding meetup groups that people are interested in. For instance, there is a running club in East Nashville called East Nasty. If you’re into running, this could be a great way to meet your next running partner! ”I have found that when I’m around people with similar interests, conversation flows more naturally. Groups like that are generally safe environments where you are in a group of people as opposed to a one-on-one situation with a stranger. And if all fails, and no meaningful connections happen, there is still a good chance you could learn a new skill that could bring you happiness. 

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…

Jill Andrews: “Boundless Love” is the last song on ‘Modern Age.’ This is my love song to the world for all of its endless beauty. One of my greatest hopes for my family is that they always feel loved and cared for. When I look at a perfectly designed flower with its insanely bright petals, it feels like a true gift. 

Kendra: Lastly, with ‘Modern Age’ out on August 18th and dates both in the US and the UK already booked, what else can the people out there expect from you as 2023 rolls along?

Jill Andrews: I’m so excited about going back to the U.K. I’ll be playing The Long Road Festival in England alongside other amazing artists like Margo Price, Nickel Creek, Sierra Ferrell, and Aoife O’Donovan in August. I’ll also be heading back there for a full tour through Ireland, Scotland, England, and Wales in late September. I’ll also be hitting most of the U.S. during 2023 and 2024. I’ll be playing with a full band for most of it and I’m really looking forward to putting on some really great shows. Beyond that, I’m always writing new songs and playing monthly live streams for my active Patreon community.

The post Finding Connection with Jill Andrews appeared first on ZO Magazine.

Kendra: Well, the last time we spoke, vaccines had just rolled out, and you were overseas, still in Ireland. Since then, you have nestled down in France. When it comes to the music scenes in each, from the venues to the community of indie artists, how would you say they differ most?

Claire Hawkins: It’s been a while! I left Ireland in the summer of 2021, and have moved around quite a bit since then. My latest stop was France, where I was fortunate to get to spend a month in Canet-en-Roussillon as an artist-in-residence working on a new songwriting project.

In each new music scene I visit, I’m always intrigued by the different roles that music can play in different societies. Of course, there’s great music everywhere, but it can have very different functions in different cultures, which I find really interesting.

Kendra: How much of your upcoming 2023 EP release do you feel represents your time in France?

Claire Hawkins: Actually, none of it! I finished this EP at the beginning of the year before I headed to France. The music I worked on at the artist residency is even newer, which means there’s more on the way after this EP (but I’m getting ahead of myself)! The EP covers the last two years of my life. 

I started writing these songs when I was still living in Ireland, I finished writing in Germany, I tracked demos in Thailand, I finished the EP in New York City with producer Katie Buchanan, and then I shot the cover art in Ireland. These songs have already traveled the world with me, which is a pretty special thing to be able to say before the EP is even out.

Kendra: Thinking ahead, even just 10 years from today, what countries do you hope to have checked off your musical bucket list?

Claire Hawkins: What a great question! There are several countries in Latin America that I would love to visit. There’s a lot more of Mexico that I still need to see, and I’d love to visit Costa Rica, Colombia, and Brazil and get to know the local music scenes in each of those countries. I’d also really love to travel through West Africa and learn more about the origins of country music in places like Mali, Nigeria, and Ghana.

Kendra: Back to the EP, which is going to feature “Choosing to Stay.” This song felt like it could be about a person, but being a traveling musician, it also felt like a song centered around your wanderlust. Do you remember where you were when this song started to take place in your head?

Claire Hawkins: “Choosing to Stay” was the last song I wrote for the EP when I was living in Germany last summer. Spending a summer in Berlin had been a goal of mine since I studied there in college, and finally getting to realize that dream brought on some questions of “what’s next?” I was playing with this theme of choice and the idea that trying to avoid making a decision by standing still is still making a decision.

Kendra: With that, what do you think is the most rewarding thing about not choosing to stay in one place too long?

Claire Hawkins: The freedom that this nomadic lifestyle offers is really unmatched. The knowledge that I can pick up and go at any time is really comforting to me, and it makes me feel good about those times when I do choose to stay put for a bit.

Kendra: For those who are unaware and not already subscribed to your glorious YouTube channel – like you mentioned, you weren’t just in France to be there; you were actually there as a sort of job. Do most countries have these sorts of artist opportunities?

Claire Hawkins: I was in France as part of the Odyssée Artist-in-Residence Program, which is a government-funded program that invites foreign artists to come work on their craft at different heritage sites in France. It was an incredible experience, and sharing the adventure on my YouTube channel made it all the more fun. I’m always on the lookout for opportunities to take my music abroad, and I’ve found that there are quite a few cool programs like this around the world, especially in Europe.

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…

Claire Hawkins: There’s a song that I wrote during my residency in France that was very much a love letter to the friends and family that have supported me through all my comings and goings over the years. I don’t know when I’ll get to share that one, but hopefully soon.

Kendra: Lastly, with a new EP on the way and your life always on the move, what else can the people out there expect from you as 2023 rolls along?

Claire Hawkins: My next single, “The Name,” came out on August 4th and we played a single release show the night before at The Mint in Los Angeles. In September I’m heading back to Ireland, where we’ll be celebrating my EP release with a very special show at Whelan’s in Dublin. That’s all I can share right now, but I definitely recommend keeping an eye out on my socials for some more announcements coming soon…

The post The Name’s Claire Hawkins  appeared first on ZO Magazine.

The Wans have not been on a hiatus or the subject of a Missing Person poster. They’ve simply been living like the common bear during the winter in hibernation, but that period is over and done as they’re ready to take on the world again with their 2023 release, ‘Magical Touch,’ out everywhere on July 26th. We talked about where they’ve been, where they plan to go, and of course, the music that’s coming your way in this back-and-forth exchange. 

Kendra: Alright Simon, you noted that The Wans weren’t MIA, y’all were simply in “hibernation.” Did everything musical come to a halt during this hibernation period for you? 

The Wans: We had started writing a little bit before the pandemic then it came to a grinding halt. The songs started coming back to me around the middle of 2020 and by the time we were back together in a room in 2021, we had this batch of songs to choose from. These are definitely some of the strongest songs I’ve been a part of.

Kendra: Was there a specific moment you can pinpoint when you officially knew it was time to write and record a new record?

The Wans: After my solo record ‘Doldrums’ in 2018 I took a bit of a breather from music then I realized how much I needed music in my life to stay sane. That was around 2019. There was talk of releasing some singles or an EP, but I was dead set on releasing a full LP. I think this LP was worth the wait as I feel the excitement of our first record on this. The recording process happened so quickly (seven days), but it was a few years of building up to the recording process. There were a lot of songs that didn’t make it on the record that may see the light of day at some point. I’m surprised I stayed as patient as I did.

Kendra: Which, the new record, ‘Magical Touch,’ drops on the 11th anniversary of your debut self-titled EP. Now the gift for 11 years is steel. Would you say that’s the perfect thing to represent 11 years since ‘The Wans’, or would you go with another element? 

The Wans: Well, 11 happens to be my lucky number. I tend to see it everywhere and it just so happened that it was the 11-year anniversary of the first EP. 

The reason I love that it correlates with the first EP is that there was so much excitement with the first record and I felt that same excitement with this one. They say you have your whole life to write your first record and a year to record your second record. With this LP we had enough time to pick apart the songs and make sure they were right for this “comeback” record.

Kendra: The album features 11 new songs, including “Otherside,” a great song centering around love. For you though, what are the first sort of signs that someone special has made you see the other side clearly?

The Wans: I think finding someone who calls you out for your “bullshit” and someone that you’re in awe of is definitely a sign. Also, someone who makes you want to grow up. 

Kendra: So I am reading an interesting book right now that breaks down the ‘90s and just got to the part about Nirvana and the state of rock music at that time. It’s obviously been a long time since then, and we’ve had everything from nu-metal to emo rise and fall since then. All of that said, what do you think of the current state of rock music? 

The Wans: There are some amazing rock bands out there, but they’re just not getting the airplay that they used to. I mean, there’s King Gizzard & the Lizard Wizard, Idles, QOSTA, Fontaines D.C. I could go on and on. The music scene moves in cycles. It’ll come back. It always does.

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? 

The Wans: Oh man. That’s a tough question. I’d say for a summer anthem I’d choose King Gizzard & the Lizard Wizard’s song, “Kempler-22b.” I have no idea what the song is about, but it makes me feel good. The production is fantastic! 

Also, Blur just released a new song called “The Narcissist” that I LOVE. It’s not necessarily a summer anthem, but it makes me feel nostalgic as they were one of my favorite bands as a kid. I love that they’re still pushing the envelope. Hopefully, we’ll see an Oasis reunion soon too with Blur reforming and all.

Kendra: Lastly, with ‘Magical Touch’ out on July 26th, what else is on the horizon for you at the moment? 

The Wans: We’ve got the release show on the horizon at the Basement East on July 30th here in Nashville that I’m really excited for. We’re also working on getting some tours together. I’ve been going with the flow recently (similar to the Dude from ‘Big Lebowski’) and just seeing what happens. The hard work of writing/recording is complete in my eyes. We’ll see what happens.

The post The Wans Emerge from Hibernation with the Magical Touch  appeared first on ZO Magazine.

Kendra: To say a lot has occurred between 2019’s ‘Short Stay’ and this year’s ‘One Way Ticket to Midnight’ would be an understatement but on a personal level – what aspects of your own lives do you think attributed to the overall growth of Mainland Break when comparing your debut EP to this new LP? 

Mainland Break: Like many bands, the pandemic kept us from practicing together or playing shows. It also forced one of our guitarists to move out of Colorado for an extended period of time. The rare occasions when we could see each other and practice together became much more valuable, so we learned to write and share ideas remotely. Then when we finally got back together in the practice space, we didn’t waste any time getting new songs up and running. 

Learning to write more independently has definitely helped us grow as individual songwriters, but we still rely heavily on each other for feedback and inspiration. Ultimately, the whole experience has helped us become more confident in our songwriting and our sound, and we think that change is evident throughout the album.

Another huge step forward for us as a band was working with our producer, Mark Anderson. Once we had all these new songs, we asked him to help us polish and record the new material. That has been a tremendous learning experience for us. He is incredibly talented and knowledgeable and he has changed the way we approach music. He helped us to experiment with keys, vocal harmonies, effects, and a ton of other stuff that made us rethink what Mainland Break could be.

Kendra: The new record has this running theme of reflection, something that usually tends to happen at night when sleep is a mission impossible. How much of the record would you say was formulated in the wee hours of the night?

Mainland Break: A lot of the lyrics and emotional substance of the record were taken from those wee hours of the night. “Calling After” was written after a long night in Los Angeles, where we found ourselves walking miles around the city in order to see a favorite band play and to find the perfect karaoke dive bar.

Kendra: The album shares its name with the lead single, which has a video out now that features a game of pool in this sort of dive bar setting. With that, is there a spot in Denver that you feel perfectly pairs with the tone of ‘One Way Ticket to Midnight?’ 

Mainland Break: The tone of ‘One Way Ticket to Midnight’ certainly changes throughout the record which makes it difficult to perfectly pair a single location to it. The songs revolve around people we were either with or not with in the moment, and either celebrating the moment or wishing we could have it back. But for us, that setting usually happens to be a lot of dive bars and Taco Bells.

Kendra: ‘Under the Radar’ said the single “fits the mold of a windows-down road trip tune.” Of course, the best road trips, at least for bands, revolve around getting out on tour. Will you be heading out on tour this summer or in the fall? 

Mainland Break: We’re prepping the van for a 3.0-mile trip into the indie rock heart of Denver to play in support of Kiwi Jr. and our own album release in July. Then, once we get the tires rotated, we broaden our horizons.

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? 

Mainland Break: Speaking of Kiwi Jr., we’d add their song: “Sound of Music.” It is an instant mood-booster with a singable melody and sunny lightheartedness that makes it a great summer tune.

Kendra: Lastly, with ‘One Way Ticket to Midnight’ out on July 21st and possible tour dates, what else is on the horizon for Mainland Break at the moment?

Mainland Break: Right now we’re in a bit of a writing streak and working on our next release. We have a single release set for late 2023 and a limited run of vinyl going out for ‘One Way Ticket to Midnight.’

The post One-Way Ticket to Mainland Break appeared first on ZO Magazine.

It’s been well over a decade since I started swapping questions and answers with creative souls from around the world, and each of them often leaves me with a little nugget to hold onto. With Far Caspian, it’s the common ground of missing friends who seem to have gone on to bigger and better and the acceptance of that. We touched upon that as we got into the incorporation of the cello, fall touring, and ‘The Last Remaining Light,’ the new album that drops on all major music and streaming sites on July 14th. 

Kendra: I found it interesting that there’s this running theme throughout your 2023 release, ‘The Last Remaining Light,’ of routines, and the release itself sort of feels like your own musical routine because you’ve been consistently releasing work since 2021. Are you someone that’s just constantly writing new material? 

Far Caspian: Pretty much, yeah! If I’m at home, I’m usually working on something. Because it’s a solo project, and I produce my own stuff, rather than being able to get into a room with the other bandmates and work out songs, I have to do that myself in some way. So I’ll usually demo a song as I’m writing it and work out the parts as I go along. Then eventually (if I don’t end up hating it), I’ll re-record parts and make it into something that I’d be happy releasing. 

Kendra: Was there anything in your life that was happening during the creation process of ‘The Last Remaining Light’ that you felt pushed you in a way that surprised you? 

Far Caspian: I had just moved back to Leeds from Ireland after the lockdown, so everything felt exciting again. I was reconnecting with friends and had begun seeing my now girlfriend. I definitely felt rejuvenated after a long two years, like everyone else around me, and having new experiences definitely added to the creation process when it was time to write.  

Kendra: Let’s talk more about “Own.” This song really hit me because I think as a creative person, you have to accept that riding the struggle bus to your goals is more common than not, and while we struggle to get to our destination – friends who chose more traditional paths are fine and flourishing. We’re not mad about it, but at the same time, we miss them. All of that said, is this a topic that’s been floating around for a while, or is it something new you felt like exploring on this record? 

Far Caspian: The concept of friends moving on has been with me since it started happening after school. I’ve only really made peace with it in the last few years, and in the past year, a really close friend moved to a different city, and we lost touch in comparison to when we saw each other every day and went through a lot of darkness together. 

It’s a jarring feeling knowing there’s a person out there that knows you so well, and yet you both are in different lanes now and are slowly becoming strangers. I wrote that song based on that thought. I think I wrote the chorus first, which originally was based on a younger version of myself moving away from home, but once I started writing the verses, it switched to being about someone else. 

Kendra: You also learned to play the cello for this song. Is that a self-taught situation? 

Far Caspian: Most certainly. Any actual cellist would be able to tell you that immediately haha!

I bought it off a friend who was looking to get rid of it as I had always enjoyed the sound of cello on indie music. I’d tried using plugins to get a cello sound, but they always sounded fake, so I thought if I could at least bow a note, I’d be able to cut them all together to make a phrase, and although it would be annoying, at least it would sound better than midi! 

Kendra: Did you break out the cello when you played Primavera Sound Festival at the end of May this year? How was that? Festivals during the summer are usually a great time. 

Far Caspian: I didn’t, unfortunately. I can’t imagine it would’ve done too well in the luggage hold, let alone the price to take it over for me to play some very poorly played notes.  

Kendra: You’re also heading out on tour this fall. Are you playing any venues that have been on your bucket list? 

Far Caspian: The Islington Assembly Hall is a big one for me. I love that venue and have always wanted to put on a gig there. 

Any venue in America is technically a bucket list tick-off, as it’s always been on there to tour the states. Whether big or small, I’m extremely happy to be able to get over there to play. 

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? 

Far Caspian: “Storm” by 22° Halo. Their album ‘Garden Bed’ came out last summer, and this song in particular takes me back to that time. The whole album is perfect for a summer afternoon. We were lucky enough to have them support us in New York in Spring, and Will from the project has guest vocals on ‘Heirloom Part 1’, which is a bonus track on the album. 

Kendra: Lastly, with ‘The Last Remaining Light’ out on July 14th, what else is on the horizon for you at the moment? 

Far Caspian: We’ll tour the album this autumn, and then who knows what next year will bring. Hopefully some bigger summer festival slots and more music! 

I’ve started my own label (Tiny Library Records), which is putting out some new music in the coming months, so I’m really looking forward to that as well as hopefully signing some more bands in the next year.

The post The Last Remaining Far Caspian  appeared first on ZO Magazine.