Photo Ladies 1/7/21 Photo Ladies 1/7/21

INTERVIEW: DECOUPLR

HPD studio group pic.jpg — DECOUPLR

The Photo Ladies Interview - by Emily May

With a unique blend of electronica and trip hop, Philadelphia duo DECOUPLR, comprised of Bailey Walker and Adam Laub, recently released their first single "Cold Sweat", a track that aims to convey their message of a technology driven lifestyle. “I used mellotron flute samples to create the main synth line mixed in with 808 drums and other digital sounds to give the modern electronic sound a vintage feel,” says Laub. “The tape hiss cutting in and out over the track with the sub drop of the kick drum also serves to create the dissonance between electronic and physical.” “I thought about the concept of distance in a modern technological world," explains Walker. “To me, "Cold Sweat" is an intersection of the whirling uncertainties of this year colliding with a desire to be vulnerable with our closest friends.” The duo have announced the release of their debut album, DIGITAL BONFIRE, in February. Formed in West Philadelphia in 2019, DECOUPLR blends Walker's long history of live vocal performance and Laub's experience with electronic sounds to create their own unique sound. A staple in the Philadelphia music scene, Laub met Walker when she moved to West Philadelphia from Savannah, GA and they connected musically in a surprising way that led them to collaborate. With influences ranging from Trent Reznor, Sylvan Esso, and Flying Lotus, their music contains a mix of dreamy & sweet and punchy & playful sounds. Although people are more connected than ever in this modern digital age, DIGITAL BONFIRE explores the increasing feelings of loneliness that have ensued. You can connect with DECOUPLR via the following links and stay up-to-date on all upcoming album news.

Adam- You have been an integral part of the local Philly scene for years, having played in several bands that encompass pop, electronic, trip-hop, and ambient sounds. Bailey- You began making music in Savannah, GA, later moving to Philly to play with the neo-soul group Likebirds. Did you always know that you wanted to have careers in music? What can you tell me about your musical backgrounds?

Bailey: Until a couple of years ago, I was really shy and not particularly interested in making music though it had been a big part of my life. I grew up singing in church, took some piano lessons here and there, and played saxophone throughout high school, but was only ready to step out on my own in late 2017. I was invited to practice with a group in Savannah who perform as Rich Animals, which is an experimental indie rock project. They are dedicated to creating space for new artists in town to grow and helped me over some creative hurdles. They encouraged me to pick up several instruments, I mostly sang and played saxophone. While in Savannah I met Sean and Brendan Kelly, members of A Fragile Tomorrow and recent project So Sure, and became friends over shared musical taste and a passion for social work specifically in the disabilities community. I recorded my first EP at their studio, Low Watt, shortly before making the jump to Philadelphia.

I didn't know music would be a career path for me. I have seen the groundwork, vulnerability, and dedication this craft takes and would often be overwhelmed at the thought of stepping into my own! Moving to Philadelphia brought a different attitude, though. In my first year here, I spent some time taking myself to open mics and finding shows at local venues to just get an idea of what was happening around town. I am still completely floored by the talent in this city, I am humbled to make music here and continue to meet new people.

Adam: I knew that I wanted to have a music-related career from when I was about 14 years old. I did live sound for my high school theater and got a cheap interface and mic set for my birthday. From then I started recording my friend’s bands in my parent’s basement much to the chagrin of my mother. She was very patient and let me play loud drums and guitars in our basement for hours on the weekends. From there I ended up going to Drexel for Audio Engineering and opened a studio with some of my classmates called Sleepless Sound Studio.

What can the two of you tell me about your childhoods and how they shaped your respective love for music?

Bailey: My parents were touring musicians for most of my childhood, so I became familiar with everything ranging from doing homework on the road to learning how to complete a proper soundcheck before I even made it to middle school. I was taught to be a curious listener, identifying parts of songs or albums that I liked and why. i.e. What instrument is being used and what is its history? What is making me connect to this piece of art and how did this art reflect the time? It's always been a part of me, I love interacting with music because of how expansive it is. There's always an opportunity to learn something.

Adam: My family is from the NY/NJ area so Billy Joel and Bruce Springsteen were always on heavy rotation with my dad. My mom tended to listen to more of the 80s pop hits as they graduated high school in 1985 and were very immersed in that culture. I started piano lessons when I was 9 years old and maintained a pretty rigorous competitive performance schedule throughout my childhood into high school. In high school, I switched teachers and moved away from the classical training and got a teacher that taught me blues scales, jazz chords, rock piano improv, and all of the fun stuff that they won’t teach you with a classical teacher. At the same time, I was getting very into digital production and learning Logic and Reason. I still use Reason for all of my music production.

How did the two of you meet and what led you to decide to form DECOUPLR? What can you tell me about your sound, which merges the intricate digital elements of trip-hop and electronica with the live elements of soul music and vocal performance?

Adam: We met each other after Bailey moved to West Philadelphia from Savannah, Georgia and after I heard her vocal style, I knew that she would be the right fit for some of the beats I had been working on for years. We got into the studio and laid down some rough vocals over the demo of Cold Sweat and a couple of other songs that ended up on the record and from there it all flowed naturally. I always had a cold sounding electronic production style and blending in Bailey’s vocals bridged that connection from the electronic to the live in a way that I wasn’t expecting.

Bailey: Growing up as a saxophone player, I tend to lean toward warm vocals and strong melodies. Adam brought a few ideas to me that were previously written with a rapper in mind, the beats were well constructed and could stand on their own. I felt that my task was to provide vocals that supported the framework he had built and add an emotional component. Sade is an artist I drew inspiration from, in the way that she brings a warm, thoughtful vocal and is not limited to a specific genre.

You recently released "Cold Sweat", the first single from your upcoming debut album DIGITAL BONFIRE, which explores the concept of distance in a technological world. What can you tell me about the song, as well as your use of music/sound to mimic the stacking emotions of a dissociated anxiousness?

Bailey: The original track for Cold Sweat was a project that Adam had worked on previously, there was a vocal sample on the track that kind of led me to the melody. The song was introspective and complex, each phrase beginning is accompanied by a sub drop followed by arpeggiated bells. This wave-like, contemplative sound reminded me of uncertainty, which is what I tried to explore in the lyrics. As the idea formed, we began stacking sounds with an intent to accentuate the dizzying concept.

Adam: DIGITAL BONFIRE is 11 tracks, of those 11 tracks, 5 were beats that I had made in the past with no specific purpose. I had released trip-hop and experimental electronic music under the name <radioaddict> in the past and didn’t feel that these tracks were right for that project. In fact, most of the tracks that we used from my archives were meant to have a rapper on them and there are demos of the tracks with rappers on them that didn’t turn out the way I wanted them to. After we started working on DECOUPLR, I saw a new perspective on the potential for some of these beats after getting Bailey’s vocals on it. From there we wrote Cold Sweat, which is all about the loneliness of the digital age and the rest of the songs followed suit with similar themes.

On Cold Sweat I used a Mellotron sampler that I have to create the flute sound and give it an organic feel. I really like this Mellotron sampler because it is made from extremely high-quality samples of a real Mellotron, which I feel give it much more authenticity in the sound than a lot of the other Mellotron samplers that I have played around with.

You have said that the digital age is a tether that keeps people connected no matter where they are. Your upcoming album explores the greater message of a technology-driven lifestyle and the ever-increasing feelings of loneliness associated with this new connection. Can you talk a bit about making the album and the broader message you are trying to convey? Why do you feel that people are feeling so lonely despite so many ways to connect?

Bailey: I noticed a pretty distinct learning curve with some technology in my personal relationships when COVID-19 began. We were experiencing an abrupt lifestyle change, processing fear, and trying to adjust. It takes a bit of effort to learn new forms of communication, and the frustration for some is very real. Most can accomplish check-ins or birthday parties via Zoom or FaceTime, as we all found out this year, but it is still isolating. This experience as a whole is like no other in history, and in a lot of ways we are collectively grieving a time when things were “normal.” There are still many unanswered questions, lost loved ones, and no clear idea of what our future looks like right now. Those of us who are not comfortable knocking out these topics over a Zoom call have a lot to sit with and sort through. How do we open up like we used to? What are the new routines that keep us in the community together? Connection and care are available to us right in our pockets, and a lot of us are learning as we go about how to wield that power.

Adam- You are an up-and-coming producer, songwriter and engineer who wants to develop smaller local acts. What can you tell me about Sleepless Sound Studio, the studio you started with other local producers? What led to your interest in production and engineering? What can you tell me about the local Philly music scene and your love for helping local artists?

Adam: In college, we all played together in a band called OhBree. OhBree is a large band with 8 members and a focus on getting literally as many tracks on the recording as possible. We would record 24+ horn tracks, 15 vocal tracks, piano, guitar doubles, bass, drums, synths, special effects, and more on one song. Working on OhBree in college with Bob and Luke (my two partners at Sleepless Sound) really helped us grind out our editing and mixing skills. After college, we all knew we wanted to continue working on production so the three of us got a plan together to open a small studio. We scraped together a modest starting budget with the help of family and friends and found a little spot out in Germantown where we started Sleepless Sound. The pandemic has affected our business dramatically as it is not really safe to have sessions in a small unventilated room with outsiders, but we have been running for close to 7 years now.

I love finding small artists and working with them to make their projects better than they thought it could be. I have always been of the school of thought that it is much better to take the time and care to edit and mix thoroughly and consider the artists’ taste than to have expensive equipment and push something out quickly. For years we did the editing for free because we wanted our artists’ work to shine no matter their budget. I know that a lot of studios can be cutthroat with pricing, and show off their flashy gear but in the end, they don’t always take the time to work with local artists who can’t necessarily afford the dozens of hours it takes to make a record sound professional. Our stance was to always try to help the musicians that came to us even if we didn’t necessarily profit from it.

In general, I love the Philly music scene. I have met so many loving and warm people who care deeply about even the smallest local act. I spent countless nights in basement shows that were packed out wall to wall with local fans. I feel like you don’t find that kind of accepting and engaging musical community everywhere and it was one of the things that drove me to continue working in the Philly music scene for so long.

What can you tell me about your musical projects you are involved with outside of DECOUPLR?

Bailey: I got my start singing with the local neo-soul darlings called Likebirds, they began writing and performing in 2017. They are a well-polished project that believes in equal contribution to the sound, they are true collaborators. Dani Gershkoff brings an impressive skill set both vocally and instrumentally, Joe Perullo is a multi-instrumentalist who writes, plays drums, and occasionally features on keys, and Christopher Thornton thoughtfully weaves between the band creating an atmosphere like no other. There are talks about a music release from them soon, so stay alert!

Adam: I have played drums and produced in OhBree, a wacky art-rock band that featured an 8-piece costumed band with a horn section, since 2011. OhBree has been a bit quiet in recent years but we still have some new material in the wings and someday we will return to the Philly music scene to play way too loudly for you in a small concrete basement.

I have played in a noise/ambient project called Tidal Archive with my close friend Tyler Mack who just released a solo EP under the name Samurai Mack that you should absolutely listen to if you like prog rock and trip-hop. Tidal Archive has released over a dozen ambient and noise records over the years and every year we do a live-streamed 24 hour-long noise and ambient performance where we get local experimental musicians to join us for blocks of the improvised performance. We have done the livestream for 7 years running; however, we will be skipping this year due to covid which certainly makes me sad. Hopefully next year we can come back strong and who knows, maybe we will force ourselves to do 48 hours to make up for the missed year! Tidal Archive has also scored postmodern dance pieces for the Temple Dance Masters Program as noise and ambient is the perfect backdrop for these kinds of performance art pieces.

I also have made electronic music and trip-hop beats under the name <radioaddict> and collaborated with the now-defunct Glitch Squad record label to release a few EPs and songs for compilations through them. <radioaddict> started as an electronic singer-songwriter project in the vein of Caribou or Panda Bear but over time moved towards the trip-hop instrumental style that we ended up using for DECOUPLR.

How have you been navigating the musical landscape as artists during the Covid pandemic? How has it altered the music scene in Philly? What do you think the music industry will look like on the other side of this?

Adam: The pandemic has essentially completely killed the local music scene in Philly. With so many venues shutting down forever like Voltage Lounge and Boot and Saddle along with many DIY house shows not able to operate, live music is basically gone from the city. If one good thing has come out of all of the venues closing and real-life interactions halting, it’s that it has forced a lot of the musicians I know to explore new directions for their music. I have seen a lot of friends making new projects at home in a different style. An artist that I work with at the studio frequently, Jameel Farruk, is taking the time to learn recording software at home and trying a new direction for his music and I have several other friends that are putting out some of their most unique work now that they have the time and focus to work on something different.

I hope that after covid is quelled, things will return to normal. I doubt that venues that have closed permanently will be able to re-open but I hope that the house show venues come back in full force and new venues open to replace the closed spaces. I am sure that once we all feel safe going back out into the world, there will be a huge demand for live music and concerts and I am hopeful that the passionate people in the Philly music scene will cause everything to bounce back stronger than ever.

Who are you listening to right now? Who are some of your favorite Philly artists?

Adam: As far as Philly staples, I have always loved The Extraordinaires and Man Man. I also love Kyle Press’s solo work that you can find on Bandcamp at kylepress.bandcamp.com. He is an amazing saxophonist and multi-instrumentalist that you should definitely check out. Also, I love Vince Tampio’s solo music and the band he plays in, You Do You.

Outside of local music, I have been listening to a lot of modern classical like Nilhs Frahm and Ólafur Arnalds. Also, I love Bonobo, DJ Shadow, Tyler the Creator, and I have had the new Sylvan Esso record on repeat since it came out a few weeks ago.

Bailey: Some of my favorite Philly artists are Rosalie Swana, Werwe, Likebirds, Upholstery, Sam Rise, Martronimous, Suzanne Sheer, Taylor Kelly, Sleepmonster, Secret Nudist Friends & Lauren Scott. I love this city.

What's next for you?

We have a music video for Cold Sweat coming out from Drew Mercadante and Matt Keppler over at SUPERVOIDtv. They are amazing visual artists and I am so excited to share the work that they have done on this music video. After that, we have a couple more singles, some more videos, and a full-length album coming in February 2021!

Photo Ladies 12/30/20 Photo Ladies 12/30/20

INTERVIEW: The High Plains Drifters

Lawyer turned musician Larry Studnicky never pursued music growing up. A self-proclaimed nerd in high school, it was during that time that songs started writing themselves in his head. In the 1990s, he started working with recording artists, songwriters, record producers, labels, and music publishers, which gave him a deep appreciation for the hard work that goes into making it in the music industry, especially for older artists. A bit deterred to take the leap into music himself, in order to prove to himself that the songs he had been writing were good, he ultimately decided to go for it. As the lawyer who, at the turn of the millennium, structured and closed the landmark label and publisher deals that ushered in the world of digital interactive radio (enjoyed today by listeners of Pandora, Spotify, etc.), he made the decision to pursue his true passion: music, thus forming his band The High Plains Drifters. His band is comprised of veteran musicians Charles Czarnecki (producer/songwriter, keyboards, lead & backup vocals), John Macom (rhythm & electric guitars, lead & backup vocals), Mike DoCampo (rhythm & electric guitars, backup vocals), Kyle Cassel (drums, backup vocals), and Dave Richards (bass, backup vocals), most of whom are lifelong friends. Before coming together as The High Plains Drifters, the group's members worked alongside an array of legendary acts and artists including Pete Townsend, Brian May & Roger Taylor of Queen, Suge Knight of Death Row Records, Fred Schneider of the B-52’s, and Mickey Dolenz of The Monkees. John Macom’s music has been showcased in indie movies and TV shows, including Dawson’s Creek, Party of Five, and Felicity. Last year saw the release of the band's debut self-titled album, which takes the listener through various genres, such as pop-punk, mainstream rock, and ballads, conceptualizing a listening experience of a sonic road trip across the country. The band has most recently released their latest single, "Santa! Bring My Girlfriend Back!", a precursor to their sophomore album to be released in 2021. Produced by Greg Cohen (Robin Thicke, Nile Rodgers), the track tells the story of a distraught man who seeks solace in drinking after having his girlfriend stolen by Santa Claus and blends traditional and contemporary sounds such as marimbas, acoustic guitar chords, and horns. The band also released an accompanying animated lyric video to go along with the song. With the song's release, the band hopes to bring some much-needed Christmas cheer to a world that has been beaten down by crazy events. With a new album to be released next year, you can connect with the band via the following links to stay up-to-date with all upcoming news.

You are a lawyer who has built a career in the music and entertainment industry. What can you tell me about your decision to pursue your love of music and how has being a part of the music/entertainment industry for so many years helped you as a musician?

The decision to pursue music later in life grew out of the desire to prove to myself whether the songs that I'd been writing for years (mostly unbeknownst to my family, friends, and work colleagues) were any good. It took a large chunk of my life to believe that my songs were good enough to be on the radio. I didn’t grow up with music lessons and never learned to play an instrument, not even later on. I was very much a nerd in high school, which was when the music started writing itself in my head. I can state categorically that I’d have been voted the least likely guy in my graduating class to front a rock band. It was the 1990’s when I was working with recording artists, songwriters, record producers, labels, and music publishers. It helped me to appreciate just how hard it is for anyone, no matter how allegedly talented, to break through all the clutter and get their works noticed. If anything, that realization probably deterred me a bit from jumping into the artist world. Why would anybody pay attention to someone arguably over-the-hill? The music industry is about as kind to older artists as Hollywood is to older actresses. But it came back to wanting to prove something to myself. I knew that the odds sucked and success was improbable. But I felt compelled to do it and see what would happen. The first song that we recorded and released (the single “Get Me Home By Christmas Eve”) made it to radio and, about 9 months after the Christmas it was being played, I received my first tiny royalty check. It was barely enough to buy the band a few rounds of drinks. Yet that was enough...more than enough to motivate me and the rest of the group to keep going.

What can you tell me about your bandmates, who are all veteran musicians, and how you all came together to form The High Plains Drifters?

The first thing I say about my bandmates is that each is an amazingly talented musician, and most are also great singers. I am incredibly lucky to work with them. Most of us have known one another, in varying combinations, for decades. I met guitarist John Macom at a business meeting in the ’90s at a record distribution company. John worked there. I learned that he was an indie recording artist (and he still is, under the group name BINGE and under his own name). I listened to and loved the material he had put out. I helped him place some of his tunes on popular TV shows of that era (Dawson’s Creek, Party Of Five, and others). We’ve remained friends since then. Kyle initially was our recording engineer on the debut album. We learned that he was also a drummer. I asked him to take over on drums when it became clear that our original rhythm section (including the bass player) wouldn’t be available to us often enough. At that time, they were in the band of the JERSEY BOYS musical. Kyle and our bassist, Dave Richards, were longtime buddies. Kyle invited Dave into the group. Guitarist Mike DoCampo (“Doc”) and I met in the ’90s on my first music project (where I was involved as a songwriter). Mike’s band was doing an album, and I contributed 5 songs. It was an insanely fun experience, worthy of a book or movie. For one thing, we were recording at a mob-owned studio (at the outset, we didn’t know, but it became clear very quickly). It was the same mob family that was the basis for The Sopranos. I can tell you this (and I’m half Italian): you have not eaten in an Italian restaurant until you’ve gone to one with a Capo in a Mafia family. Keyboardist Charles Czarnecki was introduced to me by my late law partner Alan Bomser, who called Charles the most brilliant musician he had met in a career in music spanning over 50 years. Charles produced the first half of our debut album before moving to Berlin after getting married. But he still works with us remotely.

You have said that your first foray into the recorded music industry ended in a financial disaster, but you gained the perspective that if you persevere and play your cards right and have some luck you can get a second chance. What can you tell me about your self-titled debut album being your "second bite of the apple"? What fueled your perseverance? In your experience in the industry, how often do second chances occur?

Yeah, that first foray was in the Mafia studio — very costly but extraordinarily fun. And maybe that’s a good summary of how one should weigh any new project in the arts: You’ll probably go broke, but it’ll be a hoot doing so. Ha. Anyway, as I mentioned, I was very hesitant to dip my toes into the artist world. Initially, I asked John and Charles to work with me on just that first single, “Get Me Home By Christmas Eve”. I told my wife that I’d not be stupid, saying, “It’ll just be one song.” Then I added the caveat, “Unless the song gets on the radio. If that happens, we’ll keep recording.” It was a lot of fun when I announced to her, “You are screwed now baby! Our first single is on radio, and now we’re going to do an album.” She just rolled her eyes, but she didn’t try to dissuade me. The thing that fueled my perseverance was really nothing more than this attitude: “Screw it, I have nothing to lose except maybe some people will think I’ve gone nuts. And they can all go pound sand.” My late dad raised me with the firm belief that you never succeed by worrying about what people will think of you if you fail. So, I’ve never worried about failing. As to second chances coming around, in the music industry, you have to make your own second chances. Heck, I had a client whose indie label released what ended up being the final album of Carl Perkins’ career. I met Carl several times during that process. He was warm and humble, yet also charismatic — and damn could he put on a great live show at age 65! But when I met Carl Perkins, he had been without a record deal for years. I was dumbfounded. You’d think the industry would take care of, at a minimum, the few people who gave birth to rock-n-roll. Nope. So, you can’t rest on your laurels (not that Carl did).

Being over 50 years of age, you have said that some of your peers think you are nuts to pursue music at this late stage of your life. What has the experience been like for you, to pursue music as a passion rather than a career?

I am having a blast. I love working with this band, and I’d probably keep doing so even if our songs weren’t getting noticed. I have a ton more songs that I want to get out of my head if only to see how much better they become once these amazing musicians put their magic on them. Plus, doing this lets me torture my almost-14-year old daughter when we’re playing music in the car. We’re always listening to tunes — sometimes it’s what she’s playing from the playlists on her iPhone; sometimes what I’ve chosen from SiriusXM or Pandora or Spotify or — more recently — my new favorite streaming radio station for rock: the NewHD app. Everyone should go download it. They’re playing great rock from all eras. Back to torturing my daughter. I love saying stuff like this to her: “Hey Anne, was that Ariana Grande we just heard on the radio? And isn’t Amazon Music’s Digster Christmas playlist featuring not just Ariana’s Christmas tune but also the new one from The High Plains Drifters?” She never responds. She just rolls her eyes. For decades now, women have been rolling their eyes at me. I’m immune to it.

You have said that in the studio, some songs take on a life of their own and dictate the musical genre, even if you originally heard it differently in your head. How often has this happened to you in the studio?

It happened more on our debut album than it’s happening on the current 2nd one. For instance, let’s go back to our first song, “Get Me Home By Christmas Eve”. It ended up with a very Country-leaning sound. Only later did I learn that the American radio industry calls the genre “Americana”. It didn’t have to end up with that sound. It could’ve leaned more rock. But, at some point during the early recording process, I turned to Charles Czarnecki and said, “I think I hear a pedal steel guitar on this song.” Charles miraculously found, in Connecticut of all places, a pedal steel guy who had recorded and toured with Willie Nelson, Hank Williams, Jr., and other huge country acts. That one instrument almost alone cemented the direction of the song. On the 2nd album, we’re taking more time doing fleshed out demos of the songs. To some extent, that’s going to result in a more sonically unified album. Even so, surprises happen. We’ve just recorded the basic tracks for my song “Ruby, Run Away With Me”. This tune was written last summer and was inspired, in part, by the passing of Kenny Rogers. When he was with the First Edition, Kenny recorded and sang the great Mel Tillis song “Ruby, Don’t Take Your Love to Town”. In my head, the original version of my song sounded like something Johnny Cash might’ve done. Mike DoCampo, upon first hearing the raw vocals, said the same. But then, Mike and I and producer Greg Cohen, working together in Greg’s studio, threw out the arrangement and guitars that were pulling the song in the Cash direction. It’s very different now.

You have said that the lyrics to your songs take a lot of hard work with a lot of re-writing. Do you ever get writer's block and if so, how do you work through a tough songwriting session?

When I get writer’s block, I drink like a fish for days on end, until I forget that I had writer’s block. Seriously, I am lucky not to suffer from much writer’s block where my lyrics are concerned. Sometimes, when working on a song, you just need to take a break from it. I try to get it out of the forefront of my brain, in the hopes that my subconscious will keep working on it. That sometimes works: I hop in the car with the intention of seeing what lyrics come to me as I’m driving around doing errands or whatever. Where I can get stuck, however, is in the writing of a chorus. Some of my songs form themselves in my brain with just the lyrics and melody for one or more verses but no chorus. “Ruby, Run Away With Me” was one of these. I probably wrote and presented three or four crappy choruses to Greg during the writing process. He was clear in telling me that none was good enough. Then inspiration struck, like lightning, during a mid-November conference call with the team at Universal Music Distribution who gave us a distribution deal for “Santa! Bring My Girlfriend Back!” Valentine’s Day was mentioned as the first post-Christmas holiday that we should be targeting for a single release. A light went off in my head, “Valentine’s Day. Huh. I can use that somehow in the Ruby song.” The very next day, as I drove to Greg’s Manhattan studio (to work on a different song), the chorus came to me — almost word-for-word and note-for-note what you’ll hear on the album. It came mystically, starting with this first line: “Tomorrow babe is Valentine’s Day, don’t leave your love behind.” It’s a miracle that I don’t crash my car when this stuff happens. It’s just so cool that it’s tough to say focused on driving.

You have called living in New York City a maddening experience but that there's no place like it. What do you find to be the most maddening and challenging aspect of living in NYC and what do you find the most inspiring?

Two things above all have consistently been maddening: The traffic and the super-high cost of living. You have to be thick-skinned to deal with those hassles. The most inspiring thing about NYC is the high energy and high spirits of its people. There are people who really do come to NYC for exactly the reason that Sinatra sings in “New York, New York”: “If I can make it there, I’ll make it anywhere.” That attitude attracts, overwhelmingly, people who yearn to be winners and who WORK HARD to be winners (they don’t just dream about it). People like that bring a palpable energy to the streets of New York City. You really do feel it. And it’s really cool.

With regards to your single "Virginia", you have stated that the verse and chorus date back to your single years in pre-social media Manhattan of the early and mid-80s. What can you tell me about that era of living in NYC and why you feel it was such a magical time? How has the city changed since then?

It was magical indeed. Everyone we knew, male and female, was working hard and playing hard. You could go out one night and get put down by several super-models in succession, and then find yourself at brunch the next day (nursing a hangover) sitting next to Billy Joel and Christie Brinkley (That really happened). It was a riot. I feel sorry for today’s youth — from teenagers through their 30’s. Too many have helicopter parents who can and do, with today’s technology, check in on them every damn day. And their every little mistake (whether of action or speech) is put under some online microscope and subjected to ridiculous parsing of meaning and intent. It’s an insane way to live. My generation moved to the City and hardly ever called home. Shoot, back then, calling home (unless it was from Manhattan to the Bronx) meant paying stupid amounts of money to the telephone monopolies for long-distance calling. And when we screwed up, it wasn’t caught on tape or film and broadcast to the world. I think that we grew up faster and better — more self-sufficient. More forgiving of the mistakes of others. Younger people need more privacy to screw up than they have in today’s world. Half the fun of being young is screwing up — and getting away with it! My favorite positive changes that I’ve experienced in the City have been the long overdue, fabulous development of all the riverfront spaces and — at least until the current Mayor came along — the long-term reduction in crime. New York City, under several competent mayoral administrations preceding the current one, became the safest big city in America. That was a huge transformation from the City that I encountered on a trip here at the end of my junior year of college when two hookers accosted me and some buddies in Times Square. One tried to distract my buddies and me, while the other failed in applying her pickpocket skills. Even so, I kind of miss some of the seediness of the old Times Square.

You guys recently released your holiday track "Santa Bring My Girlfriend Back". What can you tell me about the track and the inspiration behind it? What inspired you to write an original holiday track, as opposed to doing a cover, and what can you tell me about the different instrumentation used on the track? Do you have any special holiday traditions?

It never occurred to me to do a cover. I couldn’t touch anything that guys like Frank Sinatra or Dean Martin did or that women like Ella Fitzgerald or Mariah Carey did. I don’t fear failure, but neither do I go out of my way to embarrass myself. As to the “inspiration” behind the Santa song, that’s the wrong word. The tune was more “provoked” than inspired. Here’s the story. Two Christmases ago (2018), I was hosting part of my family (the Studnicky family) at my home. On the afternoon of Christmas Day, after much alcohol had been imbibed, there was a bit of family drama — it was like a hurricane hit. I don’t want to go into details. I was the first one awake on December 26th. I was a bit hungover. I was making the coffee and thinking about how such a magical holiday had gone so terribly wrong. This song came to me in a flash — at least, the first few lines did (the lyrics with the melody together): “I’ve been drinking way too much this Christmas. My friends all wanna know the reason why. I’ve been drinking like a fish all Christmas. Well at Thanksgiving my love told me goodbye.” I liked what was in my head. I instantly sang it into my iPhone (Apple should be paying me for saying this!). But I wasn’t immediately sure WHY the narrator’s girlfriend had dumped him and driven him to the bottle. Then inspiration actually did hit: Santa stole the singer’s girlfriend. Once I had that organizing concept, the rest of the song’s lyrics and melody flowed almost as easily as had the booze on Xmas day. The instrumentation on the song is phenomenal, right? John Macom came up with the marimba parts and also plays acoustic guitar (a Gibson J-100). Mike DoCampo played a Gretsch White Falcon. Kyle Cassel handled the drums and the jingle bells. Dave Richards anchored everything with his electric bass guitar. After those basic tracks were done, Charles Czarnecki added some incredible keyboards ear-candy from his Berlin studio. I had written (and Greg Cohen had programmed) some horn parts for Verse 1. We sent the rough-mixed song to two guys in Los Angeles (Michael Cordone and Jessy McGinty, who call themselves The 305 Horns). We told them to play live the programmed horns on Verse 1, and then do whatever made sense to them. This part was a true Christmas miracle: They killed it! Their horn parts put this song over the top. I can’t tell you how many people say how they love love LOVE the horns.

What can you tell me about the animated lyric video that was just released?

Hmm . . . . I don’t look like the guy who’s drinking himself to death in that video? He’s a blond. My hair is a very graying brown. It’s a cute video. I enjoy it. That said, in a perfect world (and this only makes sense if you’ve listened to our entire debut album), with an unlimited video budget, I’d have starred in the video (as the drunk) alongside Ms. Jennifer Aniston (as my ex-girlfriend) with Brad Pitt playing the Santa role. At least Jennifer would be smiling in that video . . .

You will be releasing your sophomore album in 2021! Your first album was a blend of many different genres. What can listeners expect from the next album?

Listeners to our 2nd album can expect that there won’t be quite so many genres. As a band, on that album, we indulged ourselves in terms of allowing a lot of our respective musical influences to shine through. On the plus side, for an unknown, unsigned band of mostly older dudes, we got a lot of very favorable press, praising such things as the quality of the musicianship and the band’s versatility. Shockingly, we were compared to everyone from Johnny Cash, George Jones, and Carl Perkins to Simon & Garfunkel (in “their glory days” no less!). On the negative side, the many genres made it harder for that record to find its proper slot at radio stations. One reviewer labeled as “genre-bending”, and the label has stuck. We don’t want to disappoint entirely our fans who enjoy the variety on an album. I mean, after all, we are not like the very young Green Day or The Ramones — too unskilled, or too unsure of themselves, or too enslaved to some label A&R executive, to play more than one type of music. This 2nd album will be more “of a kind” sonically. But there will be few outliers on it. We just finished recording the basic tracks for one song that (per Greg Cohen’s suggestion) was produced as a bossa nova tune. It’s called “How Did I Write This Song”. I could have never in a million years envisioned it as a bossa nova tune. But it’s a gorgeous one. And, once Greg made that call, I managed somehow, in one try, to write a bossa nova chorus. And Greg didn’t tell me to throw it out. It was a keeper.

Aside from a new album, what's next for you?

Ha! I’m going to Disney World! Seriously. As soon as this COVID lunacy is over and we can travel safely again, I am heading south with my family for a well-needed vacation in the sun and so that my daughter can see the new Harry Potter additions to Universal Studios Orlando. And Disney World! Because, on our first trip there, I developed a wee crush on Cinderella.

Photo Ladies 12/1/20 Photo Ladies 12/1/20

INTERVIEW: Model Stranger

ms-ps2-2.20-213.jpg — Model Stranger

The Photo Ladies Interview - by Emily May

It's pretty rare these days to find a band that has not only been together for a decade, but one who has their original line-up. Chicago-based alternative rock band Model Stranger is that rare band. Friends since high school, vocalist/guitarist Stephen Francis and bassist Kevin James played in prog rock band together, with time eventually leading them to meet drummer Vincent Joseph. Initially a hired gun for two shows, Vincent soon became a permanent part of the band and Model Stranger was officially born. Dubbed "rock n' roll classicists" and "an eclectic synthesis of psychedelic grunge and classic rock", with variety of influences that range from Muse, Pearl Jam, David Bowie and Tom Petty, the sounds of Model Stranger have appealed to listeners across multiple genres. Upon releasing their debut album Dreams and Bones in 2010, the band spent the next 2 years playing 180 shows and have since showcased their strength as a live band. Their subsequent EP's, 2013's The Changing Score and 2015's Imitation Act, have taken their listeners on a sonic journey that showcases the bands evolving sound. The band recently released their latest album, an LP entitled Phases, which the band describes as the beginning, middle and end of the past decade for the band. Having spent the last several years on the road touring and promoting their music, the band decided to take a break to focus on songwriting, feeling the need to write and record some fresh music. The first single from the album, "Breaks My Heart", shows off the band's range and ability. They shot the music video in a basement in one night, using an iPhone and a single light. The album's second single, "Pick Me", showcases their energy as a band. The trio plans to keep writing and recording and will be releasing more music videos and new tracks in the coming months. You can connect with Model Stranger via the following links:

You recently released your new album Phases and have described it as the beginning, middle and end of the past decade for you guys. Having put out your first record 10 years ago, what do you see as the story of the band over the past 10 years? How do you feel your sound has evolved over the years and how have you each grown as artists?

Vincent Joseph- As a whole we have not only matured as a unit, but literally grew up together throughout the last decade. Our story always revolved around this “analog band living in a digital era” attitude. We looked up to our idols from the 60’s & 90’s and the whole cultural movement amongst them. We toured and tried to make connections with fans one on one and we partied and crashed at fans homes throughout the years. These fans became friends and we all became part of our own microcosm, our own culture. However, throughout the years we have had to adjust and move that into a digital landscape, which is what we are attempting to do now. We have played large rooms and festivals to many people and we have played bars to a handful of people, but we have always connected with those people in front of us- now it is us trying to connect with people through our keyboards and social media. We have experienced a lot of personal changes throughout the past decade from success to personal heartache to loss of loved ones and everything in between- but we have experienced these phases together and that is what we have tried to capture in this new record. The sound has evolved from something raw and angst riddled to something more polished but still with edge. From Rock N’ Rollers to alternative pop rock with an edge and pop sensibility. More importantly, throughout the years we have learned to listen to one another, play with one another and write with one another- that is how we have all grown the most.

You have said that Phases showcases a couple of different sounds that you love while still maintaining a rock sound, with each track complimenting the next while maintaining their differences. What can you tell me about the process of writing and recording the album?

Vincent Joseph- We originally wrote about 50 songs and whittled it down to 13 for recording. Of those 13, 9 made it onto “Phases”. Each song was written from a different place mentally, emotionally and structurally. Some of the tracks were written around a single hook, where others were completed around an entire vocal/lyrical idea. However, across the board on “Phases” we made the bass & drums a cornerstone with which to build the arrangements. This whole album has solid rhythm with sexy guitar work coloring it in.

You have said you had a lot of songs that you had to narrow down for the album. How did you go about deciding which songs to include? Do you have any plans for the songs that didn't make the album?

Vincent Joseph- Out of the 50 or so songs that were brought to the table, we all agreed as a unit what worked together and what did not. However, we consulted some friends, family members, our producer (Noam Wallenberg) and peers in the industry to get a fresh take on the tracks, as we had grown close to them and wanted non-biased feedback. Once narrowed down to the 13 tracks we wanted to record, we ran them through the gamut focusing on structure, arrangement and fine tune adjustments. After recording the 13 tracks, 9 made it onto the album with the other 4 to be released at later dates. The 9 tracks on “Phases” were intentionally placed and sequenced to be listed to as a whole unit; ideally on vinyl.

What can you tell be about your idea to put golden tickets in random copies of Phases for Record Store Day in Chicago this year?

Vincent Joseph- We do not have a massive fan-base yet, however, our current fan-base is dedicated and we wanted to show that to them in a clever way. The people that had went out (or online) for record store day had an opportunity to get a copy of “Phases” ahead of its release. So if people were going to be engaging with us and supporting local businesses we wanted to give them a little treat, or golden lining to this shit year. So to those of you that got the golden ticket, bravo!

It's pretty uncommon for bands to stick together with their original line up for 10+ years. What has it been like to grow together as a band over the past 10 years? As a band that is completely DIY, do you feel that doing everything yourselves over the years has strengthened your bond?

Vincent Joseph- We have spent more time together than most families spend together, so for us not wanting to murder one another and still be productive together says something. It is by no means easy being an independent band; it is not all sex, drugs and rock n’ roll. We pour A LOT of time, sweat, blood tears and money into this. We have sacrificed family, personal relationships, birthdays and milestones to make this work. But when the end result is that we can keep doing this, it is worth it. We get to create music and connect with people in a positive and meaningful way. What else could someone ask for?

What can you tell me about your recent single "Breaks My Heart", as well as the video? What was it like to shoot the video in one night on an iPhone using a single light?

Vincent Joseph- We normally have a heavy hand in the video content (if not all), however, we handed over the reins of the plot to Mat Dimare for this one (he also shot our music videos for “Stare”, “Balance”, and edited “Pick Me”). He had a vision for something in particular and it really worked well with the song. We are used to shooting videos within a day, however, being that this was all on an iPhone made the process go even quicker. Matt really had the story board and concept narrowed down, so we worked extremely efficiently. Plus, a lot of our videos have most of the work done in post-production…I mean we can only look pretty in front of a camera for so long.

You also released the single "Pick Me", the song structure of which is not your usual approach to songwriting but is just the way the song developed. What can you tell me about the song as well as the video?

Vincent Joseph- The song came about quicker than any other song on the album. Stephen had written the guitar riff and when he brought that in everything just fell into place. It is definitely the oldest song that was recorded onto “Phases”. It is just a good slammin’ Rock N’ Roll tune that should get your blood pumping and the whiskey flowing. The subject matter could not be more relevant as we are now all imprisoned on our personal devices scrolling through every day with a stamp of approval only a double tap away...I did not mean to rhyme there. The video is one of my favorite concepts we have down and I can’t believe it actually worked out. We had a show at the end of January (just before the Covid Pandemic took root in the states) that was at Lincoln Hall in Chicago. We had our phones set up on stage recording and then asked the audience to send us any footage that they had recorded. All of the compiled footage was then edited into the “Pick Me” video. I am not only pleased with how the video turned out, but was delighted to see how many fans participated and sent in footage, not to mention the nostalgia of looking at a sold out audience for a live music performance… something we will not see again for some time.

What has it been like for you guys to try to reach your audience virtually during this age of COVID? What have been some of your biggest challenges? Has anything surprised you about trying to navigate this time as a band? What do you see as the state of the music industry once COVID is over?

Vincent Joseph- This age of Covid has been trying to say the least, but we are adapting as best we can. Moving as much into the realm of the internet, social media, streaming and just staying busy with business and writing new music. Model Stranger has always prided ourselves on our live performances and touring and that simply cannot happen right now. We did perform a couple of live streams which were much more fun than I anticipated and the best consolation for not being able to have a proper ‘record release party.’ Those can be found on our Facebook page and Gigmor Live Twitch page. It’s times like these that I am grateful Model Stranger has stayed independent and that we are not indebted to a massive corporation. We are able to break into a new era of the industry that will be forever changed. Overall, the state of the music industry will be forever shifted and the power structure is under construction. I think the music venues will be much more willing to broker a reasonable working relationship with artists moving forward, because they will have to in order to keep their doors open at this point. The future is unclear to say the least, but musicians are learning that we do not need anyone other than our craft, our voice, some hard work and a high speed internet connection to succeed- while the industry as a whole requires us to succeed- so this may be a change for the better. I just look forward to playing live again when the time is responsible and right.

You guys have played a Halloween show at the Elbo Room in Chicago every year from 2009-2019. What was it like to not play one this year and what are some of your fondest memories and favorite costumes from past shows? What did you guys do for Halloween? Stephen-As a lover of scary movies, what are your favorites?

Vincent Joseph- We started that event (Bands Being Bands) over 10 years ago not thinking what it would become: an annual sold-out-party that was always the most fun event of the year at one of the best clubs in Chicago that we have always held close to our hearts. We have been David Bowie (2010), Nirvana (2011), Foo Fighters (2012), The Beatles (rooftop/last show 2013), ZZ Top (2014), Tom Petty & The Heartbreakers (2015), The Red Hot Chili Peppers (2016), The Beatles (pre-Rubber Soul 2017), The Doors (2018), Madonna (2019). Although, I would like to say ZZ Top was the most fun, I do not think anything could top our performance last year as Madonna. It was simply magical and we were all different era “Madonnas.” I don’t know where we could have gone from that, but I do know it would have been a blast. At least it came to an end after so many consecutive years of selling it out and so many great memories. It’s better to go out on a high note, right? For Halloween we all did the responsible thing and stayed home, while watching movies. I watched a friend stream his Halloween special: Otto Von Schirach’s “Live from Draculo’s Castle”. For the record- Stephen uses my Shudder account and will watch what horror movies I allow him to prior to putting him to bed. And it is not a fair question. The best “scary” movies vary on genre, time of release, etc. But some top runners across all boards are: Re-Animator, Alien, Night of The Living Dead, 28 Days Later, When A Stranger Calls, Poltergeist and The Little Mermaid.

What's next for Model Stranger?

Vincent Joseph- We will be releasing a few more videos in support of “Phases” and hopefully be able to tour on the album in the coming year(s). Regardless of touring, we will be releasing some new tracks and videos in the winter and spring too. We are continuously writing and recording new content that will all eventually make its way out into the world. We are navigating these times just like everyone else and trying to find the best way to continuously connect with people, so cheers to the unknown!

Photo Ladies 11/16/20 Photo Ladies 11/16/20

INTERVIEW: Molly Moore

Photo credit: Ryan Jay — Molly Moore

The Photo Ladies Interview - by Emily May

Molly Moore wants to change the conversation surrounding the identity crisis society is facing in the age of the internet. The NY-born and LA-based artist has always loved music and graduated from high school 6 months early in order to focus on her music, making the move to LA at 19. Aside from her dreams of creating her own music, Moore honed her songwriting skills and wrote songs for artists such as Jesse McCartney, Steve Aoki and Lea Michele. Formerly part of the duo Cosmos & Creature with her then boyfriend Brandyn Burnette, she also released three solo albums during that time, becoming an accomplished artist in her own right. In 2018, with the death of her father and ending of her relationship, Moore ventured out on her own, focusing solely on her solo career for the first time. Her recently released singles "Identity Crisis" and "Careful", from her upcoming album Voice of The Internet, share the message of being addicted as a society to social media and how to know if what you see on the internet is real or not. The album was written following her break up as she watched her ex move on while she wasn’t ready to do so herself. It is an ode to her journey towards self-discovery and tells of her personal journey through her music. “I was going through the actual separation and embracing myself,” she admits. “I decided to focus on me and give my solo career the shot I had never really given it, because I was always so focused on the band with my ex and doing things with him together. It was healing to be able to make music that showed independence versus being so overwhelmed by romantic pursuits. I tried to break the cycle and adjust on my own, so I could be a whole person the next time I got into a relationship.” “When you hear the record, I hope you don’t need to text or call your ex at three in the morning,” she leaves off. “You could put this on instead. I want you to cry to it and dance to it. I embraced being on my own. You have the same power.” Her latest single "Always Gonna Love You" is one of the more personal tracks on the album and is a bittersweet testament and reminder that regardless of what was and what could have been, the power of love is imminent. “This song is the result of connecting with another female artist after we both had gone through breakups. I had been needing to get this out for a while and we had a long conversation about how no matter what circumstances could've been different, ultimately you can't stop love when it's inevitable,” shares Molly. With a livestream event and more music to release, Moore admits that she is just getting started. This is just the beginning for her and she is looking forward to forging ahead with her music. You can connect with Molly Moore via the following links.

You grew up in a pretty musical household and graduated high school 6 months early to focus on recording music, moving to LA when you were 19 to begin pursuing your career as a songwriter. What was that like for you, to make that move to LA at such a young age?

It was crazy and was quite a transition. I think I was a bit over-confident at that time in my life and it definitely humbled me, which I think was necessary. I was so young and I think I thought I was a lot older than I was. I met a lot of people when I came out here and a lot of people that I kind of already knew from New York were coming out to LA around the same time. It was cool and was a lot of fun and was a wild time. I mean, I don't really even know if I would say that I would go back and change anything because I wouldn't be who I am now. It was definitely a really crazy, kind of tumultuous time for me but was great in a lot of ways. I got to do a lot of collaborating with other people and getting to know different people in LA. That's sort of the name of the game when you get here, just getting to know a lot of different people and hopefully over time you find yours.

You have said that your move to LA helped you to grow into yourself and that being able to work with other people and see their perspective on writing and music helped you to feel pretty confident about your own perspective. How do you feel that writing songs for other artists helped you to find your own perspective as an artist?

That's a great question! I think it sort of led me away from that for a while and then led me to it. I grew up acting and love having different characters and playing different roles. I think that's why I love writing for other artists too. When I came out to LA when I was younger, I think I had a misunderstanding about what it really means to be a great songwriter for other artists. I learned along the way that, you know, it really matters what your perspective is and if you have a voice that people want to align with. I think I was more so hoping to step into somebody else's shoes and become another artist to write for them. But in reality, I realized that developing my own voice is how I can help someone else develop theirs. By having something clear in myself, and knowing how I got there, I could then help somebody else find their perspective of that and what that means for them.

You've written for other artists like Lea Michele, Steve Aoki and Jesse McCartney. When you moved to LA, was your initial goal to solely write for other artists or did you want to write your own music, as well?

I always wanted to do both. I think that I hoped songwriting would help me to pursue my own artist career in a lot of ways. In a lot of ways it did and in a lot of ways it didn't. It's always kind of a mixed bag. When I came out here, I think I wanted to work with other people but didn't know how to get anybody to care about my artist projects. I mean it wasn't only that, but part of me thought "Well, if I'm writing for other artists and working with more people, I can meet more people and just make more songs" and that's kind of what happened.

You were previously part of the duo Cosmos and Creature and during that time you released solo albums, as well. What was it like during that time for you to do both, and what is it like for you now to be able to focus solely on your own music instead of having to go back and forth between the two projects?

You know, it was an amazing time of my life and was, again, a crazy time. A lot of my life has been crazy. There was pressure from other people to kind of choose which one we were going to focus on, if it was going to be our solo projects or the project we had together. What we decided is that it was both and that we could do that. That was a risk for us to take, I think, because it's hard for other people to understand how you can do multiple things at once. But we would incorporate our solo projects into our live sets and stuff like that, which was awesome and kind of helped people to understand what our vibe was. We were like "We're not giving up on our solo projects. We have music we make together and love to perform it and that's it." I definitely was putting a lot of energy towards the duo when we were doing it and were in that relationship, so I think most of my energy was going there. I will say that ever since I started putting my energy back...well, not even back, because I don't even know if it ever was even fully in my solo project. I think I always was excited about making music on my own, but then it sort of grew into this duo that I was also really excited about for a long time. Now, it's like I'm actually focusing on myself fully for the first time and it's amazing. I just feel like I'm growing a lot and it's nice to be able to just learn and apply what I'm learning. I feel like I'm helping other people when I do get into a room to write for someone else. I feel like I have sort of found a place in my own music where I'm excited and feel like I've established how I can use my voice. That, I think, helps everything.

You've talked about your journey in learning how to let go of trying to control when you are writing your best work or when you are super productive and learning to let the work come to you. What has that process been like for you?

It's nice. I think I find more of it in this time period where people aren't doing as many sessions in person and there's not as much fluff happening, I feel, as far as random things being set up. I got into a cycle when I was making my album where I was working so much and really had a lot to say and was the thing that kind of saved me. That being said, in this time I've been able to start even writing on guitar again, which is something I lost touch with in working with other producers for so long. I've been relearning guitar and that's been a lot of fun. I think the ideas that I'm writing now are just...it's opening up because I have now gone through this loss and heartbreak and have written about that. I always will, but I think what I'm writing about now is becoming more about my own process and about love, still, in a lot of ways, both fortunately or unfortunately...however you want to look at it. A lot of the music I'm starting to make now is also just about my own journey, which I think is nice. It's just everything I've been through up to this point.

You'll be releasing your new album Voice of The Internet on November 13th and is an ode to your journey towards self-discovery. What can you tell me about making the album and what you learned about yourself in the process?

Yeah. I learned that I was really angry, listening back to the songs (laughs). I learned that I didn't have to judge myself so much for that anger and that it was ok and was warranted. Maybe growing and...maybe anger and sadness on someone else isn't cool...but I think that making art that's true to what you are going through and accepting that and having sort of an acceptance for the raw versions of those emotions is something that I've really had to learn in this process. There were times when I was like "Ok. I can't do this. It's too much." I was pouring it all out and it's scary, because it's about a relationship where everybody kind of knows who it's about, so it's just scary, you know? Well, obviously not new fans, but the people who have been following my career and the people I'm excited to share this body of work with, as much as new people, as well. I'm really excited for my music to reach new people too. So yeah, there was just a lot of acceptance that went into letting myself express the heartbreak as vulnerably as I did.

You have also said that in recent years the production of your tracks has evolved into a 50/50 mix of having a concrete plan going into the process and trying new things to see what fits. What has that evolution been like for you?

It's always different I find. Everybody's kind of different, unless you are working with the same person consistently, which I have been lucky enough to do on the next body of work. On the first body of work, I was working with a lot of different producers and found that adding live elements like horns and live guitar and live bass helps to bring out the soulful influence that I kind of start my music with. That's something that I have been learning daily, the importance of keeping my sound consistent and evolving too. I love musicians and live instruments and there's just nothing like that. They make every synth for it, that can sound like a guitar or sound like a piano, but when you just really have those instruments, it's something so special, when someone really knows how to play. It's generally not me (laughs).

You have doing 'Voice on The Internet talks'. What led you to want to start doing those talks and how has it been going?

It's been going! I did the first one a couple of weeks back. I have yet to do the next one, but was actually just thinking about that today because I have a friend that I wanted to do it, but he isn't available anymore so I have to switch things up. I've been thinking of doing it with my best friend Maddie for the second episode. It's something I'm going to be rolling out once the album is out. I'm going to be doing a lot more of that. The first one was amazing, as well. Sidney Tipton was my guest and she's an incredible artist and songwriter. We talked about identity crisis and how you can find yourself in an identity crisis when you are a female in the world and in the music industry. Men too. Everybody goes through a time when they feel lost. We kind of just dug into that and expectations and the things we project in our personality as almost like a coping mechanism to get through life. There's a certain point where you realize "Oh. That's not serving me. That's just serving other people." There were just a lot of conversations about that and why and how to break through that and it was a lot of fun. I'm excited about talking openly about that stuff, because that's just my life. It's who I am and I think that's what we should talk about. I don't understand why we talk about the weather or even sports. I don't like sports. It's been really cool to share the this on Instagram. I think I want to maybe develop it further, beyond that platform, so I'm still trying to figure that out to see if I can widen the reach in some way.

Along those same lines, you recently released your two singles "Identity Crisis" and "Careful", which share a complimentary message of being addicted as a society to social media and the idea of how to know if what you see online is real or not. Was there a specific thing that inspired those songs for you and what are your views on social media in general right now and the effect it's having on society?

Yeah. There was definitely a specific inspiration for that, which my whole album is inspired by, which is just, like, how do you get over someone when the internet exists? Especially if they've moved on and you haven't. It's just crazy, and what I realized is that I was falling victim to a lot of things that I didn't think I was susceptible to, in just looking avidly online to see who my ex was trying to date now. It was insane how I started to feel really bad about myself, because I was comparing myself to the types of girls that he liked, which is, like, sick! And so many people do it because it's there for you to do. It's this easy thing and there's no conversation really about it. It's like, it happens and people tell you to block that person and eventually you do or you don't. I realized that I couldn't block him out of my brain and that I needed to realize what I want and not let the world that's been created around me define what I create for myself. I decided to be alone and was like "This is going to suck but I'm just going to be alone and be with myself and figure out who I am and what I want." In that time, I really just realized how the internet plays a role in...either you can really establish who you are and identify with what's real or you can project an image that's a slightly altered version or you can project an image that's completely different. And it's not really received any differently all across the board. There are genuine people and there are really fake people who succeed on the internet. For me, I was just sitting back and analyzing this and realizing that I didn't want to be a part of that. I only wanted to be a part of the internet if I was going to help it move forward and evolve and realized I had to do that in myself. It's really about intention, I think, at the end of the day and realizing you have to decide that for yourself. No amount of memes or posts can tell you who you are. I mean, there are really actually helpful people on social media who are helping to evolve it, and there are great uses to making a funny post and making people laugh and all of that. I'm not hating on any of it, but there's a lot misinformation and I just want people to realize they can think for themselves.

You have said that in recent years you have been able to doing music full time and have been working on your work/life balance. How has trying to find that balance been going for you?

I am finding it every day. I am also realizing the importance of it every day, which I think is a key part to finding it. I lost touch with it for a long time to be honest and still struggle with it, but it is something that I am actively working on and taking time for myself throughout the day. I tend to be an over-worker and get into certain modes of working on certain things and can lose sight of a whole portion of what I have to do because I will funnel in and focus on something. I'm just realizing how much time management plays into taking care of yourself and having a self-care routine and balanced life and all of the success of a business, you know? It's kind of scary, like realizing I failed because of me and not because of anybody else. I'm the business. It's just making sure that I take care of myself and my mental health and my body. I'm literally just now realizing the importance of it, at 28 years old. I actually got sick about a month ago because I wasn't eating enough or drinking enough, and it's crazy to think that can happen and you don't even realize you're doing it. You don't even know that you aren't eating enough throughout the day. I've definitely been working more time for balance into my schedule.

You have also composed children's music for the Hasbro animated series 'Hanazuki'. What can you tell me about that series and how you came to work on it?

It was awesome. The opportunity came through somebody we were working with at the time and it was a lot of fun. We were writing so many songs at that time that a lot of what we were writing actually kind of fit into what the needs were for the music for the show. We also wrote a lot of songs from scratch after having watched the episodes, which was really cool because I've never done anything like that, where I'm getting visual inspiration for music. I'd also never made...well, I guess I've written a couple of scenes over the years where I submitted them for pitches...but I'd never really done it. It was my first time getting to write music for children and having that come out, which was really cool.

You have talked about being raised by spiritual parents and were raised to acknowledge the energy in the world and the universe and what's out there. What are your thoughts on the world right now? I've read a lot of people talking about a great awakening happening right now. Do you feel like that is happening?

Absolutely! There's definitely a massive shift happening. I can feel it every day and every moment. With darkness comes light and with light comes darkness and I feel a lot of the concepts and knowledge that people have really dug into the past year is incredible. It's something that gives me hope for the future. There's a lot of corruption and a lot of imbalance in the world and a lot of pain at the hands of powerful people. I think that is something I hope to be able to work to change in my life, in any way that I can, literally. I do feel like there's a great awakening happening and I feel it's happening to me simultaneously. I feel like I've been able to kind of deal with a lot in the last 6 months that I was running from prior. It's amazing and is a great feeling to not run from things. It's almost like we were all just shoved inside because we were just all running from everything. Or maybe it was just me (laughs). I feel like I have noticed friends talking to me and other artists who feel like they are on similar paths. I know, for me in particular, it's a very personal journey where I feel like I've had to kind of rebuild and with that has come a freedom from a lot of old habits and emotions that I refused to feel for a long time. Simultaneously, I feel that the world is kind of opening its third eye and seeing what's actually happening. It's beautiful and amazing. I've unfortunately been kind of feeling this way for a while about the state of society and not knowing how I could personally make a large enough impact to matter. I feel like every day I'm learning more about how to do that and feel like other people are starting to align with a deeper purpose in life, as well. It's very exciting.

I sometimes feel like maybe all of the slowing down of society happened for a reason, so that people could be more aware of what is really happening in the world.

It's true, because I can't ever imagine a circumstance where this would have happened, outside of this. I'm not saying I'm happy that people have been getting sick and dying. It's really tragic and I'm not trying to say it's a good thing by any means, in that aspect. I do think of it as people not having as many distractions to the impactful things they are dealing with.

You just released your latest single "Always Gonna Love You". What can you tell me about the track and what was it like to write it over Facetime?

It was crazy! The song was written pretty quickly and we just had this conversation where the girl I wrote it with had just gotten out of a relationship, as well. We were just feeling really similarly about it. We still had lingering feelings and it can be hard to let go of that hope that maybe someday it could work out and that things shouldn't have happened the way that they did. We came to this conclusion that we were both always going to love this person no matter what was different about the circumstances, whether it went perfectly or terribly. It's one of those things where you know it's always going to happen and you are going to feel that way. It's sort of liberating in a way and it's true. When you love someone, you really do have that place in your heart for them and it shouldn't ever really go away, if it was real. That's what I'm telling myself lately.

What's next for you, aside from your album release?

I'm doing a livestream on Tuesday with Jam In A Van, which will be awesome. It will be from their YouTube page and I'll be playing songs from my album. I'm also doing a livestream on November 18th and will be playing more songs from the album. Hopefully close to the whole thing. I'm also working on a second album. I have more music coming out after the album and I'm not stopping. This is just the beginning for me! I'm just excited to be able to connect with the people who have been listening more and building that social relationship online, which is the only place we can be right now. And have more conversations like this. I just hope I get to do more of this!

Photo Ladies 11/9/20 Photo Ladies 11/9/20

INTERVIEW: Ruby Mack

Ruby Mack_Photo Credit Gianna Colson_4.jpg — Ruby Mack

The Photo Ladies Interview

Feminist folk group Ruby Mack, comprised of Emma Ayers (vocals/guitar), Abbie Duquette (bass ukelele), Zoe Young (guitar/vocals), and Abs Kahler (fiddle), explore a unique perspective on the story of Adam and Eve for their recently released debut album Devil Told Me. On the album, they imagine themselves as direct descendants of Eve in a timeline in which she unashamedly bites into the apple in the Garden of Eden, sharing the knowledge she learns with the rest of the world. Hailing from Pioneer Valley, MA, the group was formerly called the Emma June Band but recently changed their name to Ruby Mack, taking their name from their areas Ruby McIntosh apple. Proud of their deep New England Roots, all 4 members feeling deep ties to different parts of the New England landscape. With their new album, the quartet question what it means to be a woman, offering new perspectives through old stories and present their own brand of folk that casts the genre in a different light than folk songs of the past. They give credit to their time spent in Pioneer Valley, MA, a place full of magical energy, inspiration and a cooperative spirit that fueled their music and shaped who they wanted to be as musicians. The band recorded their album in an old church with engineer Andrew Oedel of Ghost Hit Recording, giving the album a decidedly live feel. “We really wanted it to have that special magic of a collaborative performance, and the energy we get from singing together,” explains Young. The result is a group of confessional and uplifting songs. Their goal is to question what society expects of them, embody and express their true identities, and inspire others to do the same...to be themselves in a world that wants to dictate how it feels people should be and the roles they should play, especially womxn. With plan to write and release more singles until they can safely tour again, Ruby Mack is definitely a band to keep on your radar. You can connect with the band and purchase their album via the following links:

You all met through the Massachusetts folk scene after each making your own music prior. What led you to want to form a band together and what other projects are you a part of outside of Ruby Mack? What can you tell me about your goal as a band of pushing aside societal norms and boundaries?

ZOE YOUNG: Emma and I actually grew up together as family friends (we’ve always called ourselves sisters) and have been singing together our whole lives, so I guess that is where our band story really begins. Then Emma, Abs, and I attended the University of Massachusetts, Amherst where we started playing music together with a few other folks. Abs and I teach at the Kid’s Academy at Greyfox Bluegrass Music Festival and we made Emma come one year. The three of us started playing on some tunes that Emma had written and things just fell into place. When Emma introduced us to Abbie in 2018, we began playing as a foursome- she was the missing piece we had been needing. The four of us all share the same sense of humor which definitely holds us together in both the tough moments and the happy moments and helped create a space for us to experiment musically. We never set out to be a band that pushed aside societal norms. I think it’s just in our nature to push the boundaries of what society expects from us as women and nonbinary people. Individually, we all have big personalities and we don’t like being told what we can and cannot do in the world of music. Singing together feeds us, fuels us, and inspires us to show up authentically in the world. And we quickly learned that others felt held and fed by our music. So that’s what we set out to do- feed our own hearts and in turn, the hearts of others. Outside of Ruby Mack, Emma has her own solo project under the name Emma Ayres.

You will be releasing your new album Devil Told Me on October 23rd on which you reclaim the story of Adam and Eve and question why Eve shouldn't be able to bite into knowledge. What led you to want to explore this concept for your album? What can you tell me about the recording process, which took place in an old church and gives the album a live sound?

ZOE YOUNG: The theme that runs through this collection of songs is about being brave enough to show up as yourself, and to ask for what you want. Without curiosity and being willing to try things, what is there? Without accepting the good and the bad in life as it comes, as Eve did, what is the point? To us, there is no good without the bad, and there is no bad without the good, both must exist at once.

We decided we wanted to record most of our album live, meaning instead of tracking out each instrument and vocal part separately, we recorded each song all together in a full live take. We wanted our spontaneity and the energy we get from one another to be captured in the recordings. The only song that we did not record live was “Milktooth”, which really came together the day we recorded it in the studio. Abs wrote their fiddle lines live in the studio, making us all cry in the control room as they recorded it. The harmonies were also arranged that day in the studio, and the recording reflects the live collaboration we all value so much.

ABBIE DUQUETTE: It was the icing on the cake that we recorded in an old converted church — not intentional, but damn does it really make the concept of the album come full circle.

What can you tell me about your mission to push social boundaries aside with this album, exploring feminism and social justice through the lenses of religion and mythology? Emma-what can you tell me about your love for oral tradition and storytelling and how that influenced the album?

EMMA AYRES: In the wise words of Pete Seeger: “This machine kills fascists.” Seeger was blacklisted in the 50’s after being accused of being communist by the House Committee on Un-American Activities (HUAC). His songs were a vehicle for social justice organizing. When you can get a room full of energized people singing your lyrics, it becomes a powerful and memorable way to spread a message. The weapon of a song, when yielded by queer folk musicians, is dangerous to the white cis hetero capitalist patriarchy. A song can challenge the status quo and put hatred and other forms of oppression “on notice.” This specific lineage of folk music has always been a source of inspiration for me. When I wrote the lyrics to most of the songs on the album, I employed the lens of Greek mythology to amplify, illuminate, and celebrate the working class. Working class folks make the world go round and it is vital that they/our stories go down in history like Homer’s Odyssey. I see a song as an opportunity to shed a holy light on marginalized identities and a church where a bigoted listener can worship a queer god without realizing it. Music is a powerful force of unity and a way to humanize across identities, political beliefs, and religious values. A melody can be the messenger of an urgent message even if the listener doesn’t understand the words. The message subconsciously becomes one with the listener.

With this album, you dig deeper into what it means to be a woman or even to reject this label. What does being a woman or gender non-conforming mean to you? Do you see womxn pushing back more and more in today's society against the societal norms that they have been taught to accept?

ABBIE DUQUETTE: Hell yeah — I think we saw that with the Women’s March in Jan 2017, we saw that over the midterm elections by electing a record number of BIPOC womxn, we have seen it over social media with the 'Me Too' movement, etc. I’m a firm believer that until our most unrepresented humans in this country are treated with the respect and humanity that is their right, we ALL have work to do. I think the collective “we” of non-cis white males are building strength and understanding that we don’t just deserve a seat at the table, but that we can run the table — and we should look around and not see only people that look like ourselves.

For me, what it means to be a “woman” changes every day. I’m sitting here thinking about what it means and how I feel right now when I hear the word, and I just feel power and strength. I think of all of the badass womxn over the course of history across the world, and am so happy we’re part of that giant community. Womxn = Power.

ABS KAHLER: For starters let me say that we could probably spend hours, days, a lifetime talking about gender (I wish we could!). I view gender as more of a journey than a destination. I have a gorgeous print hanging on my wall from Kah Yangni, a Black trans Philly based illustrator, that reads “Trans is freedom, is adventure, is endless!” which I think sums this up perfectly. The gender binary is largely a tool of colonization, and I am learning how to define my identity outside of this false binary. I believe there is a softness, a strength, and a beauty to femininity that is incomparable to anything else in this world. I view claiming femininity in a society that tells me that being feminine is the worst thing I can be as the ultimate display of courage. It’s important to me that I actively choose my femininity and it’s not something I let society decide for me. I embody masculinity in a host of other ways that I’m still learning how to convey and embody, and very much feel my femininity and masculinity inform one another. Being able to present exactly how I feel on any given day gives me a sense of great freedom and gender euphoria, and I hope that everyone, whether cis or trans gets to experience this to their fullest potential. I do very much see womxn are pushing back more and more against societal norms and fighting against patriarchy and the gender norms that harm not only women but greatly harm men as well.

Pioneer Valley, MA has been especially inspiring for you and has been a main inspiration for the new album. What can you tell me about Pioneer Valley and the inspiration it has had on you and your music? How do you feel that the music culture of Massachusetts has helped you to find your identity as musicians?

ABS KAHLER: I’m wildly grateful that fate placed me in The Valley for four formative years in my early adulthood. There were many queer folk artists I met in the folk scene out in western Massachusetts who I was able to collaborate with and fiddle for who are still some of my favorite artists to this day. I recognized at the time how privileged I was to play with such talented artists, and remember the joy of doing so, but what I didn’t recognize back then was how big a part of my identity my queerness would become. Looking back I think that seeing these artists live their lives authentically and hearing their music reflect that authenticity really drew me in and allowed me to explore my own identity in a unique way. Nowadays it’s really important to me to use the platform that Ruby Mack gives me to create a safe space for other queer folks and send all of the love out into the world I possibly can, whether that’s through words or through fiddle melodies.

ZOE YOUNG: I’m not sure what it is about the Pioneer Valley, but the energy here is just magical. Compared to the bustling city life in Boston, life out here feels slower, and more intentional. The folk music scene is vibrant, and people really show up for their communities, and value the local agriculture, music, and art. There are so many local, community organized events, some favorites include the Garlic & Arts Festival and Green River Music Festival, which all highlight local vendors and talent, and value folks coming together to experience all things beautiful together. The music scene in western Massachusetts has absolutely held us and encouraged us throughout our journey as a band these past few years and inspired us to write and play from our hearts, knowing that it will be received with love and support.

You have said that, with regards to changing your name from Emma June Band to Ruby Mack, that your new name grounds you to your New England Roots. Why is that connection important to you?

ABBIE DUQUETTE: New England is our home! It’s where we grew up, and where we learned to be human beings. We all have strong ties to different parts of NE, and through that, have found so much love and support across this area. Venues that have taken chances on us, hometowns have nurtured us, and our family and friends have been our loudest cheerleaders. We are all very connected to our families — birth and chosen — and have nurtured a huge community here. Maintaining our relationships and holding these spaces close are vital parts of our identity as a band.

Two of the songs on the new album, "Jane", a love song for those who feel that they can't exist as their true selves in the world and "Milktooth", a queer coming of age song that you've described as letting go of all of the stories about who you were as a child. What can you tell me about your own journeys of self-discovery and acceptance and using your platform as a way to amplify LGBTQIA voices and issues?

EMMA AYRES: I came out to myself through my lyrics when I was a teenager as it was the most comfortable way for me to share myself at the time. I liked to conceal my identity in metaphors and hoped that maybe someone would crack the code. I would avidly listen to the music of Ani DiFranco and Tegan and Sara, who were my only visible icons of queerness. I hope in using my platform as a musician to talk about and celebrate queerness that one day I can be that social mirror for a young high schooler to see themselves in and smile and take comfort that there are other people out there like them and everything is going to be ok.

I wrote this song in the aftermath of the Pulse Night Club shooting and it is an ode to those who lost their lives on that tragic night and anyone out there reading this post who cannot safely be who they are or is afraid to be who they are. You are not alone. To all straight folks out there—Take a moment of silence for the trans, gay, lesbian, bisexual, non-binary, queer, intersex, asexual and questioning lives that are lost every day on this earth as a result of hate, suppression, misunderstanding, suicide, police brutality, domestic violence etc. Specifically, BIPOC lives. Allies—educate yourselves. Say no to bigotry and hatred. Say no in big ways and little ways. Say no to the white cis patriarchal corporatization of LGBTQIA culture. Fill in the missing colors of the commodified rainbow and reclaim it in the name of we the people. We can do better than THIS.

Your music reflects topics not typically covered in folk music and you have talked about existing in an industry that was not made for you? What can you tell me about your journey into folk music and your journey as musicians in that genre and in the music industry in general?

EMMA AYRES: I think that when you are true to yourself and in your performance, it doesn’t matter what topic you are singing about. People connect with the universality of authenticity and open heartedness. I think that we are unique in that we are unabashedly ourselves and perform from the heart. We are thrilled to continue to work with the industry and push it to continue to evolve into a market that elevates and compensates marginalized voices. The music industry is a state of mind and we can all shape it into what we believe it can be if we work together.

What can you tell me about your love for improvisation, which you have said is where the magic is made for your music?

ABBIE DUQUETTE: Improvisation is what keeps us on our toes and interesting! I personally think it’s how we all grow and learn as musicians. The best part is when one of us tries something new and it inspires another person to do something and then all of a sudden you have this avalanche of new ideas and energy. Another huge part of our work is vocal harmony. We’re at our best when we’re not focused on our individual parts, but rather listening to how we blend and communicate with each other while singing. There’s intimacy and trust that is built through this process.

Emma- You are also the program coordinator and marketing director for Shea Theater. What can you tell me about your work with them and the "Shea Away" concert series that is being held every Wednesday in October, in conjunction with the Great Falls Farmer's Market?

EMMA AYRES: The Shea is the beating heart of the Franklin County arts scene. As the program coordinator I work tirelessly to prioritize the representation of queer local artists and BIPOC artists. The Shea Away concert series is an effort to bring the inside out in partnership with the Garlic and Arts Festival and the Great Falls Farmers Market. I am committed to creating meaningful paid performance opportunities for local musicians. Paying artists and advocating for artists is an intrinsic facet of my political ethos as both a musician and program coordinator.

What's next for Ruby Mack?

ABBIE DUQUETTE: Fabulous question! We finally merged our bubbles after 7-ish months apart, and are itching to write together. Making music makes us happy and even though we can’t perform live, we want to release more tunes into the streaming world. The goal will be to stay connected to our listeners by releasing singles and hit the road again when the time is right and it’s safe for everyone to do so.

Photo Ladies 10/19/20 Photo Ladies 10/19/20

INTERVIEW: Keeana Kee

KeeanaKee Photo Credit Arkady Gluhih.jpg — Keeana Kee

The Photo Ladies Interview

Although she loved music as a child, it wasn't until a modeling career exposed her to the world and gave her the confidence and income to pursue her dreams that Latvian-born artist Keeana Kee decided to pursue a career as a singer.

Having written her first song in Latvia at the age of 10, she grew up idolizing artists such as Whitney Houston, Mariah Carey, Beyonce, Aretha Franklin, Ray Charles and later on, Rhianna and Sia. She spent her teen years in London, pursuing her modeling career and honing her singing and songwriting skills as part of a cover band. Her modeling career then took her to Milan and Paris before she relocated to New York in 2016. With a breezy, tropical vibe the radiates throughout her music, Kee's first hit came in 2016. A collaboration in Miami with famed Latin Grammy Award-winning producer Maffio resulted in her tropical, breezy hit "Coconut Rum and Coke". Although she was discouraged to do so, Kee came out as gay and emphasized the importance of staying true to herself. Her video for "Coconut Rum and Coke" showcased a woman as her love interest and established her passionate support for the LGBTQI community. Her indomitable spirit to empower others to be their true selves, even if it goes against the expectations of others, is a mission for her. Kee has also worked with some of the leading DJs, remixers and producers in the world, including Dirty Disco (“Shoot Me Up”), Yence500 (“Genius”) and Luca Bisori (Deep Vibes remix of “Coconut Rum and Coke”) as well as featuring Latin rapper Kid G on “Open Arms.” “I have great relationships with producers and DJs, so we keep on working on new projects together. It’s like a family,” she says. Just as important to Keeana as her music is giving back to the community, especially her membership in ISINA, Inc., a music talent search and mentoring program with producer Walter Afanasieff, Kenny G., Humberto Garcia and Paul Oakenfold. Turns out Afanasieff, who famously worked with Mariah Carey, heard her song, “Let’s Make Love” and wanted to be introduced to Kee. “Meeting Walter was unbelievable. He’s a legend and I was so honored to be part of it. I may not be a great example right now, but I hope my determination and hard work, never giving up, is inspiring to anyone who wants to make it in this business,” says Kee. Recently we saw the premiere of Kee's latest single and video for "Sweet Heaven", which offers a veiled critique of the US's harsh immigration border policy. Shot in the beautiful and serene desert of Joshua Tree, CA, the video portrays a Latin American father who is deported but finds a way to get back across the border to reunite with his daughter, offering spirituality in the guise of three tribesman – one woman and two men -- accompanying Keeana’s guardian angel, who provides guidance as she oversees those making the pilgrimage. With plans to release more songs and music videos, Kee is definitely an artist to keep on your radar. You can connect with Keeana Key via the following links:

You were born in Latvia and have said that you loved music as a child but never really had the luxury of pursuing it when you were younger. What was it like for you when you were finally able to pursue that dream and why do you feel you were more drawn to more heartbreaking and emotional music rather than happy and uplifting music?

It was a long journey for me, actually, to accept the fact that I was really going to go for it. Nobody in my family was really encouraging, and even when I went for it they were like "Oh, it's just a hobby and she just loves music". It was up to, I don't know, just a few years ago only when they actually were like "Oh, she's actually going for it". I don't know...it was on and off. I was really feeling like I wanted to become a singer, a professional singer, and then something would just discourage me. Like, I don't know...someone would say something. Even my first vocal coach, a lady I went to in Latvia when I was still in Latvia, said "You know how long the journey is. You need to be prepared...". She was saying a lot of things, perhaps just Russian mentality. She was saying all of this stuff to me, like "Oh my god. You have no idea. It's such a long journey. Don't think it's just one year and you're going to become a star." It was like that. I was listening to this and was afraid and thought maybe I should stop, because it was also very expensive. I would always support myself with my own earnings. I would wake up a week later saying that I couldn't live without the music. I really wanted to sing and was going to go for it, and then it would continue like for, I don't know, maybe a couple of years, that something would not happen for me. I would try to sing a song and it would not work and it would be very discouraging. But because of my love for music, I would always wake up one day and say "No, I can't live without it."

You have said that where you are from, people don't really have those aspirations to dream big and pursue those dreams. What do you think gave you the courage to do so? Did you always have that mentality of pushing forward or was there a particular person in your life that gave you that confidence to dream big?

I think, honestly, that it was when I started traveling for my modeling. I started traveling for modeling and went to Paris and Milan. I think because I was so independent at that moment already, I really already knew that I had to take it into my own hands. Nobody was going to help me. Maybe meeting new people that were outside of Latvia helped. Latvia is like a closed box where you can't believe in anything and you have to do what everyone is doing. It's very grey, you know? Everyone is the same color, you know what I mean? I think I started coming out of this box and feeling like there was life outside of it and I could dream and actually do it all myself. I don't need some person helping me. I could actually pay for it myself. The first money I earned, it went to my family...I was helping my mother...and then I also had some money to support myself in my achievements and so I went for it. I guess it's because I was traveling. That's what opened the doors in my path, you know, believing in myself.

How did the opportunity to model come about for you and how do you feel that it has helped you to pursue your dream of music? Do you see them as separate careers or do you see them as connected in your life?

Yes, well the first dream I had, actually, was modeling. I remember sitting with my grandmother a long, long time ago and watching a catwalk on the tv. I remember it really, really well. I said "I wanna walk like that. I wanna be there." And even with that, my mother did not believe in all of that. It was not taken seriously, this profession...entertainment and modeling and all of that is not taken seriously, at least in my family and circles. She actually gave me...she signed me up with a modeling school so I could feel more confident about myself. That's what she was thinking. Not to actually pursue it as my career. She was just thinking it would help me to become a woman and mentally be more confident and, I don't know, grow up. That was my first career target, if I can say that. If you can call it that. The singing was just something in me all of the time. It was there all the time and I was writing my songs. I wrote my first song in English when I was young. I didn't really speak English but I did write it somehow. I always loved it and that has withstood my modeling career.

You spent your teen years in London studying and working as a model while also performing live in a cover band, before moving to the US. What were those early years of performing like for you and what do you feel that you learned during that time that has helped you in your career now?

Oh my gosh! I learned so much and I was so shy. It was very funny, because I would do the catwalk and modeling and I would not be shy at all or be nervous coming out on the floor and walking. But then I would take singing so seriously and be like "Oh my god! I have to sing well", and was actually covering Mariah Carey and Whitney Houston and those kinds of songs. Even people that know me were like "Oh my god! What are you doing?". Even some music/singing teachers, when I would say "Here's a song I want to learn" and they were like "What? Whitney Houston? Let's try something else first". I would leave the teacher and wouldn't stay with the vocal coach, because I would only go to the vocal coach that would work on big songs with me. I was going for it and didn't want to sing anything, like, little and easy. It was always my target to go for very, like, top notch music, you know? My inspirations and my idols. So I was changing vocal coaches and all of that was in London already, when I moved to London, and just changing these vocal coaches taught me a lot. People already didn't believe in me, or themselves, because that was their mentality, right? For me, it taught me to believe in myself, I guess. And then I started performing and I was, of course, really nervous. It took a lot for me to just overcome that stage fear, and it's a different stage fear, you know? As I have said, when I was modeling, I was not afraid of it. It was a different side of me, I guess. It was a lot of experience and I'm still getting experience. I'm still not where I want to be, so I still have a lot to do and to work on.

Your music has a very fun, tropical vibe to it and you have said that style of music is more popular in Florida and the West Coast. What led you to move to New York instead of California and Florida?

I don't know. I'm always traveling. Yes, I'm based in New York but am always traveling to Florida and LA, so it's three of my homes. I don't really feel that I am just in New York. My home is in New York, but sometimes I spend more than half of the year in LA.

Your first big hit came in 2016 when you collaborated with Latin artist Maffio on "Coconut Rum and Coke".

That was in Florida, and it's a very sunshine and tropical song and that's how it all started for me. I spent a lot of time in Florida and wrote a lot of songs there after "Coconut Rum and Coke" and then I moved to LA, which is where "Let's Make Love" came to life. All of those tropical, sunshine vibes were an inspiration for me, with the ocean and palm trees, I guess.

Having that experience of collaborating with Maffio, what kinds of opportunities do you feel like that opened up for you? You have since done a lot of collaborations with DJs and producers, so what can you tell me about the opportunities that opened up for you and what you enjoy about the collaborative process?

I absolutely love Maffio and am so grateful to have done that song with him. I love it. It's my favorite song and it taught me a lot as well. It was my first song recorded in the US and everything here is going a very different way. Maffio's style of recording and all of that was crazy. We would only record at night. We would only go to the studio and work there at night, so it was very different for me but was also very much like me. I have more inspiration at night. Most of my songs were written at night, actually. I don't know why. In the studio, working with him, everyone was having so much fun and it was very easy. We were all enjoying it. It was like going to a party and you are actually just having fun. You're never going there to work. It doesn't feel like that. It taught me that you can be very relaxed and just go to the studio and have fun and dancing. There was always dancing. There was so much positivity there and fun. It taught me to relax more, I guess, in the studio and we came up with several songs on the spot right there. It was so amazing. I really loved it and the people I worked with were so professional and so talented. It was incredible. I'm extremely grateful for that cooperation.

You have talked about facing discrimination in the music industry for being gay but have stayed true to yourself regardless. Having been told that it would be a risk to present yourself as non-traditional and that it could be fatal to an artist's career, what has it been like to be your true self in the face of that discrimination?

It was very hard in the beginning, because I was new here in the US and everyone was telling me their opinions about that and we were filming a music video. I was kind of listening to them and would be scared because I was new here and thought maybe they were right. I thought maybe I shouldn't and maybe I should, I don't know, film a straight music video and actually have a guy there. In the end, I was just...it's my music. Even if it won't go around as well as some commercial agencies think it should go, at least I'd be true to myself and will not regret not being what I want. I was just listening to my heart, I guess, and that's my life. That video, especially, for "Coconut Rum and Coke", is the story of my life. How can you go wrong with what's real, you know? This is a true reality, so how I regret what's actually happened in my life? It was my first song in the US, my first single, and I thought I should be true to myself and show people who I really am. If people love me, they love me and if not, sorry. Someone else will love me.

You have said that the industry has gotten better for gay artists. What role do you feel that social media and the internet have played in the changing attitudes and musical landscapes? How do you feel that being an independent artist has allowed you the freedom to pursue your music on your own terms?

I think social media gives people full power to choose their own podium. People can choose. If they don't like you, they don't have to follow you. If they like you, they'll be the real people that were not forced to like you. They will genuinely love you for who you are and for what you show on your social media, or how you present yourself. It's real fans. People that like me are like "Oh my god. You actually helped me to come out. I actually came out and feel more comfortable". For me to hear something like this is like "Oh my god! Wow!". I changed somebody's, at least, one day in life, and maybe their whole life. It means a lot and staying true to yourself is my target goal, to help people just believe in themselves. So yeah, people follow you and love you for who you are and for who you want to be and you don't have to force anyone to believe in something else. And on social media, it's your real life and you share the reality of your being and people can live with you. It's like living with you. You know, it's like a reality show, if you think about it.

You had the opportunity to perform at last year's Pride Festival in London. What was that experience like for you and how did you celebrate Pride this year?

Oh my god! That experience was absolutely incredible! That Pride I think was the most amazing Pride in Europe that I ever went to. There were so many people and everyone was so, I don't know. You know what I love about it? There were so many straight people. It's not only gay people there. There are so many straight people supporting the LGBTQI community. It was a great experience. I was with DIVA Magazine and it was amazing. And then I was performing on the DIVA stage with some other amazing LGBTQI artists and it was one of the most incredible experiences for me. But this year, it wasn't fun for me because I was literally staying home. Unfortunately, it was the wrong timing this year. I wasn't able to actually go somewhere. I was supposed to perform in Texas this year and it was delayed. The person who was organizing the event, she was really hoping it would still happen and it didn't, so I'm very upset. But as long as we are safe and everyone can overcome this pandemic. I hope it will end as soon as it can end. It is what it is.

What can you tell me about your song "Sweet Heaven", which you have said offers a veiled critique of this country's increasingly harsh border policies? Also, what has it been like for you to witness the attitude of this administration towards immigrants, being an immigrant yourself?

So the song wasn't written as a critique to these immigration policies here. It wasn't written like that. When I just wrote the song, I came up with the chorus-with the melody for the chorus-and literally heard the choir singing with me in my soul. I knew it had to be something very inspirational or something spiritual or encouraging. Also, it was written, like, half a year ago or maybe more already at that time...well, before the pandemic, so it will be a year already. It was just something spiritual. There is this person...it can be God...it's not any particular religion that I am referring to. It's just something spiritual. It can be a universe force, your guardian angel looking after you all the time and helping you to overcome the obstacles in your life...your mother, your kids, whoever that person is in your life. The video was inspired by the crazy story of undocumented immigrants, even living all of their life here in the US, and are separated from their families and their children and the children are being locked up at the border alone in cages. It's ridiculous. I get chills just talking about it. That really touched me and I was like "These are the people I want to dedicate this song to". These kids and families, they need this right now, somebody or something that can help them to go through this situation. That's my dedication to this subject and to these kids and these families. And that's why I filmed the video in California, in the desert, showing the father that was deported and trying to escape and go beyond all of that and still coming back and crossing the border and coming back for his daughter and reuniting with her. And she's sad waiting for him, still here in the US. So it's just my dedication to these kids and families that are separated. But the song wasn't written exactly about this subject. It's a love song, of having that something or someone overcoming obstacles with you, I guess. Like a guardian angel.

You also strive to give back to the community. What can you tell me about ISINA, Inc, the music talent search and mentoring program and how you came to be involved with them?

For me, it was meeting Walter Afanasieff, who is a legend! I still can't believe I met him and worked in the studio with him. It means a lot and I don't know...it makes me believe I'm a great artist. Like, am I already at the level of Mariah Carey and Leona Lewis? She was literally in the studio right before me, with him working. Like, Leona Lewis was working on a song with him. So for me, knowing that I am going into the studio with him after Leona Lewis, was making me, I don't know...really believe in myself even more. Like "Oh my god. Am I actually working with a person at that level?". It's also different, the way of recording in the studio and working with musicians, live musicians, and different levels of people in the industry. It was great to meet him and I'm so grateful. I'm hoping that I'll still be able to work more and more with him, because I'm still in contact with him.

You have talked about getting to travel the world with your modeling career. What are some of your favorite places that you have been able to visit through your modeling?

Oh my god! Actually, one of the most unusual places for me was Beirut, Lebanon. I worked with a company over there and at first I actually cancelled the trip because I was nervous to go there. I had never been to that side of the world and wondered if it would be dangerous. I was going alone which might be kind of dangerous. But then I came there and a group of people from the company met me and showed me the city and I saw it from a different angle. Everything I had heard about it was lies and not what it actually was, so I fell in love with Beirut. And then it was Israel, South Africa, all of these places. But I was all around Europe. I didn't get to Asia, which I really want to go and see. And Australia. I haven't been to Australia yet. I've heard it is so beautiful. It's on by bucket list. And New Zealand and Bali and of these tropical places, because there's just something inside of me that always carries me to these tropical places.

What's next for you? What do you have coming up?

"Sweet Heaven" is coming up next and then I was lucky to be able to film another 4 music videos, right before the pandemic, which is crazy. Right now it is very hard to shoot a music video, even though the day before yesterday we finished another one in New York, which I'm very, very excited about. Even though I am living and based in New York, this will be the first video I have actually shot in New York, which is kind of weird (laughs)! I'm super excited for that one. Right now, I'm going to be concentrating on music that is already done and recorded and the music videos that we have already shot, we will be releasing those. I have so much material to share with my friends and people and fans, so yes, I have a lot up my sleeve that I can't wait to share with all of you guys!

Carolyn Lederach 9/25/20 Carolyn Lederach 9/25/20

INTERVIEW: Agent Envy

Alejandra Jiménez, who goes by the moniker Agent Envy, recently released her debut single, a haunting cover of Deftone's "My Own Summer". Infusing sultrier vocals and a heavier emphasis on synth and industrial elements, she creates her own unique spin on the classic Deftone's hit. Born in San Diego, Jiménez has been singing for as long as she can remember and was immersed in musical theatre since she was a small child. She learned guitar in middle school and discovered her love for rock music, later fronting her high school rock band. She counts Tool, Massive Attack and Nine Inch Nails as a few of her musical inspirations. Having since relocated to Brooklyn, NY, she aims to express the darker side of life through music and art, with her Agent Envy persona drawing from her experiences as a freelancer in the graphic novel industry and her career as an international private investigator. Having worked and traveled continuously over the past few years, music had taken a backseat for Jiménez until this past year. Determined to make music and art a priority, she has created an in-home studio and made time each day for music, resulting in her debut single and impending EP. With plans to release more singles, music videos and behind-the-scenes looks at the making of her music videos, Agent Envy has given us plenty to look forward to. You can connect with Agent Envy via the following links and check out her latest single “Spiral”:

You recently released your cover of the Deftones song "My Own Summer". What can you tell me about the inspiration behind your rendition of the song, as well as why you chose that particular song as your debut single?

I’m a huge 90’s rock and metal fan, so many bands from that era have influenced me as a musician, and the Deftones are no exception. My Own Summer is probably one of their most well-known tracks, and I knew that I wanted to go for a real classic like that. In my rendition, I opted for a more sultry vocal approach with a heavier emphasis on synth and industrial elements, which are a recurring theme in my sound.

What can you tell me the idea behind the video and why you chose to shoot parts of it in red lighting?

To me, this song is about isolation from the rest of the world, whether self-imposed or not. I wanted to create a visual that matched that feeling, something a little dream-like and cyclical, maybe even unsettling at times. The “red section” as we were referring to it during production, represents sinking further into that isolation and the twisting of reality that goes with it. Red neon is also a bit of a running theme in my branding imagery as well.

Your persona of agent envy is described as being born from a desire to express the darker side of life through music and art. In what ways do you feel music and art have been catalysts for this expression?

I’ve always gravitated towards things that are a little dark. Books, movies, and music on dark topics, edgy fashion, dark imagery, etc. I just feel the most comfortable and excited by these things. Music and art are the best ways to express any range of emotions, I just tend to focus on topics that aren’t quite as sunny.

I read that you have drawn significant inspiration from film scores. What can you tell me about your love for film scores and how they've inspired you? What would you count as your favorites?

I’m very visually-oriented and whenever I’m writing music, I’m always thinking about what kind of scene in a movie it would be played in. I feel like this helps me to create a consistent mood around each song that transports the listener. I love action movies, sci-fi and fantasy, so these are usually the types of film scores and sound tracks that I’ll reach for. My all-time favorite movie is the Matrix, which had a really significant impact on me as a kid. The concept, the characters, the music, the aesthetic, were unlike anything I’d ever experienced at the time and it really stuck with me. So many of the artists featured on that sound track have become my favorites over the years.

What can you tell me about your life as an international private investigator, as well as a freelancer in the graphic novel industry? How did you become involved in those lines of work and how have they influenced your music?

I can’t disclose much about my career in investigation, and I prefer to keep my music and my job as separate as possible. The graphic novel work was something I did throughout college and for a little while after. I worked closely with one of DC Comic’s top colorists prepping pages for him in a process known in the industry as “flatting.” It was tons of fun and I got to work on just about every major DC character out there, and always made point of attending Comic Con in either San Diego or New York. There was a point in time when I wanted to make a full time career out of it, and I’d still love to write and illustrate my own graphic novel one day.

You grew up in San Diego and have been performing since you were young and were immersed in the musical theatre scene as both a performer and spectator. What can you tell me about your childhood and growing up in the theatre? Did you grow up in a musical/artistic family?

I’ve been singing for as long as I can remember. My parents actually used to get complaints from my pre-school because I would routinely sing during class. After a few school plays, I ended up auditioning for larger-scale productions locally, started formal voice lessons and continued to act, sing and dance in various shows through my senior year of high school. I started learning to play the guitar in middle school and ended up as the lead singer in my high school’s rock band (which is what we had instead of a marching band), and that was when I realized I really loved being the front woman in a band. That in particular for me was a real milestone because it’s tough as an alto to land leading roles in musical theater, where soprano voices are the most sought after. Rock music is another world, and I started to really come into my own.

My mom is an artist. She’s got degrees in illustration and ceramics, she makes jewelry, she cooks fantastic meals and decorates incredible desserts, and she’s where I get my obsession with “making things.” My dad is a psychiatrist, but played trumpet in a band for many years and I credit him with educating me in all things rock and beyond. Plus he’s the root of my interest in detective novels and action movies.

What can you tell me about moving to New York for college and what that transition was like for you, moving from California to NY? Having not gone to many concerts until you moved to NY, what was it like to start becoming more immersed in the music scene? What do you like to do for fun in the city?

San Diego and NYC couldn’t be more different if they tried. The people, the architecture, the weather, the population density, are all very different. New York is a very competitive place compared to San Diego but there’s a lot to love here too. The awesome thing about the New York concert scene is that basically every artist is guaranteed to perform here, so I got to see so many musicians that never made it to San Diego. I generally spend half of every concert paying attention and the other half thinking about how much I want to be back on stage. Going to shows is a great way for me to find inspiration any time I feel like i’m in a rut.

Outside of going to concerts, I love spending time with my friends doing basically anything. Going to the movies, dining out, grabbing drinks are all staple activities. I also love venturing out into the trig-state area during the summer and fall and renting out a house with friends. Of course, things are a little different now due to Covid, but we try to see each other as regularly as possible.

You talked last year about having the time to think about how you had been living your life and the way you wanted to live it. You mentioned having lost sight of what truly drives you- being creative, making art, dreaming of characters and becoming them, making music, singing and performing. What can you tell me about that revelation and your journey of bringing those things into the present and doing what drives you?

Wow, you’ve really done your homework! A few things happened all at once. I had just ended a relationship, I had a fairly-serious health scare, and I had been working and traveling incessantly for several years. I realized that while I was really successful at what I did, I had forgotten to make time to pursue what I really loved, which is music and art. I read a quote somewhere, the gist of which is that you should be living each day as you wish to live your life, because your days are your life in miniature. That really stuck with me, and I could see that even though I had dreams of pursuing music, I wasn’t actually spending time doing that on a daily basis. To change that, I started carving out 2 hours a night to work on music, and I pretty much haven’t stopped since.

You moved last year into a new apartment that now houses your own in home studio for music production and recording. What has that been like for you to have your own studio? Do you record and produce music for other artists besides yourself?

Having my own home studio has made an enormous difference in my ability to create music more effortlessly. I’ve been able to acquire some more gear and instruments that I didn’t have space for in my previous tiny apartment, and that has really opened up my options creatively. It’s also just psychologically beneficial to have a designated space to make music. When I sit at this desk, I know it’s time to get to work. Currently I’m only working on my own music, but I’d love to work with other artists later down the line. I think it’s really crucial to be protective of your time and energy, so I am trying not to spread myself too thin.

As someone who has traveled a lot, what is your process for making music on the road and how does it differ for you from making music at home?

Depending on how long I’m traveling for and how light I need to travel, I usually opt for less gear for the sake of not having to haul too much through TSA. A laptop, headphones, a midi controller and my songwriting notebook are the basics. I use my phone to capture my initial ideas via voice notes, and then I’ll sketch out the instrumentation and structure from there. When I get back, I’ll record a more solid vocal demo at home. I also love to use travel time to brush up on my theory as well, especially since I usually won’t have access to a guitar.

You have mentioned having a love for analog. What can you tell me about your love for analog in such a digital world? Do you incorporate digital aspects into your producing/recording process as well?

I love technology, but I really hate staring at screens all day. I try to minimize that as much as possible by keeping paper notebooks, calendars, etc., instead of having everything be digital. Of course, these days most production is done digitally but a lot of the instrumentation we use is real-world. My music is a solid mix of both.

You have talked about how one of the things you have struggled the most with during quarantine has been the self-imposed pressure to "maximize" the time you've had to do something productive every waking hour. How have you tried to overcome that struggle and the subsequent anxiety, uncertainty and exhaustion? Are there any lessons you have learned as a result or things about yourself?

I’ve gotten back into journaling which has really helped. I felt like I had totally lost track of the days and yet I was trying to do so much at once. All of a sudden everyone’s time was spent entirely online instead of in-person, and I needed to find a way to get a grasp on reality again. I think a lot of that anxiety also subsided when it became clear that things weren’t going to go back to normal any time soon. I felt less pressure to maximize my time at home while I had it, and could focus more on planning longer term.

What can you tell me about your upcoming single "Spiral", which will be an original song? What can you tell me about your process of creating original music and what can people expect?

“Spiral” is a rather personal song about hookup culture and my tendencies to engage in it, even though I know how it’ll play out every time. It’s about the games we play with other people to try and get what we want while maintaining some illusion of dignity and control. I’m so excited for everyone to hear it and I really love the way it turned out.

My songwriting process usually starts with lyrics and melody at the same time, I rarely write to any accompaniment. I’ll start with singing into my voice memos and build out at least a first verse and first chorus before i move onto any other parts. In terms of subject matter, I always write from personal experience and I make a point of expanding my topics beyond just relationships. There’s a whole other host of topics in the range of human experience that deserve songs too. I’ve got songs about sleep walking, about hospitalization, etc.

What's next for you?

I’ll be releasing the music video for “Spiral” shortly after the song release. I don’t want to give too much away but it’s turning out really awesome and it was pretty exhausting to film. I’m hoping to release a few more singles this year, leading up to my EP, Hybrid. In the meantime, I’ll be publishing behind the scenes videos for each of my music videos, as well as throughout the studio recording phases, for those who are interested in a more in-depth look at my creative process.

Carolyn Lederach 9/15/20 Carolyn Lederach 9/15/20

INTERVIEW: CrowJane

Photo credit: Jenny Nirgends. — CrowJane

The Photo Ladies Interview

For many artists, writing and recording music can be considered a form of therapy and for LA musician, makeup and makeup effects artist Heather Galipo, her new solo album was just that. Galipo, who goes by the moniker CrowJane, is releasing her new album Mater Dolorosa today. Described by some as experimental and avant-garde, those descriptions could be used to describe the album. A genuine and unconventional artist with no desire to be the next big thing, Mater Dolorosa is an honest album that was years in the making for Galipo. As she was slowly writing the songs for the album, she also joined three other bands- Egrets on Ergot, The Deadbeats and Prissy Whip. Earlier this year, she signed with Kitten Robot Records, owned by musical icon Josie Cotton, and the album was recorded at the Kitten Robot Studios. Galipo worked closely on the album with producer and LA punk icon Paul Roessler (The Screamers/Nina Hagen/45 Grave/The Deadbeats), who runs the studio. Having worked with Roessler on other projects/bands over the years, he convinced her to put pen to paper and write about the loss, abuse and addiction she had experienced. The result is Mater Dolorosa, 10 tracks that are a raw and vulnerable expression of these experiences. “A lot of thought and experimenting went into this album,” she replies about this collaboration. “A variety of experimental percussive sounds, some coming from instruments that we made out of various materials like bed railing, tin cans, foil, etc. This album is uncomfortably personal which makes me feel exposed to the public. It is riddled with pain and self-reflection from personal experiences and the state of the world. At the same time, it shines a light on some of the beauty of being so exposed and overcoming obstacles. It's a love story and it's an expression of gratitude to so many that have left a stamp on my life and helped me grow.” The first single from the album, "Terminal Secrets", was released on August 18th. “Lyrically, this song was inspired by the idea that a person can have a smile on their face but be screaming on the inside,” she told Postpunk.com, who premiered the single and video. “What is portrayed on the outside doesn't always reflect what is actually going on inside a person and within their mind. People can spend so much of their life chasing for money, power, security, validation, fame, 'success', and wake up to the realization of the 'monster they have become' on their journey to obtain or achieve it.” The second single, "The Pharmacy", was released on September 8th. Aside from music, Galipo has a visual art background in surrealism and horror and has built a career as a professional horror effects makeup artist. A lifelong love for painting and drawing morphed in high school into a decision to pursue makeup effects. After spending over a decade in the indie film industry, she recently made it into the makeup union and has since worked on high profile shows such as Star Trek: Picard and Ryan Murphy's show Hollywood, to name a few. With plans to make more music videos and start writing her next album, CrowJane is definitely an artist to keep on your radar. You can connect with CrowJane and purchase her album via the following links.

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You'll be releasing your debut solo album Mater Dolorosa in September, an album that has been years in the making for you. You have discussed how the album was uncomfortably personal and riddled with pain and self-reflection from both personal experiences and the state of the world. What can you tell me about the experience of making the album and coming out of that place of pain into what you have described now as a sense of gratitude for your growth and the lessons that you learned as a result?

Well, I play in 3 bands and am the only girl in all of them and most of the time I am playing guitar. In one of the bands I am the lead vocalist, for a band called Prissy Whip. With the band I've been in the longest, I play guitar primarily and it's such a different thing to just play guitar, as opposed to singing and being the frontperson and writing these words and expressing yourself through lyrics. Something like poetry and writing, it's something I've always done. When I was in high school, I remember I'd always write poetry and stuff in the back of my notebook when I should have been in class paying attention (laughs). I was writing poetry in the back of my notebook or drawing pretty things in the margins. I have this very already kind of intense emotional connection to writing and using writing songs and art and all of that as a form of expression and emotional release. At the time, I think I was just, and I think this is something a lot of people go through, a bottled-up person with a lot of emotions and a lot of trauma. And that's not special to me in any particular case. I think every human being has their own version of traumatic events that have happened to them. But with this particular situation, I didn't really know where to put things in the sense of "How do I navigate through everything that I'm going through?". It felt like a very heavy weight. I was never, like, in therapy. I got put into therapy once in high school. It was this terrible situation where it was a really strict Christian who tried to convert me and got my dad involved and it was weird. I would smoke weed before I would go and would go there really high and really happy and I remember at one point she was like "You seem happier" and I was like "You're right, I am" (laughs)! I would try any way to get out of stuff like that and would ignore anything that was like self-reflection, even though that is exactly what I needed. So really I was in my own self-bondage and would let everything that felt like a traumatic event that I'd gone through all control me and affect me in my day-to-day life. This album was a particular breaking point. I was going through my addiction and it was at its peak, I think. I fell 12 feet though a skylight and was in a back brace and scared the shit out of everyone I love. Paul (Roessler), my music producer, was one of those people. He even wrote a song about a girl falling through a skylight (laughs)! He's one of the people that would be like asking the universe to help me and to help get me sober. I'm a very love-centric person and when I was writing this album, it was a lot of relationships that didn't work out and one of them was even abusive. Two days before I sang the song...I do a cover on the album of "It's A Man's World" and wanted to do it in a very feminist kind of way. A lot of people cover that song but sing it in a very pretty way. It's a good song but the only band that I know, and it's a band that I am actually inspired by who covers that song, is a band called The Residents, and they just fuck it up and make it weird. I wanted to fuck it up and make it weird but also wanted to bring a feminist energy to it, like "Yeah. It's a fucking man's world but we're doing our best to change that!". 2 days before I sang that vocal track I was sexually assaulted and throughout all of this stuff Paul said "You're going to write about it". This is one way that I know how to navigate through this and that makes it better. This is a very good therapy, and of course every art form is, but sometimes I feel like when you are in the heat of all that stuff, you don't want to do anything. I'm sure a lot of people are going through that in quarantine, with this country on fire and the world being weird, and you want the drive to do all of the things, but sometimes you just don't. Paul was the push that was like "write songs about it", and so I did. At first, they were primarily about the relationships that I was in, and I was just expressing what it was like to go through this process of trying to have something like a romantic relationship, and you're not taught in school how to do such a thing. I feel like people don't commonly go about it in the way of like "Hmmm. This is an interesting experience to have in life. Let me research it and read books about it first". You're just kind of thrown in there and fumbling around and guessing and have a lot of probably not so great or healthy ones. Or at least in my case that's how it was. Even though it started off being centered in a lot of that and just writing about a lot of that stuff, I'm happy that I did it because it did help get me through it. It makes it really personal in a way that isn't like me just playing a guitar part in a song. It forces me to be vulnerable.

The album is titled Mater Dolorosa, which translates to Mother of Sorrows, one of the 3 artistic representations of a sorrowful Virgin Mary. Also, the album will be released on September 15th, which is the feast of Our Lady of Sorrows. What can you tell me of any personal significance of the album title and release date?

Mater Dolorosa...Lady of Sorrows...I thought that it was fitting, just with the vibe of the album and what it's about (laughs). But I've been sober for over 5 years now and have gone through all kinds of different experiences and it's not all woes and turmoil. My life is way more amazing now than it's ever been. But Mater Dolorosa was kind of a universal God shot in that September 15th is a celebratory day of Mater Dolorosa. I met up with the label and we were talking about release dates and Gina, who works with Josie (Cotton), said "Hey. I looked it up and September 15th is a celebratory day of Mater Dolorosa and we were like WOAH!". It just so happened to be the day we were talking about releasing the album, so we were like "This is perfect. Let's release it on this date". Along with the representation of the meaning of what Mater Dolorosa is, Paul was in a band called The Screamers that I love a lot, and I have all of these little symbolisms, sort of a love letter play on words and hidden between the lines sort of stuff. It's kind of like a love letter to Paul and The Screamers and I like the meaning and imagery of Mater Dolorosa a lot. So that's where that came from.

What led you to want to experiment with different kinds of atypical instrumentation on the album, such as metal bed frames and crumpled up foil and just whatever was around?

I feel like I am a very experimental person in general when it comes to art forms, particularly music. I'm inspired by so many different bands that really bend the rules on music. So many of my friends and people that I make music with are the same way. It's fun for me to explore, because I feel like people can get pigeonholed very easily and stuck in this very guitar/bass/drums model. Everything's been done, you know? Everything's been done. At the same time, I'm a self-taught musician, so I'm in the studio and Paul is telling me to write these songs. I was just going to do like a guitar-acoustic type of thing but was like "Too folky. I don't want that". How many people do I know who made a solo album and it was a folk album? Even if sometimes that vibe will come naturally, there was also a part of me that wanted drums on a track. There were some tom drums in the studio and I decided to bang on those for a little bit. I think the trigger for the inspiration came when we were making a song, and I was in the vocal booth, and the mic was still on. I walked out and there's this sliding glass door that opens and closes in order to go into the other room where you listen back, where the recording board is. When I opened and closed it, it went "swoosh" and the microphone caught the sound. When we listened back, both Paul and I liked that sound. I think there was just a realization and something that clicked there where we realized we could make all of these cool sounds that we could add into the music. Paul is really good at stuff like that. We could make them and use what's around the studio and the apartment as instruments that sound really cool. Then we were off on this whole new thing and everything in the house could be used for really cool sounds. It's interesting, because even places like Disney used to do that, like with soundtracks to cartoons or whatever they were doing. A lot of the times there were these homemade instruments they would use to make a specific sound of like "What does this cartoon character falling off a mountain sound like?". I'm into stuff like that and I researched it and so we just started banging on stuff and a lot of it sounded really cool and added a really interesting, experimental flare.

What has it been like to be signed to Kitten Robot Records? Having been friends with and worked with Paul (who heads Kitten Robot Studios) for several years now, what do you feel you have learned from him over the years?

I call him and his wife Rachel my little angels. Woah, I feel emotional. I didn't expect that. He's like a mentor, you know? And he's really supportive and inspiring and it's not just with me. I see it with him and Josie too. If he were here, he'd be saying some smart-ass comment about this I'm sure (laughs)! Like "I love it when girls cry" (laughs). There's a humor and humility to it. It's been really cool. I've done music for a long time now and have been signed to a label before and basically it didn't do much. It gave us a tangible record on vinyl that we couldn't afford anyway. This is the first time I have been signed to a label that has...you know, it's a newer label so they are driven to expand and become bigger. The push to expand and become bigger with them is existent and that's the first time that I have had that from a label. I'm getting interviews left and right and photo shoots and really good PR. I was just going to put this album up online and call it a day, but Paul put a lot of time into this album too and was like "I want you to try to shop it around and let's see what happens". In a lot of these situations, I like to take myself out of them. It's not all about me. I wanted to shop it around for him and for the project. And then Kitten Robot was into it and they wanted to put it out and I'm just really grateful and appreciative of all the support. It's really cool that all of these magical things keep happening, like it was just supposed to be a digital release and then one of my friends who is also starting a label said they would partner up with Kitten Robot Records and make vinyl. They really wanted the album to be on vinyl and I was like "Woah! Now this is going to be on vinyl? Cool!". And now I have interviews with all of these magazines talking about it, which is cool. This is way more than I ever expected from it. I don't know if it's going to go anywhere. It's never my drive to be like the next big thing or whatever. You know, my music is, like, weird. I'm a weirdo and my music's weird (laughs)! I don't expect everyone to love it. It doesn't have this, like, very basic structure of catchy choruses that happen time and time again, even though I think it's really melodic and beautiful. I think the work that Paul and I did is really cool. I also know that the vast majority of people are listening to the top 60 radio hits, like Taylor Swift or whatever. But I think that everything that is happening is really awesome and it's been a really cool experience.

You have talked about growing up in the punk scene and about how punk rock saved your life. What can you tell me about the early days of the LA punk and underground music scene that you were a part of when you were younger and how it's evolved over the years?

Yeah, sure. I'm happy that you used the words "that punk rock saved your life" because yeah, I say that and it's true, as much as it kind of destroys your life at the same time (laughs). You know, I say the same thing about music...a blessing and a curse. And I'm not really a religious person when I say these terms. They're just the easiest terms to use. When I was in high school, things weren't the best at home. There was a period in my life where my mother died from cancer at a really young age and I was just mad. I was mad and had all of this energy and there was this group of kids that hung out at the wall. It was called the wall. It was this brick wall and they were all of the goth and punk kids and I was just a nerd who liked to read books. There was something that just drew me in to these kids. I think my siblings at the same time were...like my brother was wearing Doc Martens and was always listening to music with these big headphones and had the Dead Kennedys CDs and The Doors and things like that. All of these things in my life were moving me towards this music and these people and everyone that I knew, like these kids who hung out at the wall or in the janitor's closet, were all going through something too. I feel like that's the part where the punk kids became my family and where them saving my life comes in, because people need people to a certain extent. We were all going through this shit and like, the music just lets you, it's just that you could connect to it so much and in a political way too. And then you go to these shows and that was our escape. We would go to these shows and get into the mosh pit and chip our teeth and get bloody and bruised and whatever. It felt good and we'd feel so alive!. At the same time, the darker side of that stuff is where the addiction comes in. There was a lot of drinking and a lot of these musicians and writers that I would idolize, like Hunter S Thompson and a lot of musicians in the punk scene, were all kind of these, like, broken people with troubles with addiction but amazing at what they do. And I'd think "Oh, I'm not addicted to anything". I had this way of romanticizing that narrative and it wasn't until later in life, like now, where I realized that that's actually the sad part of their story. With Hunter S Thompson, for example, I wish he was alive now with all of these different things in politics happening. I want to know what he would write about. It would be amazing. But anyways, I just devoted myself to punk music and it became my life and I became a nerd about that since I was a nerd anyway. And I just researched the shit out of it. I wanted to go underground and underground and underground and find all of the deeper cuts, since it's kind of the music that a lot of bands didn't really make a profit off of. Like, I love The Screamers so much and it's a legendary band, but Paul was telling me this story about he got, like, a check in the mail for The Screamers and it was a dollar. It's just, like, bootlegs everywhere and people don't make money off of it and that's fine. When I started to be in bands and play music, I just got more and more friends who were punk nerds. When I got out of high school, my friends that were more musically inclined and into music actually wanted to make music. The partying came to a halt. It got ugly there. It became more about making music and making art. And the underground scene in LA, like with my band Egrets on Ergot, was really cool. It felt like everything I had read about in books, like this is happening. I always would say how I wished I was in the music scene in the 70s. If I had a time machine, I would go back to the blues days. I wish I was in any sort of musical world besides the one I'm actually in (laughs). It felt very thriving and cool and underground and everyone was dressed up and expressing themselves in cool styles and going to the shops and to Glitter Death and we'd play upstairs in sort of the attic area. The whole store was shaking and was probably unsafe but whatever. We were all hanging out there until 2 or 3 am and we were in Hollywood and it felt really cool. I think it started to get a lot of traction and post-punk, even though it was underground, started to get a lot of traction and became a pretty popular thing here in LA and more and more people started to come out to shows and my band Egrets on Ergot got more and more traction. If you would have told little punk me in high school that one day I would be playing with The Deadbeats and I would be sitting within the studio or I would meet Paul Roessler from The Screamers or I would be playing in a band with Rick Agnew from Christian Death, I wouldn't have believed you. Or that I was going to be on tour with The Weirdos in your band. I would have said no way. I remember when I was going to shows and watching bands up on the stage being like "Man, that would be so cool to do something like that" but feeling like I probably never would. But I have, many, many times, and it's actually one of the places I love to be the most. There's nothing else that I've done that is like it. I get really awesome feelings and sensations of expression and loss of time when I'm doing makeup and makeup effects for example, or painting. But there's just nothing like performing on a stage and connecting to people and their energy. There's just nothing like it.

In recent months you have rediscovered your love for art forms that you haven't really touched for a while, most specifically photography. A lot of the photography you have done has been for the album artwork and the artwork for the album's singles and you have collaborated with Rachel Roessler, who is also a photographer. What can you tell me about getting back into photography, as well as the inspiration behind the aesthetic of your photos, which have a spooky, witchy and at times spiritual vibe to them?

I used to do film photography with my sister, and just photography in general. I would always be the model for my sister in her photos. She got really into it, as well. My relationship with Rachel kind of feels that way. I took a class at Cal Arts and would be in the darkroom developing my film and stuff like that and I don't know. I stopped doing it for a long time. I think when Covid happened, a lot of my artist friends...my world had become music and film and both of them will keep you really busy. Painting on canvas and photography is something that I hadn't touched for a while. I got the chance to during this Covid time. Rachel is really into photography too and we both have these kinds of dark aesthetics. There's just a mood to this album that I really wanted to represent and I kept getting all of these ideas of things I thought would look really cool, and I was also able to use my make-up and effects skills. For one of the photoshoots, I wanted to recreate Mater Dolorosa, so I made a prosthetic at home with swords going through my heart and made it kind of gory. I got an idea to go to...it was when it was raining for days and days in LA and I think it was the most rain we'd ever had. Everything was so green. I just love misty, cloudy, foggy environments and the mood it creates. It's my favorite mood, even though it's kind of sad, but it's just comfortable. I think, like, healthy people who are going to the gym all the time or something probably like the sun the most and are up at 6 am (laughs)! Rachel was diving back into her photography too and we wanted something to do. I didn't have the release yet. Kitten Robot Records wasn't even in the picture. We were just like "Wanna go take photos? I need something to do. Let's go take some photos. Let's go to the mountains and walk around". So we did and I do have a spiritual, sort of witchy side to me and I just like nature so much. Through becoming sober and through even this time in Covid, this sort of grounding connection to nature has been something that has been really important to me. It reminds me to get out of the concrete jungle and to stare at a tree or go into nature and look at how beautiful the world is and to remember that outside of people and politics and things that could be considered ugly, there's also all of these beautiful parts of the world to explore. More and more ideas kept coming to Rachel and I and we were like "Ok, let's do this. Let's be a murky, creepy witch person in the water". We are both kind of inspired by this horror type of imagery and it's been really fun. I really like what we've done.

You recently released the single "Terminal Secrets", which was inspired by the fact that what's portrayed on the outside doesn't always reflect what's going on inside of a person and their mind. What can you tell me about the song and what you feel it reflects about today's society?

It's funny, because to me it's saying what's underneath the mask of your personality and what's really going on inside. And then it just so happens to be, at this point and time in the world, that we have to wear masks literally (laughs)! It can be so hard to see people's personalities through these masks. There's just no expression. I just feel like there's so much pressure in society to present yourself well, and I don't know. Maybe this is some old sort of 50s mentality or something? And being emotional or crying is seen as sign of weakness. I think for a lot of people, it's hard for them to communicate about this stuff that's probably going on inside of them. It's hard to be vulnerable, and as humans everyone has kind of like their ego and it's just what naturally happens. How do you break that and how do you shed that? I see it a lot of the time in the film industry and in music where there's just a lot of facade. I think especially in LA. It feels like things just lack depth because people aren't being genuine. That or their really, really genuine and maybe saying too much, which is maybe where I fall into the line (laughs). I'm like at the opposite end of the spectrum. But I wanted to write about that and I've seen it time and time again, where people just get a little taste of success and they want more and more and more of it and just "How do I make it in LA and in this industry? Who do I need to know and how can I be their friend so that I can get closer to my success?". Part of what I talk about in the song is this monster and waking up to the monster you've become. And maybe it's the loneliest you've ever been because you don't have any kind of relationship that has true depth. It's all surface level "friends", but it doesn't start out that way maybe. In the song it kind of starts off with sounding like you're in a happy place and are doing it for fun and for the right reasons and then when you get a taste for success it can easily turn bad. It's like a mindfuck, you know?

You also released a video for "Terminal Secrets" that uses stop motion animation. What can you tell me about the process of making the video and your love for stop motion animation?

My friend Jenny (Nirgends) directed the video and she goes to Cal Arts and is an animator. She's one of my favorite artsy people to collaborate with, outside of Rachel, because she's really driven and has a lot of really cool ideas and a unique style. Me and her have decorated a whole building for one of my band's release show and were inspired by Yayoi Kusama. She's an artist who does a lot of installation art and she'd decorate a whole room usually in a series of dots and it looks really surreal looking. We wanted to make this real looking world for the show and we called it The ACID test and it was kind of a legendary show. I had worked with her before on that and she's done music videos for my other bands before, so I thought about her as soon as I got the opportunity to make music videos. I hit her up and asked her if she wanted to make one with me and that I didn't have much money but would build the art and we'd have some money for materials. She was like "Yeah. I've always wanted to make a pixel animation". Her and I both have the same connections and inspirations from, like, The Brothers Quay and different stop motion animations. We were talking about that and Peter Gabriel's music video for "Sledgehammer" came up and we discussed doing it in a portrait type of mode and we talked about the theme of the song and how I wanted the music video to be about faces transforming. When I say "the monster you've become" in the song, I wanted to develop my own face into the monster and shedding my skin time and time again. She was like "Ok cool. Can you build a mask of your own face?" and I was like "Yeah. I have a lot of time in quarantine right now" (laughs)! I had never filmed anything in stop motion before and it was a really cool experience but it's a lot of work. We did 12 frames a second. Sometimes people do 24. Even with 12 frames a second, just half of that, we'd be shooting all day and walk out of there with 10 seconds of footage and the song is over 3 minutes. Along with pre-production, we were working on that music video for weeks. She made the art for it and the collage and the wall and I made all of the plaster faces and masks. It was an interesting process to make a mask of my own face. It's kind of funny to see yourself in clay, without hair and stuff. I felt like I was, like, my dad. I looked old and I looked a lot like my dad and was like "Ugh!" (laugh)! But it was a fun process. My friend Ashley (Hooker), who is a body painter, came out and I think that turned out to be a really cool part of the music video of just trying to blend me into the background and painting flowers on me.

You have talked about having a really great team of women working on the video and doing the pixel animation. What kind of support do you see amongst women in the music industry, as well as in makeup and film?

There are so many things I could talk about with this subject. I really wanted to push to have more women making this art and be as connected to this project as I could, because it's important to me. All of a sudden, I realized that I'm working around and with a bunch of dudes all the time. It's almost like people are surprised when they meet a female recording engineer or a female worker in an effects shop. In the effects industry, especially in the labs, it's primarily male based. I think it's been getting better over the past few years and it's better now, but there's a lot of dudes in it. It can feel very, like, "Well she's not strong enough to lift this bag of plaster, so she's not going to do this", but I do know a lot of women and they've done amazing things in the music and the film world. I think there are women who really find their place and really stand up for themselves in both of those worlds. I know a lot of women in bands and they don't like to be called a girl band. If it was with dudes, it would just be called a band, but since there's girls in it it's called a girl band. It's important to me, as a female, to remember to work with other females and to keep it thriving in these industries. I don't have bad feelings against the men or anything like that. Paul is a guy and he's amazing, but I just feel like doing my part as a woman in this world and even as a person in general, how can I help the growth in these areas of the world, whether it be women having more successes and equal opportunities, as well as people of color. I think those are all important things for people and myself to keep in mind when we are employing people or creating something. We all have different perspectives and come from different areas and that can be very inspiring and maybe they can think of things that you didn't think of. Sometimes it's just about who's best for the job or who wants to do it, in terms of where it could be genderless. I think it's an important thing to keep in mind for me.

Going into high school, your passion for painting and drawing kind of morphed into makeup and make up effects. Could you talk a bit about you came to want to make a career out of doing make up and special effects? Is there an achievement or moment you are most proud of?

I was always a thinker and drawing. My sister was an artist too and I knew a handful of people that went to college for art. College always seemed to me, in general, expensive and something that would put me into a lot of debt and being, like, a painter seemed like an unrealistic dream. David Bowie has a good quote about being an artist and musician, like that you have to be kind of crazy to do it. Like why don't you just do something you know will put bread on the table (laughs)? And you know, it's true! You have to really love it and stick with it, otherwise just do something that you know is going to pay you. But I was just trying to think of different ways...like, what am I going to do when I get out of high school and what can I do artistically that I think can bring me money? And I was watching CSI or some show like that with my dad. He just so happened to be home that day and the tv was on, per usual (laughs), and I saw the dead bodies and stuff. And I always loved Predator and different types of sci-fi and horror movies and would do makeup for my sister when she went to the prom or something. It just clicked, like, "Oh, I could probably make these dead people for a living" (laughs)! It's just painting and it's cool and I felt like people in the film industry make a lot of money. So I looked up makeup schools and went to Cinema makeup school. There was a short course and I took the master course and I did airbrushing and beauty and effects stuff and I really fell in love with makeup effects. I was lucky because my makeup effects teacher at the time, his name's Greg McDougall...I was one of the only people in my class that was really, really into it. I would always show up early and stay late and a lot of the other girls who were more beauty oriented didn't want to get dirty, and with effects you often get plaster all over you. I loved being messy. I'm a messy artist, so I was really into it and so he took me under his wing and got me onto productions right out of school. I did a Bigfoot movie with him up in Northern California and I just got a just start and was really passionate and made flyers for myself and put them around at all of the film schools and started to get jobs and was an intern at different effects labs. I did that for, like, a decade or more. I think it's been about two years now that I got into the makeup union, which when you ask me about important moments in my life and makeup career and my favorite thing, getting into the makeup union was HUGE. I mean, huge. I was doing a film in the Arctic, like 3 hours away from the North Pole, on this little island in an area called Pyramiden, which is technically owned by Russia. It's close to Norway and is this little island where the North Pole is and I was there for a month with no tv, no internet...nothing. It's just you and the polar bears, a bunch of Russians, your film crew and snow. That's it. It's such a beautiful place. Before I left, I had turned in all of my hours and everything to the makeup union and then left for that job and was in the snow for a month, disconnected from the world. When I got back home, I got my letter saying that I had made it into the union and I was just like "Holy Shit!". That's where you get the big boy jobs. Like, with all of the films that you love and tv shows, you now get the opportunity to be on those shows and be a makeup artist on set. I love American Horror Story and I loved Game Of Thrones and you just get the chance to be on stuff you love and when you tell people about it, they're like "Oh yeah, I know that show". Before, I was talking about indie things that no one has heard of and you're treated maybe not that great on set and the projects are low budget. When I got into the makeup union, it was huge and you have to meet people now. It was kind of like starting over. I'd been in the indie world for over a decade and now you're in the union with all of these other people who don't you and you have to get to meet them and kind of prove yourself as an artist. There's Make Up Artist Magazine and there was a guy that asked if anyone wanted to do interviews who had a unique story or something. I said "I shot a movie for a month in the Arctic. Is that interesting?" and he was like "Yeah!". I went and talked about it and some of my friends were getting on Star Trek: Picard and usually a lot of the new Star Trek series are shot and filmed in Canada but they did this series, Picard, in LA. A guy named James MacKinnon is the department head for it and the department head for American Horror Story is this woman named Eryn Krueger Mekash. These are the rock stars of the makeup industry. So I do this interview and we're talking about Star Trek when the interview is over and I'm saying how I hope I can get on it. That would be really cool. But how do I do that? I don't know him. And he was like you should send him (James MacKinnon) a Facebook message. In my head, I'm like "No Way!". It seemed so unprofessional to hit him up on Facebook. But there's a part of me that likes to pay attention to little messages that I think are from the universe, so as much as I thought it was embarrassing and the wrong thing to do, which is what my head was telling me, I felt like maybe it was suggested for a reason and maybe I should just do it. What's the worst that could happen? So, I worked on my website for days and days and got everything all together and then sent James MacKinnon, this rock star makeup artist, a message of Facebook and said "Hey. I have some friends who are on Star Trek and I would love to be on it. Here's my stuff". I watched interviews with him and he talked about how he used to work at Taco Bell and stuff and I was just really inspired by his story. Some days go by and he sends me a message back and asked me to text him and I did and more days go by and he was like "Can you work on this day?". I was like "Woah! This is actually happening!" And there's this guy who I love too and have known him for a really long time, his name is Jerry Ayers. I used to work at an effects lab with him and have known him since I was young. I've been doing this since I got out of high school, so I was around 17, and I think I met him when I was like 18 or 19 and I'm almost 30 now. I knew he was on Star Trek and I hadn't seen him in so long and it was my first day going to Star Trek and I think it was one of my most exciting moments in the makeup industry. I was so nervous because it's such a big show, and mind you, all I'm doing is background stuff. I'm seeing all of these people that I love who I haven't seen in a long time and it's the biggest set I've ever been on and it was so cool. I'm so appreciative to James MacKinnon for giving me that opportunity. I got to learn from that and got to reconnect with Carrie and we have this friendship now. I met Eryn Mekash, who does American Horror Story, on Star Trek and she got me on, Ryan Murphy has this show out called Hollywood, which is a period piece, and I got to work on that. Just being around those people is really cool and they are so funny and down to earth and are into all of the same shit I'm into, you know? They're all musicians too, kind of, and are all into the same shit and it's really cool.

Aside from your album release, what's next for you?

I have at least 2 more music videos coming out. I keep getting hit up by friends in the film industry, like directors and people with cameras, who are like "Hey! Wanna shoot a music video for your solo album?" and I'm like "Yeah! The more the merrier. Let's do it!". A lot of them are out of work and just want to create. So I have 2 music videos coming out. One is for my next single "The Pharmacy", and that one really reflects my love of horror. I'm a demon and did my own make up and am a demon in it and it's really witchy. And then there will be a video for "A Man's World", and that one is a really surreal black and white, noir meets grunge kind of vibe, and I'm really happy with the way that one came out. A union VP, his name is Mark Evans, did the camera work for that one and my friend Nesto directed that one and my friend Michelle Hernandez directed "The Pharmacy". These are all film people. I really love the way that they came out and think it's really fun. In terms of what's next, I don't know. I think some film is kind of coming back, but having hundreds of background artists on set, which is primarily what I was doing, probably won't come back for a while. Even if Star Trek and American Horror Stroy are supposed to shoot again, it will probably be with a minimal crew. I'm kind of just doing non-union stuff again and helping other friends make their music videos and just trying to stay creative. I think I'm going to make more music videos. I'm sure of it. I also want to start writing the next album. There's a lot of promo for this album going on, and that's cool, but I'm also just getting more and more inspiration to write the next one and am excited to do that. I'm excited to write songs again and to focus on that for a while. And as much as I like promo, the social media stuff is like "oh my god". I'd rather you shoot me (laughs). I just want to create art. I don't want to worry about finding more followers, but that's just the world that we're in.