Kendra: You’ve got a stacked resume working with the likes of everyone from Robyn to Taylor Swift. When did you realize that it was time to take a moment and start to focus on your own recordings? 

Hög sjö: For some time; stuff had been building up inside. Even though I really enjoy working together with people – I do think music making basically is supposed to be a collective experience – I still felt I needed to see what would happen if I just made something for myself. I didn’t even know what would come out of it. I just went to the studio every day and did stuff without any expectations.

Kendra: Do you have to tell yourself to carve out time for yourself?

Hög sjö: Absolutely. That’s why it took me some time to actually do it. It’s always been “bad timing” for a break. Always projects coming up that I felt too excited about, that I just couldn’t say no to. I had to bite the hand that fed me and shut the world out for a while. 

Kendra: In late November you dropped the EP ‘Gnosienne no. 6’ which is like a little teaser of what’s to come on your January 2023 release, ‘Hög sjö.’ When you were working on the album did you always know you wanted to drop some of the songs a little earlier like you did? 

Hög sjö: I didn’t really have a plan. I was in this nice creative flow and I didn’t want it to stop. I finally had to put my foot down and say, okay, this is it. No more songs now. When I listen back to the material, it was hard to pick out just one song. It felt like they belonged to each other. 

That’s the reason we wanted to release a few of them at the same time. Like in small EPs. 

Kendra: How did you go about picking and choosing which would be the best fit for an EP?

Hög sjö: Hm, I think I just tried to make small palettes of the different moods to show what this thing is all about. Subconsciously I might have put them out in chronological order as they were created. Not sure…

Kendra: I was listening to the EP’s title track and it reminded me of the HBO series, ‘Westworld.’ It had this charming, sort of, antiquity to it, but also felt set in a time years from now. While it took me to the future, I’d love to know where you were when this song came to life? 

Hög sjö: For me, creating something is a very beautiful sort of escape from reality. I want to escape both from the time I’m in and in the space, I’m in. In the lack of possibility to pull inspiration from art and music from the future, the next best thing is to draw from the past. It’s not ideal, but as long as it’s just not from now, it’s ok. The room is the same. I’m constantly reaching for things far away. Annoyingly you only get so far around the earth until you start getting closer again. 

Kendra: On the self-titled album, you worked with several other artists. Have you always been someone who welcomes collaboration? 

Hög sjö: Again, I really think music is and always was a way of connecting and building relationships. It’s kind of a depressing thing to just try to get high on your own ideas and riff off yourself. A bit perverted even.

Sometimes you just have to make shit without any compromises. But collaborating doesn’t always have to mean compromises. After I figured out what I was doing, kind of, I started to invite friends to help me realize my vision. In the beginning, it was maybe a prestige thing, “I have to play all instruments by myself.” Then I was just, fuck it. I know way better horn players than myself. 

Kendra: It’s been noted that the LP is full of instrumental soundscapes. With that, what colors, shapes, and overall imagery do you feel these soundscapes would have if they were real places?

Hög sjö: It’s 100% nature. I was spending a lot of time inside and everything felt very claustrophobic, a direct effect of the pandemic I would say. The only thing I could think of was open fields, oceans, and mountains. Everything that city life was not. Hög sjö became this safe haven.

Kendra: Also, being that it’s a new year, have you set any sort of music resolutions for yourself?

Hög sjö: Just to promise myself to keep on searching for this thing whatever it is…

Kendra: Lastly, with ‘Hög sjö’ out on January 27th, what lies ahead for you?

Hög sjö: Already halfway into the making of the next Hög sjö album. But I’m also back doing a lot of writing and producing for other artists at the moment. I’m in the middle of a record with The Hives and a new record with Bleachers, so I might have to split up myself in half, but it’s all good. I’m easily bored.

The post The Nature of Hög sjö appeared first on ZO Magazine.

Kendra: So you had no real intention of writing a record but you’re in the Swedish moonlight and one thing leads to another, but when did you know – like when did the switch flip in your head that made you go, oh…I’m going to want to go ahead and release these songs?

Victor Mucho: That Swedish moonlight though…there’s something in the air, I’m telling you. Haha. At the beginning of winter, I had around six songs that I really loved. That’s when I decided it was going to turn into an album. That was also around the same time that I had the idea to make the film to go alongside the album (also coming out on May 13th). At that time, we were likely to be moving home in the late spring/early summer, so I knew in the back of my head it all had to be done by then. Funny side note, I wrote the last song the day before we moved home, and I recorded it in the airport hotel after we got our pre-flight covid tests, so it really was right down to the wire!

Kendra: Again, you were overseas in Sweden at the time. Miles and miles from your regular spot in Nashville. Do you think ultimately location has any significant impact on how you create now that you’ve done so in very different places?

Victor Mucho: This journey for me was all about redefining what home meant to me. When we left Nashville I viewed “home” as a physical place. I really relied on that place for stability, because with Judah & the Lion, we had been touring for about 8 years straight, so I was always trying to balance out the constant travel with some sense of peace and stability. When we got to Sweden, I had to rediscover my own identity and my own sense of home in a foreign place. 

Location does have an impact on how I create, especially in regards to this album as a whole. I think some of my favorite music memories are in cabins, or on camping trips sitting around a bonfire writing songs with friends. A big reason for that is, in those moments you are away from all distractions and you can really focus on just creating. Even when I’m at my house, there can be distractions. It’s easy to spend a lot of time doing projects, gardening, etcetera. In Sweden, I didn’t have those normal distractions so I could just be there.

Kendra: One of the things you did in Sweden was take your dog for a walk every day and that became the foundation for “the List.” However, this song also goes into ways your partner changed and how you loved her just the same. When the song was said and done, did you ever look back at how you’d also changed from her perspective?

Victor Mucho: Yes, that reflection was a big part of my identity search, and came out in the writing process. ‘so terribly hurt’ and ‘Playing God’ dive into that introspection and transformation. Living in a small Swedish town really gave me an opportunity to take life at a much slower pace. I think she would say I came home with a lot less stress and anxiety in my life. That was something I was able to re-claim through this whole process. In general, I think I’m a healthier and better version of myself.

Kendra: Speaking of taking a look at yourself. Did you notice anything different about how you approached writing and crafting a song alone compared to when you were with your bandmates in Judah & the Lion?

Victor Mucho: I feel way more secure and confident about what I bring to the band as a writer. The way I approach writing is slower. As I mentioned earlier, it’s best for me to be away from any distractions, having plenty of space and time to work through my ideas. That isn’t necessarily true for Judah, he can conceptualize a whole album in a day, which is just as beautiful. Now we have a deeper understanding and respect for how each of our creative processes thrive. I don’t think I ever would have gotten that much space if we hadn’t moved to Sweden. After having the experience of writing apart, we have both been able to bring our own style back to the table.

Kendra: Listening to the album “Pictures of Life” really stuck out to me because it reminded me of the simplicities of life that are sadly things of the past. With that, I wanted to know what are some simple aspects of life you miss most about touring and music in general?

Victor Mucho: The social aspect of touring is something that I have missed. For one, there is a unique camaraderie within the touring family. Spending 24-hours a day together on a bus and traveling together bonds us all in a rare way. Also, I miss always meeting new people, reconnecting with old friends, and hanging out with other bands. I am excited to rekindle all of those connections this Fall.  

Kendra: Time for a side note…since April showers bring May flowers, I’d love to know what song makes you bloom with happiness and why?

Victor Mucho: “One Last Walk” is that song for me. It’s a bonus track which is only available on the Vinyl and within the album film. I wrote it at the very end of April, literally the day before we moved home, and I recorded it in our airport hotel room. It might be weird, but sometimes the sad songs make me happy. “One Last Walk” is a picture of what that very last moment in Visby felt like for us, and I’m happy because I get to keep the feeling of that moment with me forever in the form of the song. 

Speaking of April showers, there’s a line in the song “How strange/Winter on a late April day.” It snowed on the last day that we were there, which wouldn’t be entirely uncommon, but it had previously started to feel like Spring. The snow really stung when it hit your face, but there was also a blue sky. It was such a unique juxtaposition to me that really mirrored the combination of feelings we had about moving home.

Kendra: Lastly, with ‘Moonlight in Visby’ out on May 13th, what else can you let us in on? Are you touring this year, already working on new music?

Victor Mucho: I am doing an album release party in Nashville on May 15th which I am really excited about. Anyone is welcome! We will be re-creating the town, Visby, with set pieces, and aiming to immerse everyone in my experience of being there. I will also have a full band playing with me and Thad Kopec (local Nashville Producer and artist) is opening the night! I would love to play a show in Visby sometime soon. Although nothing is planned yet, I’m sure it’ll happen! As Victor Mucho, I have been writing music and collaborating a bit since I’ve been home. I had Thad Kopec produce a song, Molly Parden featured on ‘so terribly hurt’ from the album, Tyler Sjöstrom and I recorded a song together, and I’m collaborating with DoomFolk StarterKit. All of those either have been released or will be released this year!

I plan on playing more shows in Nashville as Victor Mucho, and I would love to play shows in other cities too when the opportunity presents itself. This fall there will be a Judah & the Lion tour. We have been writing and recording since I moved home, and we have a new album coming in June.

Overall, I am so thankful that I had the opportunity and space to explore my identity and songwriting while living in such an amazing place.

The post In the Moonlight with Victor Mucho appeared first on ZO Magazine.

Kendra: There are so many ways in which musicians find their way towards this creative endeavor, what was yours?

CEDER: My creative endeavor is emotions. What I feel in general, what I feel when I’m listening to music when I’m happy and especially when I’m sad. Writing music has been like therapy for me many times. I love to listen to music that makes me feel something. Also, live music and other people’s emotions. And sounds that make me feel something.

Kendra: Looking back, which emotion was in the driver’s seat when you wrote “Closer” and do you feel you write best when in that emotive state?

CEDER: “Closer” kind of just came to me. I played some chords on my guitar and sang the words, and didn’t even put it on paper, it was all in my head. I was seeing someone, but the timing was off. I just wanted him closer, but then I probably would have fallen for him, which I knew wasn’t going to work out. I’ve written my favorite songs when I’m emotional or writing about things that make me feel something.

Kendra: You dropped ‘Lights’ this year and then “Closer,” is there more to come from you as far as new music’s concerned?

CEDER: Yes, I’m working on new music and hopefully I’ll release my next single later this year.

Kendra: If you had to compare your overall sound to a traditional Swedish dish, which would it be and why?

CEDER: Hmm, that’s a hard one. As a kid, I used to eat Swedish strawberries with cream and sugar in the summer. For me, that’s a dreamy dessert. It’s sweet and soft. So strawberries on a summer day when the rain just started pouring down.

Kendra: With everything that is going on, how do you feel 2020 has shaped your creativity and drive moving forward?

CEDER: It’s been a tough year for most of us. At the beginning of 2020, I felt very inspired and wrote, performed, and produced a lot of music. But lately, I have had a hard time finding inspiration.

Kendra: Usually, this is where I ask people what they have planned in the coming months but with the world in a strange place right now, plans aren’t as concrete as they typically are. You can go ahead and let us know what you have tentatively planned but can you also share a song that never fails to get you through when the world around you feels like a mess?

CEDER: Right before Corona, me and my friend started an acoustic project, CEDER & Dorotea. We’re playing my songs with the cello, guitar, and harmonies. So hopefully we can come out and play pretty soon or find other ways to play together. But since the world’s all strange now, I’m planning on working more in the studio and writing more music.

And one of my favorite songs ever is “Brother” by Matt Corby. Not the studio version, the acoustic one. It’s so emotional and good. It always makes me feel something.

The post CEDER: An Emotional Graze of the Guitar appeared first on ZO Magazine.

Like a scene from a movie, Alice Boman sat in the studio with Patrik Berger working on what they felt was something more than usual. Elvis was spinning in the background and out from them poured melancholy comfort in the shape of her debut, ‘Dream On.’ We talked about the beauty of sad songs, fellow Swedish favorites, and more with Alice in the following exchange of words.

Kendra: ‘Dream On’ is full of sad songs listeners can find comfort in, but thinking back – can you remember the first melancholy tune that provided that same level of comfort for you and was that the song that eventually inspired you to pursue music?

Alice Boman: When I was a teenager I listened to a Swedish artist called Håkan Hellström A LOT. His music made me feel very emotional. His lyrics really hit you. It was a lot about love – often the unrequited kind. And I loved being in that sentimental mood that some of his songs put me in. One of those songs is called “Vi två, 17 år” which translates to “The two of us, 17 years old.” But which song actually made me start writing and wanting to make music. I have no idea honestly. I don’t have one song like that. There are too many really.

Kendra: Speaking of sad songs…”The More I Cry” is a hauntingly, beautiful piece that sounded very cinematic to me. I instantly imagined it in a drama where a couple is most definitely at the end of the road. The audience is taken aback and “The More I Cry” comes into play. If you could place anyone song off ‘Dream On’ in a recent movie, which would it be and why?

Alice Boman: Oh, I’m happy that you find it cinematic. Movies are really an inspiration to me. More than music actually. Or at least a more direct form of inspiration. I often feel such an urge to sit down and play when I feel moved after watching a good movie. “The More I Cry” is actually my favorite song on the record, so I would choose that one and place it in ‘Marriage Story.’ I loved that movie. Because it is, as you’re saying, about something ending, and it would fit in there, wouldn’t it? And oh man, having a song in a Noah Baumbach movie, what a dream.

Kendra: You dropped four singles from ‘Dream On’ ahead of its release. What about those four stood out during the writing and recording process for them to earn the representation status of being singles?

Alice Boman: The only one that I thought about as a single when working on it was “Don’t Forget About Me.” The rest of them we decided on when the album was finished and we started discussing which ones to release ahead of the album. We didn’t want the first one to be an evident single, but more like a sample. “The More I Cry” wasn’t supposed to be released as a single actually, we decided on that at the last minute. But I’m really happy that we did. And I like that it feels like the singles kind of sum up the album in a nice way.

Kendra: You worked alongside producer Patrik Berger on ‘Dream On.’ With a resume like his that includes a lot of Top 40 hitmakers, were you nervous about what he’d bring to your sound?

Alice Boman: I was a bit nervous, yes, or more curious really. But it felt so good to work with him right away because it was clear that he didn’t want to change my sound, to turn it inside out, to make it sound like something else. He wanted to see what he could bring to it and how the music could evolve. I loved working with Patrik, it was really fun and inspiring. And his studio felt like a very warm and safe space where you could let yourself experiment and play around with ideas and instruments.

Kendra: The album’s out in January and then you’re heading on tour a month later. When working with a debut album on a tour, do you feel like tossing in surprises in the set? Covers? New songs you’ve been working on since wrapping the album?

Alice Boman: Yes, I’m so excited about this tour. But I don’t really know if there will be any surprises on stage. I’m just really excited to play these new songs live. And we won’t start rehearsing for the tour until a couple of weeks. So we’ll see then…

Kendra: Any plans for after the tour or is that too far ahead to think about?

Alice Boman: There’s so much going on right now around the release of the album so I haven’t thought much about that. There might be some more traveling this spring. And then in the summer some festival gigs. And I’m looking forward to writing again, to spend more time doing that – further ahead or in between things. Spending some time somewhere else. Bringing a synth to just write and make music, being able to really dive into that. I like to work like that, focused.

The post Alice Boman: Dreaming in the Light of a Blue Moon appeared first on ZO Magazine.

Of all the places in Stockholm to write and record, boerd did all his creative work within the comfort of his apartment. It’s right at home that he let it flow and the result was his latest album, Static. A record that builds sonic landscapes by marrying melodic waves with classical infusions. It’s a sound record out now on Anjunadeep, and it’s bound to be a favorite for music fans who are audiophiles to the core. We talked about what he would and is doing differently next time, signing with a label, and what fans can expect in the coming months.

Kendra: Your sound is a little of this and a little of that. When you sit down to create music, do you know what style you’re going to lean towards more before or does it come naturally?

boerd: I usually have an idea of what I want to do, but I often end up with something completely different. And if I do I try to just go with the flow.

Kendra: Has signing with Anjunadeep changed your creative process at all?

boerd: I’ve been doing a lot more promotional stuff than before haha, which seems to pay off. I think my music has been introduced to a lot of new people thanks to Anjunadeep. Which is great, but that’s not really a part of the creative process though.

Kendra: What sort of themes were you working with when you started writing and recording Static?

boerd: The theme of the songs are quite vague but I think they all somehow reflect a certain state of mind, which I find myself in quite often. It’s an introverted and reflective state of mind that can be both sweet and mellow at the same time. I think it’s nice when the listener can decide for him/herself what themes they think the music is about though. I can only speak for myself.

Kendra: The lead single, “Blind,” made me want to ask what you think many of us in the world are totally blind to – what are we ignoring?

boerd: Not an easy question, hah…I think people are blind to a lot of things. For example, it seems like they only consume music, art and other things that are in their comfort zone, afraid to explore anything different or new. They also only hang out and talk to people that are almost exactly like themselves. I don’t know if I’m any better myself, but I’d at least like to think of myself as a curious person.

Kendra: Static is available now. Is there anything that you wish you’d done on the album that will have to wait until the next record?

boerd: I finished composing the tracks for Static a year ago. So I’ve already been working on new material for quite a while. There are definitely some new things and sounds I want to explore. I have some interesting collaborations coming up as well. The problem for me is usually that I have too many ideas that are very far from each other. So when I put together a release I have to narrow it all down a bit. It’s part of the process for me.

Kendra: What are your plans after the album drops? Touring?

boerd: I’ll be playing my first live show in quite a while in London, in June. That will be fun and hopefully, I’ll get to play my new live set in some other places too. Other than that, I’ll be working on my new material. And play some double bass of course, mainly in Stockholm at the Royal Opera.

The post Feeling the Static Shock of boerd appeared first on ZO Magazine.

Kendra: You first caught my attention with your video for “Doobie Doobie.” Trippy is the best way I can describe it. Is that the vibe you all have always gone for with your style?

Mother Mink: Thank you. Trippy is a great description. We are high on life most of the time! Trippy is not the vibe we always go for in our style. We just want to create fun, interesting, imaginative art and music and it can take form in many different shapes. The song ”Doobie Doobie” is a tribute to the spontaneity and that is pretty much how we created the song and the video.

Kendra: With a very theatrical aesthetic, were any of you into acting before you got the band together last year?

Mother Mink: Yes. We have a lot of experience in music, art, and theater. The lead singer Fanny is actually touring with a theater for children when she’s not hanging out with Mother Mink. Johan is touring in different constellations, he has been playing almost everywhere, from the streets of Stockholm to the birthday celebrations for the Swedish king…

Mother Mink’s Favorite Place in Sweden: An ecologic hotel called Urnatur in Ödeshög, close to the biggest lake in Sweden, Vättern. They said, “It’s a magical place. We lived in a treehouse in the middle of the forest and cooked our food outside.”

Kendra: Now to switch things up to your hometown and Sweden. What’s the scene like over there in terms of mainstream vs underground?

Mother Mink: People say there´s a music studio in every basement in Stockholm. In other words, there´s a lot of musicians in this city which is very inspiring. You can find great and humble musicians in every corner. Maybe it has to do with the long and dark winters…? We have a lot of time to actually focus on the music in our small and dark studios. We can’t go out surfing, play volleyball and have a barbecue every day. We stay inside listening to music, playing music and light candles. In those terms, the underground scene is pretty big here.

The mainstream scene is huge! Sweden is a small country and the scene only got a room for a few people. It is always the same people on television or on the radio. That can be frustrating sometimes but it can also make you more focused to actually struggle even harder! We will show theme that our crazy music is awesome! Our main goal is actually to get in contact with people that like our music outside this country.

Kendra: Is there one venue there that you’d feel very accomplished as an artist if you got to step on that stage and play?

Mother Mink: We would be very satisfied if we played on the biggest festivals in the world. For example Glastonbury festival, fusion festival, Tomorrowland or Burningman. A tour in Germany or the united states would also be great

The post Mother Mink’s Aesthetic for the Arts appeared first on ZO Magazine.

Kendra: How present is the synth rock scene over in Switzerland? Is there a community, or are you a lone wolf?

Verena von Horsten: There are a few bands who are mixing rock with electronic material, but all of them are so different so there isn’t a typical scene over here. But honestly, when I was younger I couldn’t identify with any kind of scene over here, and I always felt lonely or kind of an outcast. Desperately I wanted to fit in somewhere until i realized that all I need is not to know where I belong to but rather knowing who I am and what makes me the person I am. I just figured that out two years ago. Now I don’t feel lonely anymore. Regarding bands, I just want to see swiss bands onstage that inspire me. Bands or artist that truly stick with whatever they like. and we have a lot of good bands out there like Lord Kessely and the Drums, Reverend Beat Man, Fai Baba, Disco Doom, The Young Goods. They are all beautiful weirdos.

Kendra: You spent a good deal of time in New York recording your latest, Alien Angel Super Death. Was that your first time in the states? Nevertheless, how do you like New York compared to where you’re from?

Verena von Horsten: It was my second time in New York but the first time for a longer stay. New York is a neurotic, crazy place. On the artistic side that means that people are so fucking open to new music – edgy, weird, complex…New York underground musicians are mostly wonderful, fucked up people, and they gave me a gift that led to a turning point: they really liked my music! It sounds silly. but in Switzerland I always had the feeling of not being good enough because I did not fit into the general state of the art. New York showed me so much love, and this love gave me the confidence that my music is just okay. It’s good music. Since then this confidence did not go away and it helped me to put out this record and go through all the insecurity that the topic of the album put me in.

So you see – New York gave me a gift that made me start believing in myself as an artist.

And I realized that Swiss artists and Swiss people have a fucking low self-esteem. Growing up here I inherited this behavior. We have def problems to kinda praise our artists. but as soon as they have success abroad and come back, then they are hyped. I hereby promise I’m gonna change that. I don’t accept this low self-esteem any longer.

Kendra: Staying on topic with the album, it was inspired by a dark time in your life when you lost your brother to suicide. Have you thought of using your artistry and partnering with any suicide prevention programs?

Verena von Horsten: From time to time I get asked to do a partnership, but I don’t wanna do that. I’ll tell you why. The most – until nowadays – fragile point in this whole suicide topic is that when people get into such a state, they nearly do not have anybody to talk to. This leads to a behavior where they isolate themselves which can lead directly into suicide. So the work that I am doing is to create awareness about suicide. I am doing this by talking about my brother and myself every time I am on stage. and secondly to shout out that everyone can write me and talk to me whenever they want.

And this is what I do, I try to catch up those people directly so they can share their feelings – which is the fucking most important step to get better. I know that so well, not only because my brother Hakon died of suicide. I know it so well, because I had an suicide attempt when I was 17-years-old and had suicide thoughts coming up when he died.

I had major depression after his death that I am still recovering from and the “suicide wound” has not completely healed yet. Going through all this makes me kind of an expert in this topic and i want to pass on that knowledge directly to people in order to help them.

The next step is 1. Build up a support group and 2. Have face to face meetings with people that find themselves in a difficult situation.

I think I am best in helping people directly and I think it’s even more helpful than doing promotion for any prevention program. Suicide has its rout in mayor traumas. To find out what trauma it is and to deal with this wound can only be done when somebody wants to do this journey with you.

Actually my dream is to start a foundation, the Hakon von Horsten Foundation, that builds suicide prevention houses. These houses are run by specialists who welcome people that are in a urgent state and go through this journey together with these people. We have a mental institution here on Switzerland, of course. A lot of them, but they are only partial specialized in suicide, and they want to prevent, not heal the people.

I want to create centers that are specialized in feel out the trauma that leads to suicide feelings and WORK actually with the people on this trauma.

This is what I am doing with myself and this is what can help to heel this terrible wound. This is what brings the light into the shadow and that’s the reason why the first five songs on my record are the ones that deal with death, and the next five are the ones who deal with self love, healing and getting then to the point where you change so much that you find your own truth. This is what the last song on the record “The Believer” is all about.
So yes, it is a dark record but looking closely it shows you the way out of it. Therefore, in the end it is a record about heeling your deepest wounds and from there building up a life that inherent self love.

Kendra: Switching gears now. Going off “Sweet Lullabye,” I wanted to know if there was any traditional Swiss lullabies you grew up with?

Verena von Horsten: Oh sweety, I am so not into typical Swiss culture. I grew up with a German father, a Turkish mother and a Colombian step mom…I just had a show where I had to sing some written down lines of one of our most popular traditional songwriters. His name is Mani Matter. The fuck, I didn’t even understood all the words! We have like thousands of dialects, and written down they are even worse to me! BUT I am not the only one in this country feeling like that! Imagine!

Kendra: Lastly, now that the album’s out – can we expect touring to come soon?

Verena von Horsten: My fucking god! I would love to! I am definitely open to any booking and will do some effort to come back soon! Not to bring you the dark side but definitely to bring you self-love.

The post The Synth Swiss Side of Life with Verena von Horsten appeared first on ZO Magazine.

And create they did as they got to work on their debut, Means. Which David compares to a rhinoceros, saying, “It’s rough, mechanicy and quite massive but it’s got something about the animal that’s soft.” While rough and soft, the recording process of Means seemed to be okay minus when one of their own almost got taken out by a peanut after an allergic. Freeda was thankfully saved by Rusty and all was good with the world. Not to mention their producer Dan pushed them to “take the music into deeper places.” One of those deep places being their lead single, “1000 Goosebumps.”

Right now they’re all about supporting Means and getting out there, but that doesn’t mean these guys spend all their time nitpicking over their live shows. David says of band practice, “We try to practice as little as possible to be honest. it makes the sets much more exciting for us before. No one’s really comfortable and there’s a special aura right before a show. anything can happen. Think we all like that feeling. but to answer your question – probably a day before a show if it’s even possible or worth it.” That’s not to say they’re not all in. Choosing the life they have, there’s a lack of security in the finances and David says they’re used to it, “We’re still in the stage where we buy a can of beans for dinner but we try to say yes to as much as possible and convince ourselves that it’s worth it.”

Well, we hope they continue to say yes and they continue on with their brand of alternative rock, which David notes they’ll be doing as they plan on playing as much as they can throughout the rest of the year and come 2017 – he can only hope everyone is FEWS will be alive and well to record their sophomore record.

The post FEWS Gives Us the ‘Means’ appeared first on ZO Magazine.