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.

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: Having grown up with two parents who were immersed in music, was there ever a moment where you thought you might not head down the same path? 

The Red Betty: That is a great question. I think I always knew music was going to be a constant part of my life, singing, and playing, even if just amongst friends and family. My parents separated when I was young and most of my time was spent with my mom, as my dad was playing the nightlife quite a bit. I think my passion for instrumentation came undoubtedly from him and being in awe of how he could play the guitar, the bass, the piano, and even the drums sometimes, unbelievably well, whenever the band needed. From my mom, I got the love for singing and for appreciating good music, no matter the genre. I would be singing the bossa nova one minute, the blues the next, and a gunge tune after that. 

What I think I didn’t anticipate was that I would develop such a strong love for songwriting, or much less that it would lead me down a path of being able to share my songwriting and performing with a broader audience. I am eternally grateful to my parents for creating a foundation of courage and freedom, which allowed me to explore and express my vulnerability through music. That encouragement was not only a catalyst to my passion for music, but it was also the propeller to feeling comfortable enough as a songwriter to bear a lot of very personal feelings and memories, which are showcased in the new album. It’s been an incredible journey of self-discovery, which would not have happened without the musical spark they created. 

Kendra: Of all of the South American elements to incorporate into your take on Modern Country, you’ve found a way to marry that with the percussion of your Brazilian roots. What about the percussion from South American music that has always made it a standout for you? 

The Red Betty: Percussion in my view, has always been responsible for how I felt the rhythm in a song. Whether the lyrics or ensemble of the song were happy, sad, crazy, lost, or angry, I always found it captivating how the beat told me how to feel about the experience. It’s always been very visceral for me. 

I remember at an early age, observing people’s reactions to music and wondering whether they felt the same way I did about the beat of a song. From church clapping and stomping, through more grandiose memories of watching the percussion blocks of the samba schools parading through the Carnival celebrations, for me, the colorful Brazilian and South American percussion meant that you felt the music, intensely and unashamedly, in your core. People who didn’t dance were suddenly stomping their feet and bobbing their heads, however awkwardly. That was the power of percussion. It made you shed your inhibitions and give in to your feelings, thus creating a very powerful vehicle for self-expression. 

Another important early age moment for me was realizing that the accessibility created by the South American percussion, transcended any social means. You know a guitar, drums, and other instruments might require some financial investment, but it was different with percussion. I would see percussion instruments made from everyday items, like soda bottles filled with rocks, and drums made from cans, things like that, and the sound those instruments created brought people a lot of joy. A good percussion line made people want to learn the words of a song, made them forget their problems for a moment and want to join in.

As a songwriter, your biggest hope is that the listeners will connect with your message and find a way of rediscovering their own experiences through your sound. I find that South American percussion has always enabled me to do that and so I hoped that others would feel the same way and find the same comfort in its sound too. 

Kendra: On the flip side, country music – for the longest time – was one of the most traditional styles out there. What artists do you think helped pave the way for more experimentation in the genre and are they influences of yours in any way?

The Red Betty: Yes, country music has been considered very roots, for a very long time, but I think that over the past decades, a lot of very successful artists have paved the way to experimentation in country music. Their fearless approaches to modern country music helped pioneer a new country sound. Country music has changed, no doubt, it became more modern and broke generational barriers, without losing its character. Americana music was a very big contributor to that also, as there were artists who broke some of the “genre” barriers and showed us all that it was ok to add glitter to our cowboy boots. 

There are so many innovators in these genres, that it is hard to throw names out there without catching some heat for forgetting someone. Blake Shelton and Jason Alden gave us that “spoken” rap and hip-hop style country, Dolly Parton transformed traditional country over the years and will soon be releasing a rock album (talk about transcending!), Chris Stapleton who has performed with artists of every genre, Shania Twain who MTV’d country music, in an era dominated by boy bands and bubblegum pop, I mean what can you really say about the talent and foresight of these artists, right? 

On the Americana side, how can you not mention Brandi Carlile, a veteran of this industry who opened so many doors and created so many firsts. I’ll let my geeky side show for a moment and say that she has been a poster on my wall for a very long time. True sound inspiration there! Allison Krauss, who peppered bluegrass into modern country and has now brought Robert Plant (yes, Led Zeppelin’s frontman himself), into the American scene, with a fantastic new album. Just amazing!

But I would be remiss not to mention that I come from a long line of passion for blues music. I associated blues and country a lot because of the storytelling present in both genres, which always enticed me. Back in Brazil, in the 80s, I discovered Joanna Connor – queen of the slide guitar– and she inspired me to want to learn to play the guitar. She is this beautiful woman, who fiercely and unapologetically carved her musical legacy in a male-dominated blues world. It blows my mind. Fast forward many years later, I was lucky enough to meet her and was amazed by how encouraging and attuned to the value of musical fusion she was. She has been a pioneer too. 

Kendra: Your album ‘Couch Fables’ made me think of sitting around the TV as a kid with my family, and even today. With that, if you had to pick a TV show that would pair well with the record, which would you choose and why?

The Red Betty: That is fantastic. Yes, family memories and togetherness were big influencers to naming the album. The name was also fitting for the fact that the entire project began during the pandemic, where home was where the heart – and every other aspect of our social lives – was. I think that one show which comes to mind would be ‘That ‘70s Show,’ only because it’s all about the everyday experiences and memories of people like you and me. That’s what the album is about, memories, of family, of love, of places, and of situations and people, which helped shape us. It’s a soundtrack of life experiences, which I think connects us all, regardless of our backgrounds. 

Kendra: You also tend to lean towards the nostalgia of life in your lyrics. I’m a very nostalgic person so I appreciate music that does transport me back to a time and place. For you, what’s something or someone that always makes you sort of want to celebrate the past? 

The Red Betty: My family, who is as colorful as the sounds of South America. I grew up with family stories which celebrated cultural diversity and created a tremendous appreciation for how fortunate our lives were and are, in contrast with adversities that many of our ancestors had to brave. Storytelling has always been big in my family and there were a lot of generations preceding that of my parents, which were plagued by illiteracy and hard times. Not always being able to read and write fostered an amazing tradition of word to mouth stories. That was instrumental in teaching me about who I am and where I came from. To this day I am drawn to storytelling and how you can draw out so much emotion and create so much connection to people and places, from simply sharing your story. It’s truly incredible.

Kendra: So time for a side note – with love in the air this month, I’d love to know what is the #1 song you’d put on a mixtape as part of a Valentine’s Day gift? 

The Red Betty: Wow, that is a difficult one. So many good ones. If I had to pick only one I think it would be “Boundless Love” by the late John Prine. It’s a song about gratitude; being grateful about recognizing someone’s ability to provide unconditional love, despite our flaws. 

Kendra: Lastly, with your latest single, “Mama, Let Me Tell You” out now and ‘Couch Fables’ on its way, what else is in the works as we head towards the spring?

The Red Betty: Once the album is out, I’ll be taking some time to connect with listeners. I’m working on a schedule for performances and bringing the storytelling of the album to folks who want to listen. Share memories but also create new memories. I’m excited about all 2023 has in store!

The post Percussion & Self-Expression with The Red Betty appeared first on ZO Magazine.

Kendra: We have to kick this off with you being a harpist because that’s one of those instruments that looks and sounds quite magical that I feel not too many play. How’d you come into learning the harp? 

Kristy Chmura: I sang in my church choir when I was very young, and one time they had a harpist accompany the choir. That was the first time I heard and saw someone play the harp and I loved the sound so much that it inspired me to want to learn how to play it. I remember asking my mom about it and her response was, where are we going to find a harp? 

Then a few years passed and I remember asking my mom again, as luck would have it, she ran into the harpist who played with our choir at the supermarket, my mom mentioned to her that I was interested in learning how to play, and she said, I teach harp lessons, and that was how it all started.

Kendra: Now some time has passed between your last record, ‘Stained…Glass Heart’, and September 2022’s ‘Where the Light Gets In.’ For you, when you’re in between records, are you someone who takes an hour here and there to work on new material, or do you just let it come to you naturally?

Kristy Chmura: I tend to work on writing new songs when inspiration hits and not schedule it. I find a new song idea comes to me when I’m practicing other music and make a mistake, and I think, oh that sounded cool. Then I get sidetracked from practicing what I was trying to learn, and I just let the creativity start to flow instead. Sometimes I’ll even hear song ideas while I’m asleep and dreaming. Then in my dream I think, too bad that’s already a song because I like it, but then I realize I’m dreaming and tell myself I have to remember to record this on my phone when I wake up.

Kendra: With this record, you noted, “As I reflect on things that may cause pain in my life, I try to remind myself that there is beauty in the darkness, and light shines more brightly in the dark…” With that, do you think you’d be the same artist you are today without your personal darkness?

Kristy Chmura: I don’t think it would be possible for me to be the artist I am today if I didn’t sit with my personal darkness. That is where I draw most of my inspiration from because it’s my way of processing heavy things. I think a song is a safe place to put those unwanted feelings and turn them into something beautiful or interesting.

Kendra: You were very open about what you’ve gone through in “Leigh” and even sing, “This world is so unkind.” That line stood out on a personal and universal level to me for a multitude of reasons, but I did want to know if penning this was a therapeutic moment for you?

Kristy Chmura: It was therapeutic…I think I explain how I’m feeling the best when it turns into a song, the whole process of writing and recording is cathartic. Once the song is done and I listen back l feel a sense of closure, like I said what I needed to say, and expressed my feelings as thoroughly as I could.

Kendra: Another song I’m excited for people to hear is “Lie Awake” because I think that’s an issue so many of us have. Do you have any home remedies you use to combat those sleepless nights when the thoughts don’t want to seem to turn off?

Kristy Chmura: Thanks! I like to turn on white noise like rain with Tibetan singing bowls and it helps a little. Sometimes I try to walk myself through the yoga pose, savasana, where you lay flat on your back, aligning your spine, arms by your side, palms of your hands open and facing the ceiling, let your heels touch and toes fall open to the side and imagine you are floating through space, breathing deep and focusing on relaxing every muscle in your body with each breath. Sometimes it helps.

Kendra: Time for a side note – with it being summertime, I’d love to know your favorite memory from this season whether it was from your childhood or more recent…

Kristy Chmura: My favorite memory from childhood during the summer is going to the beach with my family and after spending all day in the sun and swimming in the ocean, going to play a game of miniature golf and getting either ice cream or a funnel cake, or both after.

Kendra: Lastly, with ‘Where the Light Gets In,’ out on September 2nd what else can be on the lookout from you come the fall?

Kristy Chmura: I’ll be releasing new music videos for “ Where The Light Gets In” and lining up some live performances with my band to promote the EP. I can’t wait!

The post Letting the Light in with Kristy Chmura appeared first on ZO Magazine.

With their brand new album, ‘States of America,’ out June 11th, it was only fitting that we dive down their genre-blending rabbit hole with Dan Gutstein, John Paul Carillo, and Anna Meadors. We talked about how much the world’s changed since their debut several years ago, a dream locale in Seattle, and all that jazz in this back and forth.

Kendra: On the surface, many may not think Jazz and punk have a lot in common but they both have rebellious foundations and an ability to be a bit rule-breaking in terms of going against the grain of their neighboring genres. Do you think that’s what drew you to initially combining the two?

Dan Gutstein: As the wordsmith in the group, I’ll add that the group also features the rebellious, rule-breaking facet of nontraditional poetry. I’d like to think that what I bring to the table is not in one camp or another, but instead, fiercely resists precedents of any kind. I’ve been called a “beat poet” or a “spoken word poet” and while I don’t agitate against those tags, what I’d really say is – I just try to be surprising with the words. I’m not really gifted with a “great voice” so I try to be myself and try to be a character. Sometimes I reflect on the great Jimmy Rushing – raspy, growling, sometimes sweet, full of character. “Mr. Five by Five!”

John Paul Carillo: Many of our influences – King Crimson, Miles Davis, Morphine, Lounge Lizards – defied convention simply as a way of being, a way of doing things. One thing I like about punk is that post-punk if one sees 1976, or 1977 as the beginning of punk, began at the same time as punk. The band Television is considered punk by many, but the eponymous tune on their debut seminal album, Marquee Moon (1977), is 11 minutes long, with a bunch of guitar soloing and lyrics like, “Well a Cadillac, pulled out of the graveyard / Pulled up to me, all they said, ‘Get in.’”

Meanwhile, convention says punk songs are supposed to be short and angry. Miles Davis was criticized for nearly every advancement he made within his sound, and within jazz—be it his move to modal in Kind of Blue or his fusion freakout with Bitches Brew—to the point where some critics said what he was doing wasn’t jazz at all. So not only are we talking about rule-breaking with neighboring genres, but when it comes to punk and jazz, it’s rule-breaking within the genre itself. Greg Ginn of Black Flag says the Grateful Dead has always been his favorite band. He was also a fan of jazz-rockers Mahavishnu Orchestra, led by John McLaughlin, Miles Davis’s guitarist on Bitches Brew. And there’s the wonderful quote attributed to Miles: “There’s two kinds of music: good music and bad music.”

Kendra: Speaking of what initially drew one to someone…Anna, as someone who wanted to play the sax but couldn’t quite afford it back in third grade when they presented the idea of school band to my classmates and I, I’d love to know when and why you picked up the saxophone, and if you could’ve ever imagined it’d lead you to where you are today?

Dan: I know this is not my question, haha, but Anna can play any idiom on the saxophone that she wants. She has a rare connection to emotion, swing, and avant sounds – thus she can propel any song into new territory. There is nobody like her. It’s as if Big Joe Houston, Johnny Hodges, Art Pepper, Pharoah Sanders, and Willene Barton were present all at once, in one person.

Anna Meadors: My mom is a clarinetist (not professionally, but she has played her whole life) and my Granddad, her father, was a saxophonist and clarinetist. She always wanted me to pick up an instrument during grade school; I tried clarinet, piano, and drums, but nothing stuck. I went to a concert she was playing in during elementary school and told her that I “will never play on a stage like you” (she likes to remind me of this a lot).

Finally, the summer before 6th grade, she asked about trying the saxophone and I said okay. She taught me the first 3 notes every saxophonist learns, I played them once each, and started putting the sax away… she told me I needed to practice longer and I said, I played the 3 notes I know…confused as to why I would need to play them any more that day (this is another story she likes to remind me of…). So she taught me a few simple tunes and I ended up enjoying playing, then I started lessons, and by the time school started, I was excited to play saxophone in the middle school band. I had an incredible private saxophone teacher, Julie Robinson, and I also got to play with my Granddad a few times before he passed away.

By the time I was a freshman in high school, I knew I wanted to make music for the rest of my life, I just didn’t know exactly what that would look like. I played in small jazz combos and big bands, I loved improvising with friends, and I idolized John Zorn. But yeah, I don’t think 6th grade Anna (or my mom, haha) could have imagined being in a “punk-jazz” band like this.

Kendra: So let’s talk about the new album. Well, a little old and a little new because you dropped your debut back in 2015. Who would’ve guessed a year later so much would have changed. How do you think those changes – from the administration to the pandemic – helped shape your seventh album, ‘States of America?’

Anna: Most of the songs on States are by John and Dan, but ‘Dangerous Whimsy’ is one that I wrote right after the election in 2016. I had just started grad school, and one of my class assignments was to write a rock song. The basic synth melody came first, and I was just walking to school one-day post-election, depressed about it, but I was humming the synth line to myself, and the lyrics for the first verse just sort of came to me, which has never happened before and hasn’t happened since, haha. It is definitely about Trump, “Tell them what they want to hear / Tell them who and what to fear,” but open enough that it could be about any narcissist who spews bullshit.

Dan: I’ll only say, a bit selfishly, that ‘States of America’ is the first Joy on Fire album to feature vocals throughout. That said, the musicianship is more than outstanding, and it touches many different genres or subgenres. “Uh Huh” is probably a heavy metal song with avant screeches in its midst. “Thunderdome” is undeniably punk or “punk-dance.” A song like “Happy Holidays” is a bit gentler and may be our secret weapon; dare I call it “rock ‘n’ roll?” (Have you seen videos for these songs? We’re very proud of them.) 

The title, ‘States of America,’ is important for its omission of “United.” Lots of punning, too. As if to say “Conditions” of America. Or fifty little fractured parts – even more resonant with the apparent demise of Roe v. Wade. Mostly, it was a reaction to the divisive, angry, felonious Trump administration. The country’s inequalities are many. Rather than cooperate many just want to roar, endlessly, without purpose, or worse.

Kendra: ‘States of America’ is out June 11th but fans got a taste of what was to come with “Selfies,” a song that reminded me greatly of my senior thesis from way back in 2009 about social media and its impact on narcissism. Years later though, I’ve found that while social media with the self-obsession and constant posting is highly narcissistic – at the same time we’ve also become more self-conscious if we don’t live up to others’ statuses online. Would you agree we’re dealing with an odd mixture of being too into ourselves as well as too concerned with the lives of others? 

Dan: The song and the video was a critique of course, and we even mocked ourselves by including several “selfie videos” of the band. I agree with your assessment – of how we weigh ourselves against our online friends. I think the video and the lyrics point out the absurdity of it all, but we’re not trying to take the “high road” by saying somehow we’re any better. 

If anything, I think by mocking ourselves we’re insisting on the lack of “purity” that’s out there. Too many people will remind you that they shop in a certain store, don’t eat a certain thing, and don’t participate in this and that, but we’re saying “nahhhh.” This kind of thing is pervasive – this narcissism. Even though we do very little of it ourselves, we still do it. And frankly – I feel like shit every time I go on Facebook or Instagram. It’s so gross.

Kendra: So I want to switch gears to touring. You’ve done an extensive amount of touring up and down the east coast, but with plans, this summer to hit the road again – are you heading out west? 

John: We are breaking new ground this summer in terms of touring. We’re playing Kentucky for the first time—Louisville, home to 90s prog-punk bands like Slint and Rodan—as well as hitting new towns for us in Georgia, Athens, and Atlanta. We’re not going to make it out west this summer, but we plan to soon, as early as this fall.

Dan: We would love to go out west, and, like, stay there. I have an ex-girlfriend in LA who’d probably come back to me if we played an iconic venue out there.

Kendra: Do you have any bucket list venues on the west coast you’ve been eyeing to play? 

Dan: We’d die to do a show at KEXP in Seattle. I think we’d really bring it if we had that opportunity.

John: I’m a big fan of the Seattle scene of the late 80s and early 90s—I like the term grunge, though some of the bands labeled as such weren’t so enamored with the term, haha—and I’d love to play some of those storied spots in Washington state like The Showbox. I’d also love to play in San Pedro on a bill with Mike Watt. On his last tour with the group MSSV, he played The Sardine. JoF at The Sardine. I like the ring of that!

Kendra: With Coachella still fresh on my mind and all these artists from today bringing out the likes of Shania Twain and Hayley Williams, I’d love to know what artist you’ve drawn inspiration from would you love to connect with if you had the chance to at a festival like that?

Anna: I would absolutely love to play with saxophonist Shabaka Hutchings. He is my favorite living saxophonist. I got into his playing through his band The Comet is Coming, and recently saw him live with his other band, Sons of Kemet. It was such a powerful performance (the ensemble is just sax, tuba, and two drum sets), and I got to meet him briefly afterward, he was super nice to me and we talked about his mic setup (just an SM-58 down the horn! Amazing!). 

John: Well, I’ll mention Mike Watt again here, as well as Vapors of Morphine. And when it comes to newer acts, a stage with Viagra Boys, Joy on Fire, and Sleaford Mods would be a riot.

Dan: For me, I really started to make the transition from “writer” to “performer” through my admiration of Sleaford Mods. A band that has toured with them – Girl Band – is also an inspiration. If we could raise the dead, then we’d love to perform with Joy Division, too. But ultimately, what got me thinking about becoming more than just a “poet” or “fiction writer” was seeing the poet Amiri Barka perform with a jazz band at DC’s Bohemian Caverns some years ago. I wouldn’t say that Baraka was perfect in that setting, but he was very provocative.  

Kendra: Lastly, with ‘States of America’ out June 11th and a tour planned for this summer – anything else you can share with us?

Dan: I haven’t said anything about John yet and it should be said that John deserves so much credit for the songwriting, and for propelling us forward. The tunes are fully-conceived, blunt, and nuanced alike, and they crunch HARD. When we get on stage, the sound is like no other. The music, John on either bass or electric guitar, Anna’s horn, our friendship for one another, our general iconoclasm. And – I think – the time is now.  

John: We’ve begun work on our next album, ‘Scenes from an Unnamed Explosion,’ which is also to be the title of the third song on the record. Led Zep meets Coltrane meets The Clash. We’re ready to up the ante.   

The post The State of Joy on Fire appeared first on ZO Magazine.

Kendra: What led you four to come together and start a band?

Jacob: So we started the band as a result of another band if I’m being entirely honest. A mutual friend of our’s had brought Alex and me together to become friends (shoutout to Tim Jackson). I had already started concocting some songs as my own thing, but when we eventually got to jamming out together, it just made sense for me to ask him to be a part of the project. Obviously, more writing happened, and things eventually got more serious. We knew we wanted to expand as a band and that we wanted to do this for the long haul, and once Chris and Harley became a part of the mix, everything seemed to balance itself out.

Alex: Word. After discovering bands such as My Chemical Romance and Green day, I always wanted to be a part of a band. Especially during my low times, music felt like an escape. I wanted to be in a band not only as an escape for me, but I want to help people through music just like these bands did for me. It was hard to find people around my age that had the same drive and taste in music, however, when I met Jacob it felt like a perfect match on Tinder. We started as a duo for a while, with some drummers and guitarists here and there, but we knew we needed more heads on deck to make this complete. That’s when Chris came in, through a mutual friend, and it was almost complete. I knew Harley through another friend and we even played music with each other for a bit, so it was a no-brainer to have him fill the role as the guitarist.

Chris: I met Jacob through a friend. They were looking for a drummer for their project that ultimately led to being Pop Alma. Everything sorta just clicked when we had our first practice! A lot of my drumming came from inspiration from different pop punk bands (The Wonder Years, Knuckle Puck, State Champs, to name a few off the long list of bands.) With that being said, our styles just mixed and therefore led us into being a band that I’m proud to be a part of.

Harley: I had met Jacob through Alex. Jacob had contacted me (he had sung with my other band for a few shows) and asked me to write some guitars for what ended up becoming Effortlessly. After that had been finished, a few weeks went by and I was asked to join the band and I had to think about it for a few weeks before ultimately agreeing to join.

Kendra: Last year saw the release of Pop Alma’s first single – and what a year to drop your debut single, right? I talked to one group and they said that while the pandemic was rough on them, they appreciated the extra time it gave them to focus on music. Was that the case for your band?

Chris: I’d be lying to you if I said I didn’t agree with them. With this extra time, we had during the pandemic we were keen on getting everything right with this EP we made. We wanted the story with this EP to be as coherent as possible and invite any listener no matter what mood to instantly get hooked onto something that we feel suits everyone. Yeah, it sucks that we were in a pretty bad part of our lives with this pandemic going on, but we turned our pain into a fine listening experience.

Kendra: Just on a surface level, it seems like ‘SOMA’ and ‘Tales of a Hopeless Romantic’ are going to vary in a variety of ways. How would you compare where you were mentally writing and recording your 2020 EP as opposed to your upcoming EP?

Jacob: I got pettier. Next question… In all seriousness, this project was years in the making and has been through different iterations. I wrote many of the concepts for this one WAY before ‘SOMA’ was even a thought. In the end, though, it came down to the fact that we were very intentional in creating something that made you feel everything being thrown at you. It also helped to have feedback from the other boys and having them help with the writing this time around. When ‘SOMA’ was coming out, I kinda felt like I was running around like a chicken with no head trying to keep this thing afloat, and this time around it doesn’t feel that way. it’s finally gotten to the point where we are ONE.

Alex: I felt excited, but at the same time kinda bored. That was when we were still recording ‘SOMA.’ Don’t get me wrong, I love the EP! But the only songs that jump out, in my opinion, are “Last Man” and “Medicine.” When it comes to ‘Tales’ though it felt like a breath of fresh air. I guess you can say we were out of our comfort zone for the whole process. This is probably the very first project that I can say I’m genuinely excited about.

Chris: This is my first time writing an EP with Pop Alma. I’ve worked on some solo stuff in the past, but I cannot be any more proud of what we created. Front to back the EP is bop after bop, being a part of the writing process for not only drums but some lyrics as well, it was a pleasure but more so a memory I’ll forever keep.

Kendra: “ur my fvrite sng” sort of reminded me of seeing Head Automatica back in the day. Not because it sounded anything like them, but because I can imagine that you’d be on a bill with alt and pop punk bands but stick out from the crowd due to your more pop-infused ways and homages to hip hop, much like they did with their unique approach. Do each of you bring a new aspect and style to the table, or are you all collectively lovers of various genres?

Jacob: Totally! That’s what keeps this thing going. “Trust Fall” is probably still my favorite song that we have, as of right now. It changes as the songs keep coming in, but that one was a huge risk since it was so drastically different when you look at some of the other tracks on the EP. It was such a huge jump in genre and style but it’s a true testament, sonically speaking, to how far our abilities can go.

Chris: Of course! All of us have different styles of music we listen to! I mainly listen to a lot of Pop Punk/Hardcore bands (and also Katy Perry as my guilty pleasure tastes as well) I bring a lot of elements from the music I listen to into the music we make!

Alex: Hell yeah we do! That’s what makes this whole thing interesting, we all come from totally different backgrounds. I grew up on hip hop/R&B, which then went into Pop and Reggae, then into Emo/Post-hardcore. My favorite thing about Pop Alma is the diversity in our styles, yet we all enjoy the same music. I don’t know. It’s weird, but like a cool weird. You know?

Harley: The beautiful thing about music is that we four can come together from different places in the music world (Jacob with R&B, Chris with Pop Punk, Alex with more Hip Hop and 2000’s emo, and myself with ’60-’90s rock/Garage rock) and create this wonderful blend of noise we call music. I think we all have a general variety in taste but I think what makes our sound particularly unique to us is that we come from these further apart backgrounds of music.

Kendra: Your other single, “My Bed Is Big Enough for the Two Of Us,” made me think of my favorite pastime and that is…napping. It’s something I do more often now than before due to being home way more. Did you pick up any new hobbies from the quarantines?

Chris: Yea! I’ve been dabbling into playing guitar and teaching myself how to sing! I’ve also been teaching myself graphic design to make everything easier when it comes to show flyers or merch design for the band. I was pretty active during the quarantine, instead of sleeping or watching Netflix, I got creative and learned new things that seemed so foreign to me!

Harley: I’ve been teaching myself piano and I’ve been getting back into the gym and recently started Taekwondo.

Alex: I posted a full band cover of ‘The Office’ theme song on my Instagram. I also bought fingers off the black market. $3.00. What a steal!

Jacob: I sold my fingers on the black market. Didn’t make much off of them.

Kendra: With the album out in mid-November, what else do y’all have planned as we head out of 2021 and into 2022? Touring?

Jacob: We would love to if the opportunity arises (Pop Alma on Instagram if y’all wanna throw us an offer. We started writing, again, not too long after we finished recording ‘Tales Of A Hopeless Romantic’, so I’d say to expect some new music and plenty of shows.

Harley: Just cranking out as many tunes as we can and growing as a band. Tour-wise, we’re hoping to venture out beyond our wonderful little state and make as many people sing with us as possible.

Chris: We’re trying to make more content for all platforms we’re on and we would love to tour and see where that takes us in 2022!

Alex: If you wanna throw us an offer, that’s cool. If you wanna throw stuff at us, that’s cool too. But as far as future stuff in 2022, you’ll just have to see.

The post Tales of Pop Alma appeared first on ZO Magazine.

Kendra: You’ve been part of the east coast scene for some time. Was Jaded Past your first venture in a band though, or did you start in other bands or other aspects of the industry?

George Becker: I have been playing the East Coast scene since the ‘80s. I fronted a glam rock band called Wicked Sin from 84-88 with some mild success, but as the music scene changed I decided to take a hiatus from the original scene and just lay local with my cover band If 6 Was 9. Then in 2010, I got the itch again to write and record, and there you have Jaded Past.

Kendra: Also, how would you compare your rock realm on the east coast to that of other areas of the US?

George Becker: It’s all relevant to the fans that want to hear my type of rock n roll. Straight-up hard rock with a groove. I love playing all the regions of the US.

Kendra: Jaded Past’s first record dropped in 2012, and you all have managed to release a new album every four years since including a new one this summer. Is four years just a coincidence or does Jaded Past’s creative process always follow a similar plan that adds up to four years?

George Becker: All of that is a coincidence. I don’t think that hard to do that on purpose.

Kendra: Another pattern I noticed is all four (four again) of your recent singles this year all start with “M.” You don’t have to explain why, but I am curious if these songs will be on the new record, or are these a bonus addition to what’s to come later this year?

George Becker: Again coincidence, haha! And yes, all of them will be on the new record as of right now.

http://youtu.be/92OvEh-FN-s

Kendra: As someone who has been in music for a healthy amount of time, how do you feel we’ll move forward after all the coronavirus stuff dies down in terms of getting back to venues for live music?

George Becker: I think things will get back to some type of normality. When? I don’t know. Our first show back is slated for July 11th at The Starland Ballroom in Sayreville, NJ with KIX.

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. Can you go ahead and let us know what you have tentatively planned?

George Becker: As this pandemic dies down our plans are simple; rehearse, record, do live shows! We have planned shows throughout the year. Please go to our site for all details and upcoming events.

The post Jaded Past: Coincidences Unmasked appeared first on ZO Magazine.

Not too long ago Kelli Faith was in a pop-punk band but as you’ll soon see, she later found her footing in a whole new genre that feels more like home. From switching gears to all the ways love has inspired her latest record, 21, we covered most of the bases and then some.

Kendra: A lot has gone down with you the past couple of years. You’ve gone from being in a band in one genre to branching out on your own in another. When Before It’s Too Late came to an end, did you know right away that you were going to continue with music or did you have any other ideas in mind for your future at the time?

Kelli Faith: To be honest, I didn’t think I was ever going to write music, or perform again when Before It’s Too Late came to an end. I didn’t see myself singing in another band and even though I had thought of starting a solo project, I genuinely didn’t think people would want to follow me or be my fan.

When I was in the band, I always felt like people thought I was JUST the singer and didn’t do anything else, or was capable of anything else. Truth is before I was in Before It’s Too Late I was a singer-songwriter and all I did was write songs on my acoustic guitar. That was who I was. Once I was in Before It’s Too Late, a lot of that motivation to be who I was kind of felt like it was taken away from me, almost like I was trapped. I felt like I couldn’t be my most authentic and vulnerable self in the band because I felt like I couldn’t write about all the things I wanted to write about. I think a lot of those feelings stemmed from where I was in my personal life when I was in the band and even though I LOVED pop-punk, it just wasn’t the genre for me.

Kendra: We’re all well aware of Kacey Musgraves love of the pop-punk scene and have seen the likes of Cassadee Pope and Dia Frampton go on to slay after competing on The Voice in the country realm. Why do you think there is such a correlation between pop-punk and country?

Kelli Faith: I just have to say…I LOVE this question. Cassadee Pope is the reason why I am a musician and I have followed her journey since her Hey Monday days. Anyways, I think there is such a correlation between pop-punk and country now because at least originally coming from the genre itself, I always felt like pop-punk has that same storytelling aspect in its lyricism, as country.

The cracks between genres are slowly but surely blending more than it ever has. A few weeks ago I saw that Dan & Shay were at a State Champs show! When I saw that picture, was when I realized how even having your own different inspirations, morph into the musician you become. For example, Cassadee Pope was a fan of band Blink 182 AND Shania Twain growing up. She played the part in both worlds but realized what she was meant to do later in her career.

Kendra: Last December you dropped your debut solo single and just recently we’ve gotten to hear “More.” Where in your writing over the past year or so did these two singles come from? Were they the first songs you penned, or did they come later on?

Kelli Faith: Last December I released my debut solo single titled, “Him,” and that song was the very first full-length song I wrote for what I had no idea would become an entire album, 21. Technically, there was a little interlude I wrote right before, “Him,” which is also on my album called, “Someone New.” That song is kind of like the turning point of the entire album and it is really short and fun. I wrote it a few days before I went on my very first date with my current boyfriend, who is the inspiration for me becoming a solo artist and writing music again.

The next month I wrote “Him” after coming home one morning from his house, I was about to hop in the shower when I heard the chorus in my head for the first time. I still have a recording of the shower water running and me singing that and a part of the bridge. It was a crazy moment. After I showered, I ran and got my guitar and wrote the song in an hour and that was when I realized THIS was what I was meant to do.

However, “More,” came much later than all of my other songs. It was actually one of the last songs I wrote for the album. I think it was two weeks before I was supposed to go into the studio and start recording the album. I knew I wanted a song on the album to capture the whole, “I love you more,” concept because one time at the beginning of my relationship after I texted my boyfriend, “I love you,” he answered with, “More.” That kind of became our thing after that moment and I knew I just had to work that concept into a song.

One morning I was practicing for a show and then I wound up goofing off a little and I put my phone on “record” and it practically flew out of me. A lot like the writing process behind, “Him,” “More” was just SO natural and I fell in love with it and it is probably my favorite song of my new album. It wasn’t originally even supposed to be the next single, but when I was in the studio everyone convinced me if I was going to put out another single, it should be that song. Now not only is it my second single, but also the final song on my album.

Kendra: You’ve noted how 21 represents one of your toughest years to date. Have you always been inspired to create out of hardships?

Kelli Faith: Absolutely. Even back when I was in Before It’s Too Late and before the band, that was all I ever wrote about. However, now as a solo artist, I have discovered I love writing songs with unique concepts that don’t always make their way out into the world.

Right now, the only songs I have released are the in-love and much-happier tracks off the album, but there is a whole lot of darkness and vulnerability throughout the rest of the album. I feel like right now people probably think 21 is all about falling in love and being in love because of the two singles I released, but it is SO much more than that. It is about falling in love and being in love too, but it’s also about enduring heartbreak at first and a nasty aftermath because of that heartbreak. Not to mention, what the transition is like going from a toxic relationship to a healthy one and how much of a struggle that can be at times. There are also songs about the importance of friendship and one about the loss of a loved one.

Kendra: Looking back, was there anything you jotted down in your lyrical notes that didn’t make it to 21 but perhaps can be flushed out by 22, 23 or perhaps 24?

Kelli Faith: For sure! There were a few songs that didn’t make it on the album too. I changed three of them very last minute into the process, I almost didn’t think they would come together in time. My future releases will be flashes into my life at specific ages and some concepts didn’t quite make it. I started writing this song called “Repercussions” which was about dealing with the repercussions of an ex, while being in a new relationship and how hard it can be to prove you aren’t that ex.

I still really love that concept, so I think something similar may be featured on a future album. There was also another song I wrote called, “In My Mind,” that also didn’t make it on the album. That song was about the ongoing insecurities you have from past relationships or just insecurities you have in general. You know these things aren’t true about yourself, but they are the things that just go on in your mind. I would love to roll with those two conceptually for whatever comes after 21.

Kendra: With 21 coming September 20, are you planning on hitting some stages?

Kelli Faith: Definitely! Hopefully, a lot more stages than before now that I will have music out and everything. As of right now, I will be performing my 21 Release Show will be at The Clubhouse, in Toms River, New Jersey on Friday, September 21st. It is also my first ever headlining show and I will be playing the whole album live, front to back. Later in the year, I also hope to maybe go on a little weekend tour on the east coast to promote the new album.

The post Kelli Faith: There’s Always More appeared first on ZO Magazine.

Kendra: Looking through your work, it’s easy to see that you grew up during the ’70s and ’80s because on one hand you have these sexually free women and then on another, there are your current Felt Fiends that look like Saturday Morning Cartoons come to life. Would you say you often pull from nostalgia when it comes to your creative efforts?

Ed Mironiuk: Oh definitely! I’m a child of those decades so I have a very soft spot in my heart for pop culture from that time. It’s impossible not to be influenced by what was going on then. I’m a big fan of kitsch and silliness so it’s a perfect wellspring to be inspired by.

Kendra: I also ask because you have a couple of pop culture giants in your Felt Fiend gang; Sloth from The Goonies and Yoda. If you had to pick a character to be your best fiend from a movie, who would it be and would you ever make them in felt form?

Ed Mironiuk: Wow, that’s a tricky one. It’s a toss-up between Del Griffith from Planes, Trains, and Automobiles or Travis Bickel from Taxi Driver. Del probably wouldn’t be immediately recognizable in felt-form but Travis I think really needs to be made. I need to add him to my list now.

Kendra: When from animation and illustration something as different as needle felting, was it because you wanted to evolve your skills or were you just feeling restless with drawing?

Ed Mironiuk: I had been doing illustration and alternative pinup work since the mid-’90s. The subject matter was boring me, what initially was new and exciting had become mainstream. I was tired of working on the computer all the time so I decided to take a break and just focus on helping my wife with her art/production. Eventually, I needed a hobby and stumbled on needle felting. It’s so much fun to work in 3D rather than 2D and also have a tangible end product.

Kendra: As someone who has seen the art world from all sides over the years, do you feel the rise of technology has aided or hurt the art community?

Ed Mironiuk: I think technology has just shown us how many really talented people there are out there. It’s hard to be a big fish in a small pond anymore. There’s more “competition” but there’s also the benefit of being able to get more exposure. I definitely don’t miss sending out mailers to magazines to try and get seen or get a gig. I think it’s a good thing, I’ve definitely benefited from it.

Kendra: Your wife, Kristin Tercek of Cuddly Rigor Mortis, said “never say never” when it comes to an animated movie starring her characters. Seeing as you two aren’t strangers to working together, what say you? Would you ever be down to work on an animated film featuring yours or her art?

Ed Mironiuk: Sure! Even better would be if we both combined forces. The sum is worth more than our parts whenever we collaborate.

Kendra: Your Stinkin’ Cute exhibit just wrapped up at Gallery 1988 out in Los Angeles. You pretty much sold out of all of them, including these little gases(?) in jars. Going back to the animation, no pressure but those little guys could be the stars. Where did the inspiration for Fluhp, Fuht, and the rest of the crew come from?

Ed Mironiuk: Blame the internet for those stinkers. I had seen a YouTube video where someone had ordered farts in jars and they were seeing if they smelled like anything. Luckily or maybe unluckily for that person, they didn’t.

Kendra: Can you let the people know what you have going on in the next couple of months?

Ed Mironiuk: I just finished a few pieces for some upcoming shows at Gallery 1988. I’m also planning on starting a patreon with tutorials and behind the scenes info. After that, I’ll need to start hunkering down for another solo show next year. Gotta keep pokin’.

The post The Arts and Crafts of Ed Mironiuk appeared first on ZO Magazine.

The NYU alum started Cuddly Rigor Mortis almost 15 years ago and what started as a darker expression of what she was feeling at the time, has into some of the most recognizable art out there. Having been featured around the world and back again, it was a true pleasure to get a chance to exchange a few words with the talented Kristin Tercek.

Kendra: Learning to paint when you were a kid, why did you take on the world of sewing in 2005 when you started Cuddly Rigor Mortis plushies instead of getting right into art?

Kristin Tercek: was in need of an artistic change at that point in my life and I was so inspired by the designer toy movement. 3-dimensional art was so different from what I had created my whole life, it was exciting and I thought I’d give it a try. I wasn’t thinking it could be a business or I would sell them, I thought of it as a hobby in the beginning.

Kendra: Who or what has continued to inspire you to be so self-sufficient when it comes to teaching yourself new skills? First painting as a tween and then sewing after college?

Kristin Tercek: Art was always my outlet from the time I was very little until today. I always sketched and doodled and loved to watch anything I could find that had to do with creating. When I was young, that was Bob Ross and more importantly, William Alexander (Bob’s fiery, Austrian counterpart) who both had painting shows on TV. Seeing someone create a finished oil painting in 30 minutes really inspired me to get my own paints and canvases. My parents were very encouraging with my artistic endeavors and made sure I had all the tools I needed. This sense of artistic exploration has just naturally continued until today.

Kendra: You’ve noted that you started out on the sort of spooky side of design but have since softened the edges just a bit. Was that growth just an artistic one, or was there also something going on inside you that wanted an aesthetic change?

Kristin Tercek: I’ve been dealing with clinical depression since I was very young. My art has always been a reflection of my feelings, whether I realized it or not. At the beginning of my Cuddly Rigor Mortis career, I was still depressed on some level and dealing with suicidal thoughts daily. My art was dark and tongue in cheek. Then in 2010, I went through a year-long severe depression that ended finally when I received ECT.

I try to be open about it because it has such a negative connotation in most people’s minds. Then once I was well, I found I couldn’t treat my characters the same way. I didn’t want to see them hurt or sad. So I just naturally started to put smiles on their faces and people responded with a giant, “yes!”

Kendra: I have to admit that I did get a little off track when writing these because I got lost in your work. The pop culture ones especially. I just kept scrolling and saying, “Want. Want. Cute! Oh, my husband would like that!” Being that you went to NYU for film, pop culture isn’t something you paint just because. You seem to not only enjoy it but have a respect for it. With that, is there any movie (TV show, pop culture icon, etc.) that you are intimidated to interpret?

Kristin Tercek: Well, thank you so much! I really appreciate it when people get excited about my work, keeps me going. To be honest, I’m always intimidated more by the fans of the work I’m about to tackle. I like to research as much as I can to make sure that I get all the details right. Whether it’s The Big Lebowski (my goodness, his sweater was a treat!) or Lilo and Stitch. Of course, my work for Disney’s WonderGround Gallery is my biggest thrill and always the most stressful because I don’t want to disappoint anyone.

Kendra: You also paint a lot of food. As the former secretary of her friend’s Fat Kids Club, I appreciate it. So if you had to have one famous chef make a real-life replica of one of your pieces, which piece and which chef would it be?

Kristin Tercek: I am loving your questions and I do love food! Since I just came back from L.A. the only food on my mind is Howlin’ Ray’s and SLAB. Dear goodness, I need to paint The Sando from Johnny Ray and Trudy’s Special from Burt Bakman! I know that wasn’t your question, but I love both these places so much.

Kendra: Right now you’re all about plants and animals with your current exhibit at Gallery 1988 going on. What was the inspo behind Botanimals?

Kristin Tercek: Since this is my sixth solo with G88 (they are the best!) and I’ve done food for most of those, I felt a change was in order. I struggled with a theme. Then looking through some botanical reference I keep, it occurred to me that I needed to get back to painting plants. What better way to combine my love of nature than by putting plants on animals heads.

Kendra: Between studying film and your artistic hand, will we ever see an animated movie of sorts staring some Cuddly Rigor Mortis characters?

Kristin Tercek: I never say never. Every day brings something or someone new into my artistic life and I’m thankful for that. But I do think it will take a team of creative people to help push me in that direction.

Kendra: The Botanimals exhibit is going now. Any other exhibits or projects you can tell us about?

Kristin Tercek: I’m taking a bit of a break after my solo. I do have more paintings in store for D23 this year in Anaheim though. The good folks at Gallery 1988 have also already asked my husband and I back for next year to do another side by side solos. Other than that, I’m keeping myself open!

The post The Often Appetizing, Always Pleasing World of Cuddly Rigor Mortis appeared first on ZO Magazine.