Kendra: Your June 2023 release, ‘Poison Reverse,’ deals a lot with dressing old wounds, but long before you started making your own music to do that – I’d love to know what albums helped you get over rough patches back when you were growing up?

Joe Michellini: The first albums that come to mind are ‘The Moon & Antarctica’ by Modest Mouse and ‘Midnight Organ Fight’ by Frightened Rabbit. Both of those albums were there for me during really difficult times, especially in high school. 

‘Moon & Antarctica’ delivers as much grief as it does curiosity and at that age, the future felt like a massive weight with equal potential for joy and emptiness. I wouldn’t call it an encouraging album but I really felt seen when I listened to it, still do. I also think ‘Midnight Organ Fight’ is one of the best breakup albums out there, and that’s when I found it. I haven’t listened to it much since, maybe once since Scott passed.

Kendra: Back to the present while also looking ahead because I want to talk about “Seg Fault,’ the lead single off ‘Poison Reverse.’ It’s a song I think a lot of 20-30-somethings are currently having a crisis with and that’s identity in relation to aging. Do you think that the current generation’s obsession with nostalgia could be the reason they are having a hard time accepting the inevitable that is growing older? 

Joe Michellini: I’ve always wanted to be a grown-up and have never really understood the obsession with nostalgia. Maybe someone somewhere is longing for a “simpler” time, but was it ever actually simple? We now know yesterday’s simplicity to be a fantasy built on oppression. I’ve also always felt like it’s easy to look back and say “Yeah, that’s great – we know this now, that record is great, that aesthetic is great.” 

I guess that’s what critics have to risk if anything. They have to decide right now. There’s a lot to learn from all the art we’ve already made but I don’t know if that’s the same thing as nostalgia. I don’t judge anyone for being into what they’re into. I’ve actually always felt a little self-conscious about being so interested in the future, but I doubt Holly Herndon feels that way.

For me, “Seg Fault” is about keeping yourself down because it’s comfortable. Aging is inevitable but growth is not, it takes active engagement and it is rarely comfortable. I hope folks of all ages can relate to that.

Kendra: That’s more on a universal level, so I want to take it back down to the personal and talk about “Lamentations.” Joe, this one centered around telling your partner about identifying as non-binary. How long after that conversation did this song start to form in your mind? 

Joe Michellini: “Lamentations” was written in a sitting, and now I use the original lyrics as a bookmark. We were both under a lot of stress, in our relationship and outside of it. It came really naturally, but it took me a while to show it to Hannah. I didn’t want to publicly expose something about our relationship that she wasn’t comfortable with. I’ve lost whatever raw abandon used to make that an afterthought. We’re both artists and working with the song and working on the music video together was actually really healing. We try not to prohibit each other artistically. We founded our union on it actually.

Kendra: And for as silly as ‘It’s Always Sunny in Philadelphia’ can be, there is a dance number where Mac performs this sort of coming out story via interpretive dance one season that’s really moving – and that’s what the video for “Lamentations” reminded me of. It captured an emotional moment very well. Where did the inspiration behind his visual piece spawn from though?

Joe Michellini: In part, the video is one of two ideas I had for a music video when I first wrote the song. We were approached by Megan Lynch about making a music video, who in turn brought on Jackie Papanier. The two of them worked very hard on a beautiful music video concept that we ultimately didn’t have the time or resources to execute. Dance was already part of the original plan and my partner Hannah has been dancing for a long time. 

So we stripped the storyboard down to what we could afford and this was essentially it. I was happy though since it ended up including some of my very early ideas for the video, with gaps filled in and brought to life by inspired editing and cinematography, which I played no creative part in. Hannah choreographed her part and I ended up improvising. It’s exactly what we all hoped it would be, I think. I’m really interested in how practical limitations can help define a work of art. I know we all have to dream big or whatever but I’ve always liked collaborating with the present moment pragmatically.

I’ve actually never seen more than an episode of ‘It’s Always Sunny…’ and maybe not all the way through. It’s kind of a sin living in the Philly area, maybe.

Kendra: It was noted that movement is a big part of American Trappist’s live show. Were there any bands or artists you admired in that regard when you were starting out? 

Joe Michellini: Aldous Harding is one of my favorite artists to see live. The way she uses her body onstage really inspires me. I like going to pop concerts and seeing the detailed choreography, and of course, the noise rock bands throwing their bodies around, or not – equally compelling. When I saw Aldous for the first time though it felt like a spiritual visitation. Not of this world and so incredibly natural and grounded at the same time. You can get some of that from her music videos. I also try to leave shame out of the equation. For this reason, I’m not a very good dancer but that’s not really a priority of mine either. I’m trying to tell the truth with my body onstage.

Kendra: Now it’s time for a side note – with it being May, I always think of the end of the school year and all those memories of field trips, parties, and yearbooks. With that, I’d love to know what your fondest end-of-the-school-year memory was? 

Joe Michellini: Leaving! I had a hard time in public school. I very much believe in public school, but at that age, it wasn’t the right framework for me to learn. I wish I could go back as an adult. I am going back actually. I take a pre-algebra class once a week on Thursday mornings. I had some great teachers and I’ll always remember them, mostly as early mentors and emotional guides. That part of the experience is invaluable and I’ll carry it with me for the rest of my life.

Kendra: Lastly, with ‘Poison Reverse’ out on June 9th,  what else can fans expect as we get into the summer?

Joe Michellini: We’re excited to share these songs because at this point it’s been years since a lot of them were written. It’s tricky to build a set around a record that hasn’t been out for very long. We’re trying to include some new material but not an overwhelming amount, and making an effort to weave it into the previous live shows. I’m excited to play. We are a live band and the records will always be imperfect. I’m proud of it, but of course, we’ve been iterating on them as we have played them and now they feel more real than ever, but you can’t always wait this long to record. We’ve waited long enough. We’re excited to get back onstage together.

The post Nostalgic Poison with American Trappist  appeared first on ZO Magazine.

One of the things I romanticized thanks to years of watching ‘The Wonder Years’ and Nick at Nite was a neighborhood where you were friends with those who lived next door. Where I grew up wasn’t the best of places so befriending neighbors could be a risk, which is why I thought it so sweet when I found out the duo that makes up The Neighborly started as well, neighbors. That’s where we started this back and forth and as things unraveled, we got into what they’ve learned since their 2019 debut, haunting music, love, and more!

Kendra: Now you two were legit neighbors before partnering up. What sort of led to you two working together, and were each of you pursuing music on your own before then?

The Neighborly: A mutual friend introduced us and then we ended up being neighbors on the same block a few months later. Brock asked me to sing with him at a fundraiser for our local food pantry and we really enjoyed working together and thought our voices blended very uniquely. We actually both had musical pursuits earlier in our lives but met in the middle of our lives where Arissa wasn’t pursuing music anymore but Brock was an arts director with a couple of side music projects.

Kendra: Listening to the music you dropped back in 2019 compared to your debut EP, you went from this sort of sweet folk duo to this sultry Americana moment. What pushed you two in this new direction of sorts over the past few years?

The Neighborly: We are actually not a very style-specific band, we just like to explore a lot of genres within the Americana genre. When we play out we are simple, acoustic, and stripped down and that is what our first recordings reflected but when we got to the studio with these particular songs Brock wrote, they were sonically shaped by the studio musicians we worked with and reflected the subject matter of the songs. We also made an album that we would like to listen to as we were heavily influenced by bands in our early lives that have had that same sound.  

Kendra: Also, what are some lessons you learned along the way in making your self-titled EP debut that you’ve mentally noted for the next record?

The Neighborly: We recorded the EP in bits and pieces over a long period of time, it wasn’t recorded all at once. Next time we will definitely not do that and we will record it all at once. As a duo, it’s very challenging to record your vocals together because we lose a lot of natural blending and timing of our voices if we have to cut vocals separately. But it’s also not very easy to record voices at the same time because the takes aren’t very clean. After all, you have vocal bleed unless you have two separate vocal rooms. We are still working on figuring out the best way to do that for the next album. 

Kendra: Listening to “Lights Go Down” felt a little spooky and reminded me of those horror films set in the depths of the south. However, if you had to place a song off of ‘The Neighborly’ in a recent film, which song and movie would you pair together – and why?

Arissa May: It’s funny that you heard that and thank you for noticing that. It does have a haunting feel and is deep in story and legacy as it was written from a conversation with an older woman with a warning, similar to the sayings of the older generation along the lines of “nothing good happens after midnight.” 

Interestingly, the song actually has been picked up by a pilot TV series called ‘Diakonia’ which explores the haunting supernatural. I think “Real Love” would have fit well with ‘A Star is Born.’ A gutsy, sassy, and realistic love song would go well with that storyline. Brock thinks “Lift You Up” would go well with ‘Life is Beautiful’, in which the father carries the weight of the terrible state of the world for his son.

Kendra: Another song I liked was “Real Love.” Would love to know what couples from your lives inspired this one?

The Neighborly: Speaking of “Real Love”, that was an attempt at writing a love song making a case for love that we don’t hear much. It’s based on the concept that love isn’t cheap, but it’s three-dimensional, there’s sacrifice, and there are things that aren’t all flowers and romance. We have seen that in people like our parents and grandparents who have been in long-term relationships. Also, both Brock and I have been married to our spouses for a long time so we were trying to write a love song that we related to at this stage of our lives. 

Kendra: Time for a side note – with it being summer, I’d love to know your go-to summer anthem? Like what song must you listen to when the weather is perfect and the sun is out? 

Arissa May: Brock’s song is “Summer of 69”, and mine is “Wildfire” by John Mayer. Actually, that whole album makes me feel like summer!

Kendra: Lastly, with ‘The Neighborly’ out now, what are your plans moving forward? We talked a bit about new music, but what about performances soon?

The Neighborly: Speaking of summer songs, we are close to releasing a summer single! We are always writing new material, whether its originals or creating our unique mashups. We will likely release more acoustic-style music that you are likely to hear from us when you hear us live. We have a full schedule with local venues, fundraisers, art walks, summer concert series, and a special neighborhood backyard show that we are going to film and release in July or August.

The post A Wonderful Day in The Neighborly appeared first on ZO Magazine.

Kendra: Where did your love of music come from? 

Simone: I’ve always loved music, and I don’t remember a day in my life I didn’t. I come from a family who loves music like a lot of other artists, and like me, they probably agree that music is something they were born with. That’s the best way for me to describe it.

Kendra: Did you always have your sights on being an artist?

Simone: I always knew I wanted to sing and perform. Performing was the biggest piece of my dream, so yes in a way I knew it was a calling I would eventually answer.

Kendra: You’ve noted you’re a small-town girl. I also come from a tiny area on the map. I was always driven to do anything in life just to move. Were you the same way at all? 

Simone: I was the same. I was always testing the waters and doing something new. I have always wanted to try everything that appeals to me, and here I am.

Kendra: Your latest EP, ‘SZNS,’ is out now. Do you feel that each track does in fact represent each season we see throughout the year? 

Simone: Not to sound too “deep” but those seasons on my EP are more like seasons of our lives. You could call it moments, phases, chunks of time. The project explores scorn, forgiveness, healing, and love. I wanted to create something women could relate to as I wanted to create something personal to me.

Kendra: As for one of the songs, “Bass Bae,” we get this wonderful R&B moment about a bass player. Was this inspired by an actual bassist? 

Simone: A very sexy bassist, yes…my boyfriend. He’s truly a genius when it comes to music. I admire his talent and the intense faces he makes when he plays. Hence the lyrics, “let me see it on your face.”

Kendra: With it being March, I’d love to know what song you feel lucky enough to have heard in your lifetime? Like, what’s a song you’re thankful has existed while you’ve been here? 

Simone: Honestly, all of Mariah Carey’s albums in the 90s are my favorite pieces of art. I’ve always admired her range and style of writing. I loved everything about Mariah during that time in her career.

Kendra: Lastly, with ‘SZNS’ out now – what can fans both new and old be on the lookout for from you in the coming months? 

Simone: If you’re in the Philly or Tri-State area you’ll be seeing me out and about performing more often! I’ll be working on building up my YouTube while I continue to promote some videos to the songs on the EP.

The post Changing Seasons with Simone appeared first on ZO Magazine.

When I think of Shamir, I imagine that this is a person who has always presented themselves as a creative force. As if being a skilled painter with a brush in hand was not enough, Shamir also does wonders with music. As can be heard on not only previous releases, but the upcoming – February 2022’s ‘Hetereoseuxality.’ We talked about the painting, the music, and more in this back and forth exchange.

Kendra: Your friend, Fiona Campbell, once described you as “cursed with talent.” Not the worst thing in the world to be cursed with, right? But I want to dive into that and find out when you started to gravitate towards the more creative side of life?

Shamir: I’m not sure when. I’ve just always been creative because I grew up watching my aunt write songs with her friends since I was in kindergarten.

Kendra: Do you feel like you get to explore a different side of yourself when you paint versus when you sing?

Shamir: Absolutely! I tap into my inner child when I paint, I don’t even feel like myself when I paint.

Kendra: Which, let’s talk more about your music as ‘Heterosexuality’ drops this February. You’ve noted this album was about acknowledging your own trauma. Did you find the recording experience therapeutic?

Shamir: It was extremely therapeutic to make. Especially since I feel like it’s my best album yet.

Kendra: Also, I always wonder when an artist pours so much into a song or a record like this, are they ever worried about having to perform those songs live for years to come?

Shamir: I don’t mind at all because I wouldn’t release it if it was too hard to sing. I think about these things earlier on.

Kendra: In your single, “Cisgender,” you state your stance on your identity and bottom line, you’re here to exist. Now, the idea of gender, transsexuality, non-binary – all have existed since humans started walking around the earth it’s just that in recent years the conversation around these ideas has been louder than ever. Why do you think we’ve started to shift more towards this idea of stripping away labels and dismantling gender constructs now?

Shamir: Honestly, not sure, but I’d like to think social change is a natural side effect of time.

Kendra: On top of everything you do, you also launched the Bipolar Butterfly clothing line and portions of the proceeds made from that will go to the National Alliance on Mental Illness. Like with these conversations about gender, mental health has also been given more of a spotlight in recent years compared to even…20 years ago. Do you feel we’re taking steps in the right direction to take the stigma away from being open about our mental health?

Shamir: Oh for sure. I think it’s become a conversation due to the pandemic. It’s forced people who never thought about mental health to consider it and take care of it.

Kendra: We’re going to take a step away from all of the above for a second because with it being February, I’m asking everyone to please share their favorite love song and give us a little insight as to why it’s their favorite…

Shamir: My favorite right now is “Love is Weird” by Julia Michaels.

Kendra: Okay, so to wrap this up – ‘Heterosexuality’ is out February 11th, but what else can fans both new and old be on the lookout for from you in the months ahead?

Shamir: Touring with Courtney Barnett, and SXSW so far.

The post Shamir: A Stroke of Genius appeared first on ZO Magazine.

Kendra: You knew at a very young age that you wanted to focus your life around music, but do you remember sort of the exact moment you knew you could do it?

Desarae Wyn: I knew that I could do it as soon as I was told that you can make it a career at 5-years-old. I’ve always been the type of person even as a little girl where I never thought anything was out of reach for me. I always knew that if I put in enough work and meet the right people I’d one day make it. I may not know when it will happen but I know for sure it will happen. My parents always taught me that I can do whatever it is that I put my mind to. For me, it was always music so I knew that it was possible and in my reach as soon as I realized I could make it a career.

Kendra: Back in the day when you were playing with your Bratz dolls and making them perform, as well as doing your own vocals, what artist were you drawn to most and why?

Desarae Wyn: When I would be playing with my dolls and making them perform I was heavily inspired by Aaliyah and Beyoncé at the time. As a kid, I loved Aaliyah’s soft vocal style and just her music. It was unique. Beyoncé on the other hand had a very strong voice and wide vocal range. I loved to be able to belt and show off my vocal agility with her songs.

So Beyoncé’s music inspired me to explore more of my chest voice. Even as a kid I’ve always had a strong voice but at the same time it is easy for me to sing very light and soft which I also enjoy doing and by singing both of those two artists songs I was able to explore both parts of my voice and later develop my own style.

Kendra: Today you’re focusing on a style all your own. If you had to sum up that style in five words or less, what words would they be?

Desarae Wyn: Unique, innovative, and captivating,

Kendra: You dropped “Moonshine Haze” not too long ago. It’s all about vibing, but I want to know where in Pittsburgh you vibe with the most when it comes to music. Like where do you head to in the city that inspires you most?

Desarae Wyn: Musically speaking I can’t really say there is anywhere in the city that necessarily inspires my music. My music is inspired mainly by what I’m going through at the moment or what’s on my mind. It’s kind of like a diary. With “Moonshine Haze” I was inspired to make it because I was a stoner at the time, and I was actually inspired by some Mariah Carey songs as well. Songs like “Underneath the Stars” inspired my choice of words in this particular song. I’ve always been more of a homebody so I always get inspirations for music when I’m in my own little bubble at home. That’s when I’m able to sit and think.

Kendra: With “Moonshine Haze” out now, are you working on any new music that we can be on the lookout for in the near future?

Desarae Wyn: Yes, I am currently working on some new music which I am very excited about. It is much different compared to “Moonshine Haze.” These next ones are a bit more uptempo and it is something that I feel people will be able to dance to. I’m very excited.

Kendra: Time for a side note…With the holidays coming up, I’m asking everyone this month, if you could ask Santa for one thing this year what would it be?

Desarae Wyn: If I could ask Santa for one thing this year it would be for a really good record deal.

Kendra: Okay, back to the music – with 2021 almost being over, what can people be on the lookout from you as we head into the start of 2022?

Desarae Wyn: Heading into 2022 people can expect some new music as well as the music video for “Moonshine Haze” being released very soon.

The post Shining Bright with Desarae Wyn appeared first on ZO Magazine.

Kendra: Were you the one to take the initiative back when you were a kid to join the Philadelphia Musical Academy Boys Choir?

Dondi: I was actually recruited by the assistant choir director at the time, Dan Rothernel. He came to my elementary school at the request of the music teacher to hear me. My grandfather took me to audition with the director and full choir on a Saturday morning at the Philadelphia Musical Academy. It was quite an experience. Once they decided I was a good fit, they called my mother and asked her permission, and explained the responsibilities. It was life-changing.

Kendra: Having that as your foundation and later enlisting in the Army, would you say all of the above has made you a more disciplined musician?

Dondi: I think the discipline comes from God. He’s given me the drive and ambition to nurture and continue to develop the gifts he gave me. If you don’t use it – you lose it.

Kendra: Looking back to where you started to where you are today with ‘Swim In Your Skin,’ what would you say has been your greatest moment of growth, musically?

Dondi: That’s an easy one. After getting permission from Burt Bacharach to cover “Alfie” written by him and performed by Dionne Warwick. The version I did was produced by her son, Damon Elliott. He’s a great guy and a monster producer, who’s worked with the likes of Destiny’s Child, Pink, Kelly Rowland, Bone Thugs-n-Harmony, Billy Ray Cyrus and so many more.

I took what I learned from him in the studio, back home with me. And shortly after that, we collaborated on two songs that ended up on my “Don’t Call Me Junior” album.

Kendra: Coming out of a year like 2020, it’s going to be hard not to find someone whose creative endeavors moving forward aren’t inspired by the chaos that was. Your title track and single, “Swim in Your Skin” is all about the power of community and that connection. There was a lot we missed out on last year, but for you – what was the most surprising thing you found yourself missing last year?

Dondi: I’m a bit hesitant to say but, what I missed was the sense of security and community I felt as an American. The common sense we used to have in crucial moments. Conspiracy theories and rhetoric ruled the day and still do. Truth is not something that can be ignored by the masses. There is no such thing as alternative facts, but too many of us take hard truths and twist them to fit an agenda. We have become our own worst enemy. With that being said, I hold on to the hope that most will come back to their senses, and we can turn things around.

Kendra: Overall this album was inspired by not only the pandemic but also the social injustices that seemed to be nonstop throughout last year. Where was your mindset most of the time as a Black man who has served his country watching these scenes play out the same way time and time again?

Dondi: Certainly not a surprise. African Americans have been fighting for equal rights and equal justice under the law since the founding of our country. Remember, we had to beg to fight in the Civil War to secure the freedoms we were promised by our creator and have fought bravely alongside every shade of American since. Today we are faced with the prospect of not teaching our children the truth about race relations in our nation, and how slavery has affected our social and economic landscape. Some would have us whitewash history and sugarcoat the truth, even as it plays out in real-time on national television. There is no future if you can’t face the past.

Kendra: I think we’ve heard this line said more than once in recent years, it’s that America loves Black culture more than Black people and that pertains to Black people and their influence on everything from fashion to slang to, of course, music. As an artist rooted in a genre like soul, what are your thoughts on that?

Dondi: Black culture is rich in diversity. Just as every other culture in this melting pot, but the difference in my opinion is that Black music and culture are rooted in survival. From the very beginning, black music was spiritual. Sung in the fields while toiling over someone else’s land by force. An alchemy of joy and pain that gave us a sense of belonging in the world. As time moved on, more heard it for what it was. It said to our oppressors, “No matter what” I’m going to survive this. That’s where “Swag” comes from. It’s just confidence. It’s in the way we talk, walk, sing, dance, and interact with the world. That kind of confidence is appealing to everyone. It’s a contagion, and we are more than happy to share it as long as it’s not belittled. It means a great deal to us.

Kendra: Lastly, it’s getting a little easier with the vaccine rollouts, but it’s still kind of hard to have a definite answer when it comes to future plans given the current state of everything, but as far as what you can control when it comes to your career and creativity – what do you have planned in the coming months for yourself.

Dondi: I’m in rehearsals right now putting together a show that I hope will bring smiles to faces. I want to make people think, dance, make love, and work on being better people. I’ll be kicking it off on December 1st at World Café Live in Philadelphia and hopefully head on to NYC and other cities to share the Dondi experience. There will be songs from past projects as well as from the new album. And maybe a couple of brand new tunes I’ve recently finished. You’ll have to come out to find out.

The post Take a Dip with Dondi appeared first on ZO Magazine.

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A decade ago Frankie and Robbie were both wandering around Berklee hoping to find a friend they could put their all into. When they met, their love of music was obvious but it was their shared fondness of another creative outlet to be admired that sealed the deal. You’ll find out what that was soon enough, as well as more about the snowstorm that inspired Thebandivory, and what’s to come as they – and the rest of the world – hit pause for a minute.

Kendra: It’s easy for students at Berklee to find common ground, but what was the first non-musical thing you two bonded over?

Frankie: It’s funny to say but the first non-musical bonding moment was our love for drag queens. You have to understand that Berklee’s queer community, especially 10 years ago, was very limited. So having someone who understood the irreverent nature of drag queens was important in making the creative process fun.

Robbie: Well, the LGBTQ+ community at Berklee is relatively small so finding another gay person who wasn’t an Adam Lambert impersonator was probably the first impetus of us meeting for me.

Kendra: So many people are staying inside to be safe, and you two are no stranger to that. Several years ago y’all had to do just that when a blizzard came through, and that in turn helped get this group started. Do you have a personal space in your heart for blizzards now because of that or could you have done without all that snow?

Frankie: While I’m incredibly grateful for that snowstorm being the catalyst for creating ThebandIvory, my tropical ass can’t handle the extreme tundra that is Boston. We definitely see a California move in our future.

Robbie: That particular snow has a soft spot in my heart. I had never seen anything like that before, where street level is the same as the top of the fire hydrants. But no, I’m not a fan of snow once it’s on the ground generally.

Kendra: It has been five years since you dropped your debut ‘The Beast.’ Since then, what growth have you noticed about your musical partner?

Frankie: Growth comes in many forms and Robbie’s growth has been layered. It goes without saying that he’s a skilled instrumentalist (covering a whole rhythm section) but the most growth I’ve seen is his confidence and in honoring what the song needs. Many producers create what THEY think sounds good but he lets the songs guide him. It’s a selfless act to put your ego aside and truly create from a place of capturing truth sonically.

Robbie: The biggest thing, musically, is that he’s completely expanded to a whole new set of instruments. We dabbled a little in strings on our EP (on ‘This World’ we had some guest musicians playing the string parts) but over the last five years Frankie taught himself (with the help of maybe like half a dozen lessons) to be a professional string player, so we’re really able to orchestrate with wild abandon now because Frankie basically has the orchestra at his fingertips.

Kendra: Let’s talk about “Factory Song (Hey Oh, Goodbye).” I feel like we’re all going through this to some degree right now; a never-ending cycle of sadness. Other than creating music, how do you shake those bad feelings, especially when practicing social distancing and staying home?

Frankie: I like to say I work with undiagnosed “functional ADD.” It lets me focus deeply but on many different things. Currently, I’m refining my sewing chops designing and making looks for future shows, restoring old instruments I’ve acquired over the years (too many flutes and clarinets in our basement!), making linocut relief prints for band merch all while learning how to embroider. I’m a bit of a creative freak and absolutely love that I get to use all my skills in ThebandIvory. It’s honestly all a way to distract myself from the existential hurricane outside.

Robbie: Exercise helps, just getting out in the sun helps. Finding things that are the opposite of dark and twisted, like ‘Mario Kart,’ helps. Laughing helps, so enjoying a funny show or podcast or whatever. Just finding something to get me off of my phone and social media that captures my attention for more than a couple minutes.

Kendra: When I pressed play on “Factory Song (Hey Oh, Goodbye)” I didn’t know where to place you and that’s sort of the style nowadays. So many artists are breaking free of genre constrictions. Do you think that has anything to do with brick and mortar record stores and their genre sections, becoming a thing of the past?

Robbie: It’s a few things, I think. Technology lets people take their music in their own hands, so a lot of people (us included) produce their music at home, where you can experiment without the clock running on studio time. Another thing is that there are only 12 notes (in Western music), right? There are only so many combinations of things before we start repeating ourselves. And a lot of bands make a career repeating themselves but a lot more of us strive to make something new and better every time that pushes the envelope beyond what we’ve done before. And because music tastes are less curated by radio stations, and we have access to literally almost any music at any time, we can be influenced by more. We can find the common threads and use those to bend the idea of the “genre.” Which, sort of, in a long, round-about way, answers your question “No, and also yes.” I think the downfall of terrestrial radio has more to do with it than record stores, but it’s all related.

Frankie: My theory on this is that people who don’t have a lot of money can make records that would have cost an unfathomable amount of money before. So different people (people of color, people without a lot of financial resources) have voices where they wouldn’t have before because most of us can come up with the money for a home recording set up that costs the same as, like, 5 hours of studio time with an engineer. So we get to express ourselves where we wouldn’t have been able to before, and not only that we can express ourselves honestly.

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?

Robbie: Yeah, obviously we had to re-evaluate our goals since we wanted to play some cool shows and festivals this year. But now we are hyper-focused on getting our album finished in the next couple months for a hypothetical August/September release, but ya know – we’ll see.

I contemplated this song question for a while, but the one I keep coming back to is “Tiny Dancer” by Elton John. It could be because we just watched ‘Almost Famous’ a few days ago. But that movie is like 20-years-old now, so anytime I hear that song it takes me there, and I think about the power that song had to take such a tense moment and turn it into a moment of bonding and human connection. I think we should all just listen to “Tiny Dancer” on repeat for a while. But don’t discount anything from ‘Madman Across the Water.’

Frankie: Even though we have to press pause on playing in-person anytime soon this does open up a window of time to finish our album. Recording with an open time table is freeing plus Its comfortable recording orchestrations while in jammies. It’s great to see the music industry using the “virtual world” to spread good vibes.

The song that gets me out of any rut is “I Want to Dance with Somebody” performed by Whitney Houston. I know I know it’s not a musical trailblazer but that’s one of many reasons why I love it so much. It’s fun, vibrant, it’s colorful! As soon as those first few beats hit I want to jump out of my seat and dance with her. The irony dawns on me now while I literally dance with nobody.

The post Thebandivory: Serving Up Genre-Bending Realness appeared first on ZO Magazine.

See, pop music is tricky. So many artists rely on the music that encases their vocals because well, their vocals aren’t strong enough to carry the song. That’s why artists like Adele, Mariah, and Celine are far more than pop music icons. They’re artists, and I know one day everyone will say the same about Taylor Kelly because her soulful R&B-pop sounds are next level.

Now gear up because talked about this talented singer’s trumpeter background, how she wound up in Philly, and what’s to come from her as the rest of 2020 unfolds…

Kendra: Where did you get your start in music because a voice like that can’t just come out of nowhere. Were you in choir at all growing up or perhaps just band with your trumpet skills?

Taylor Kelly: As cliché as it sounds, music has always been a driving force in my life, and I began integrating it in my life beginning in 4th grade when I picked up the trumpet, and in 5th grade when I joined my first choir. I was very heavily involved in choir, show choir, jazz band, symphonic band and the school musicals all through middle and high school. Being in jazz band exposed me to vocal jazz music which allowed me to start to find my sound as a vocalist. Also, playing trumpet has certainly helped me as a vocalist in terms of technique and musicality, and I owe a lot of my vocal abilities to my first voice teacher that I studied with from 6th to 8th grade. He really got me singing

Kendra: Did your interest in picking up the trumpet come from your love of jazz?

Taylor Kelly: Playing the trumpet was largely influenced (if not solely influenced) by my dad who played trumpet up through college. It was one of his bigger passions. He stopped playing after college and I think he wanted someone in the family to carry on this lost passion of his. He helped me to understand and love the instrument. My love of jazz actually came out of playing in the jazz band in middle and high school since we didn’t listen to too much jazz at home. My dad basically listened to dad-rock and my mom listens to anything that’ll make her cry (she loves singer-songwriters and power ballads).

Kendra: Last summer you dropped ‘Up Up and Away’ and now you’ve got your latest single “The Fire.” Was that a song that wasn’t ready for the record or something new you’ve been working on?

Taylor Kelly: “Up Up and Away” was released in August of 2019 but all of the songs were written following a break-up two years prior (August of 2017). We took our time with making the record and by the time we had released it, I had already had a whole other album of songs ready to record.

“The Fire” was not meant to be the first single I released in 2020, as I had a handful of songs that I had written a lot earlier and was planning on releasing one of those. I wrote “The Fire” in late October of last year after losing my guitarist very suddenly and we recorded it a few weeks later. This song became more important to me than everything I had written before it and I needed it to be heard.

Kendra: You’re originally from New York state but are now living in Philly. Did you head there for the music scene?

Taylor Kelly: Philly took me by surprise. I was living in Boston at the time when I visited Philly for the first time. I was feeling very stagnant and uninspired having been in Boston for two years past finishing my degree at Berklee and I was ready for something new but didn’t know what. My last roommate in Boston was dating someone that was living in Philly so she talked me in to driving to Philly and having me audition for ‘The Voice’ that was having auditions there, and of course, to visit her partner.

The audition was pretty miserable, but it took me about two minutes of being in the city to know that’s where I wanted to be. It was love at first sight. That was February of 2016. I packed my bags and moved to Philly in August of that year after landing a music teaching job and a place to live. I just got really lucky since the music scene here is so incredibly rich and so supportive of one another. I haven’t turned back and I thank the universe every day for bringing Philly into my life.

Kendra: Time for a quick game we like to call “Cover, Duet, Tour With.” So when it comes to Stevie Wonder, Erykah Badu, and Moonchild…you guessed it, which one would you want to simply cover, do a duet with in the studio, and last but not least hit the road with?

Taylor Kelly: Wow. This is like Marry-F*ck-Kill (can I say that?) but much more fun and difficult. Well, I can proudly say that I had the privilege of opening up for Moonchild a little over a year after coming to Philly at World Café Life and that was truly life-changing. It fueled me to keep going and take this as far as I can go. So, I have covered songs by all three artists, but doing a duet with Stevie Wonder would be a dream I couldn’t ever imagine coming true. He would kick my ass though. Touring with Erykah Badu would be INSANE. I guess that leaves covering a Moonchild song (which is quite a challenge.) THIS IS HARD! CAN’T WE JUST DO A STEVIE/ERYKAH/MOONCHILD/TAYLOR KELLY TOUR?

Kendra: We can do whatever you want! And thank you for being one of the most enthused about Cover, Duet, Tour! Now, back to “The Fire.” Is this the lead single from a new album to come?

Taylor Kelly: I will say that “The Fire” is the first of a few singles that I plan to release this year. I think I need to take a break from the album thing for a little bit. I’m still recuperating financially (and emotionally) from that as well as the release tour and I’m just trying to take it easy, and remember to enjoy being an artist and being able to create and put out music at my own leisure.

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 but if you can, you can go ahead and let us know what you have tentatively planned.

Taylor Kelly: This world is in a very strange place. It’s hard to say when my next show will be, but I do plan to release some new content in the next few months so keep your eyes and ears peeled. As much as this has been a devastating couple of weeks with no real end in sight, I do feel that this is a blessing in disguise. We are forced to take action in terms of our faulty healthcare system as well as the lack of paid leave we have in this country and the way that people are treated in general. It’s more important than ever that artists are creating art and spreading love and joy and hope to those in need. Music can get us out of really dark places, and for that, we have to keep going.

The post Taylor Kelly: Burning Bright appeared first on ZO Magazine.