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best-emerging-bands-artists





UgLi blur the line between DTF and WTF on heavy AF debut album

The South Jersey/Philadelphia-based band UgLi unabashedly bash out ‘90s style alt rock with panache—but still their music feels uniquely relevant to right now and it rocks hard enough to be relevant to any era.

Taking a genre (grunge) originally associated with flannel-wearing, chainsaw-wielding, primal-screaming lone-wolf types, the Philly foursome uses it to address topics like mental health afflictions, gender fluidity, body dysmorphia, medication overutilization, and the pure unadulterated joy of a new love. Surprised you with last one, huh? And while in reality grunge was always pretty multifaceted (oddly enough it only became less so in the later ‘90s morphing into rap-rock, nü-metal, and post-grunge all culminating in the nightmare of Woodstock ‘99) and it’s always included great female musicians (L7 easily rocks just as hard as Soundgarden) but in 1992 it was still necessary for a certain “sad little sensitive Pisces man” to put a not-unsubstantial contingent of his own band’s fans on blast in the liner notes to the Incesticide comp:

“If any of you in any way hate homosexuals, people of different color, or women, please do this one favor for us—leave us the fuck alone! Don't come to our shows and don't buy our records.”

UgLi could in this way be considered the culmination of Kurt’s wishes, and one can only hope that in between floating around and hanging out on clouds that somewhere up there he’s looking down pretty happy about it. Because as a band that’s otherwise made up of three pretty average looking rock dudes (no offense guys!) UgLi is fronted by co-guitarist, vocalist, and primary songwriter Dylyn Durante who also happens to identify as a queer trans woman. So when she sings lines like “How would you find love / you don’t fit in the box / you’re mixing colors and shapes / I think you need to get off” (“Why Be Pretty…when you could be free”) it speaks not only to the youthful alienation of grunge-loving kids across a couple generations but also to a very specific situation—a situation driven home by the tight instrumental work of co-guitarist Andrew Iannarelli, bassist Lucas Gisonti, and drummer Teddy Paullin who pushes the album forward with Jimmy Chamberlin levels of energy.

Wait, what album? The track above plus seven others make up the band’s first full-length on the self-released FUCK, which at first glance may come off as a blunt, simple-minded attention grabber of a title. But when you break it down “fuck” is actually one of the more nuanced and versatile words in the English language given its dozens of potential meanings, ranging from a modifier used to add emphasis (“no fucking way!”) to a single-word exclamation indicating anger or disgust; ranging from the sensual physical union of two or more human beings to the state of being badly damaged or even ruined. And on FUCK, Dylyn covers all these meanings and more in songs where she “gets fucked” in every possible sense, and in songs where the band modifies the grunge formula to fit their own means—adding musical flavors ranging from the proggy side of the alt-rock spectrum (e.g., the Pumpkins/Radiohead-esque “Bad Egg” which deals with the difficulties of transitioning) to the dreamy chamber pop turned shoegazy slowcore rock ballad of the eight-plus-minute closer “Naegleriasis” with it’s vibey vibraphone and hazy horn section played in waltz time.

And finally, when it comes to the exclamatory qualities of FUCK, the record benefits greatly from the aforementioned intricate arrangements and the impressively warm/crisp/clear yet crunchy/dirty/overdriven production work on the album—produced in collaboration with Dave Downham at Gradwell House in Haddon Heights, New Jersey (Dave is credited with recording, mixing, and mastering the album alongside a full production credit on “Naegleriasis”) and I’m guessing that Butch Vig may be feeling just a little bit jealous now reading this. So whether you consider yourself a “House Pet” (“Nobody taught me how to care / I think I should’ve picked it up somewhere”) or a “Bad Egg” (“I’m searching for that high note / grasping for survival / well, what the fuck do I know”) you may want to follow the former song’s advice to “shimmer while you can” because the album itself follows this advice and it seems to work out pretty well. (Jason Lee)





Airspace takes you "All The Way Up"

On this the day when our nation celebrates its proud history of annual mattress sales and of drunkenly blowing off one’s own digits while setting off small incendiary devices purchased in Pennsylvania, music is a crucial aspect of any such celebration. And not just any music, but music befitting a nation known for its above ground swimming pools, Natty Light, and Freedom Rock CD compilations.

Airspace are a band hailing from the Billy Joel-beknighted town of Allentown, Pennsylvania who make just such music. And let there be no doubt this is intended as a compliment because no one wants or needs to hear Animal Collective at the backyard barbecue cookout even if that otherwise quite worthy band happen to have a song called “Fireworks” (sample lyric: “A sacred night where we'll watch the fireworks / the frightened babies poo”).

Quoting directly from their Bandcamp bio: “Airspace always aims to leave their listeners feeling strong, alive, and inspired” and thank goodness there’s still indie bands out there willing to perform this service and who aren’t embarrassed to admit it. And on their recently-released full-length All The Way Up, Airspace pull off this ambitious goal with style and panache. Plus the barbecue gang will welcome this album being played off the iPod’s portable speakers cuz it kind of like Green Album era Weezer being welcomed back with open arms after the post-Pinkerton years in the desert ready to just have fun again but long before they would reach a point of resorting to recording Toto covers just because the Millennials love the memes (no disrespect intended to either Millennials, Toto, or Rivers Cuomo).

But I digress. Airspace are the focus here and to these ears their music evokes the Everyman working-class rock of one Bruce Springsteen and the Everyman suburban party rock of one Mr. John Bon Jovi in equal measures and don’t worry Everywomen are invited to the party too just ask Courtney Cox and Heather Locklear who are already here having a great time. And yes while this description is a bit New Jersey centric the state is of course a neighbor and close cousin to Pennsylvania.

And speaking of the latter let’s give the Quaker State it’s due too as an ancestral home of feel good, quintessentially American music ranging from Bill Haley and his Comets (authors of the first rock ‘n’ roll crossover pop hit “Rock Around The Clock”) to the many greats of Philly Soul and the whole Gamble & Huff/Sigma Sound Studios catalogue of classic R&B, soul, and disco hits without which this country’s young 70s-era young Americans would have ended up trying to dance to the Carpenters “Superstar” which is a great song but not exactly an obvious floor filler.



But I digress, again. All The Way Up opens in boisterous form with a quick strummed guitar and a solid backbeat before breaking into a hummable lead guitar line that'll get you waving your sparklers in the air to the point that you'll probably not even notice that the lyrics open with a bummer sentiment ("The sun is out, but I don't care / it only hurts my eyes") before going on to describe a lost love and the obsessive longing that follows. But Airspace are one of those bands good are writing songs that sound like heroic, even patriotic, aspirational anthems but whose lyrics feature an assortment of seekers, schemers, and dreamers just looking for some kind of break--a better life, a better place to live, a better love life, etc.--much like a certain previously mentioned Boss Man. The very next song "Monaco" is another good example where the narrator longs for a fantasy getaway on the French Riviera ("In Monaco it's not so cold / limitations never hold") or for another example check out "Making It Out" ("And it's days like this that make me miss / the years of hell in the South / 'cause God at least I had the hope / of one day making it out") or really most of the other songs on the album (but don't worry there's a few more lyrically optimistic songs on the album too cuz you gotta mix it up some).

Because really, when you think about it, what's more American than being all upbeat and brash and very nearly arrogant on the surface (the music) but underneath it all being very nearly crippled by self-doubt, disappointment, and longing (the lyrics). So there. I got you sorted musically for the 4th and proud to be an American to boot but without having to listen to that godawful Lee Greenwood song. Now please drink responsibly and try not to blow any fingers off! (Jason Lee)

 





Pretty Sick stay sick on "Come Down"

On their sophomore long-playing record, Come Down, Pretty Sick push the needle even further into the red than before when it comes to being both pretty and being sick and then they take that needle and stab you in the f***ing heart with it (another way of pushing it into the red) but in a way that’s not lethal like you’d expect but just the opposite so that after the music’s over you feel something like Uma Thurman must‘ve felt with a hypodermic needle sticking out of her chest after ODing and feeling gobsmacked by what just happened but also equally grateful for being brought back to life by a rush of adrenaline injected straight to the heart.

So yeah, they stay sick.

Last year’s Deep Divine opened with a short instrumental called “Comedown", a state of being embodied by dirgy bass and grinding guitar and slow pounding drums. But the comedown cleared pretty quickly on that record with something approaching a state of ecstatic release over the next six tracks, though still with plenty of rough edges and the occasional dreamy reverie. But this new one takes those rough edges and reveries and puts them at the center of things.

On Come Down’s centerpiece songs (e.g., the advance singles “Bet My Blood” and “Devil In Me”) Pretty Sick bassist/vocalist/songwriter and master of sickitude Sabrina Fuentes and her musical co-conspirators go into full on shred mode including the shredding of vocal chords and of bougie standards of decency and decorum which of course have always been applied most harshly to women. But other track are shred-averse leaning into ambience and minimalism, or full on "bedroom pop" on the album closer. In a way it's like a movie sequel where they take what people liked about the original and push those qualities to new extremes in every direction ("into the red") to the point of incoherence at times. But the approach works better here than it did in Transformers: Revenge of the Fallen.

The album opens with a song called “Dumb”—a track that predates even Deep Divine and acts as a bridge between that record and this one. It's also a throwback in that it sounds like a long lost outtake or forgotten b-side from Bossanova, but sung by Kim Deal who was mostly absent from that album on vocals, in that it’s a hook-laden mid-tempo rocker but with a very non-Pixieish music video to match that should maybe come with a disclaimer warning “prudes beware but sickos welcome.”

Next up is “Bet My Blood” which gives the listener a feel for where things are headed with its grunged out, Big Muffy guitars and raw riot grrrly vocals, all in service of a catchy and well-constructed song that is until it implodes, crashing in on itself with a quickening pulse and babbling spirit-possessed glossolalia and growingly unhinged musical backing to match before ending with the sound of a feral creature's panting. And if that’s not enough to get your goat there’s a music video featuring some quite possibly un-board-certified nurses including Ms. Fuentes wielding a hypodermic needle (see paragraph one) with a glint in her eye and administering fatal care to a few pretty young patients.

On track three (“She”) the album takes another turn with a stealthy, stalking rhythm section and shuddering guitar melodies over which Sabrina takes on yet another new vocal persona that's by turns breathy and bleating and then finally primal screaming and pushing the audio into the red again, before settling back down into a reverb-laden refrain of “Shee-eeee la-la-la-la-la-la-la” as if words alone no longer do justice to how she feels about the titular femme fatale. And by this point I'm starting to think Miss Pretty Sick may be angling for a career in voice acting à la Mercedes McCambridge after it's all said and done.



And here we reach the exact midpoint of the record, a song called “Self Control” as in "(I Ain’t Got No)", where the overarching theme gets laid bare as it's been hinted at elsewhere in lyrics lamenting/celebrating said lack of control—“punish myself for years after / but I can’t help myself"—a theme that works its way into the music itself, repeatedly teetering on the edge of order and chaos with the latter engulfing the former more than once on the album. 

The next couple songs begin the descent down the other side of the mountain—i.e., the comedown of Come Down if you will or even if you won't—with “Pillbug” floating by on slow waves of woozy harmonics for a full four minutes before ending with a vow to “curl right up and roll over for you." And then comes “Bare” which fittingly is a stark, tender love song with Sabrina singing in unison with her bass and in harmony with herself and it's not unlike some of the more minimalist post-Last Splash stuff the Breeders have recorded (sorry for double-dipping on Kim Deal but I can't help myself either). And then on to the penultimate track “Devil in Me” where there's a return to stable destabilized alt-rock territory. But this time it feels any control issues may have abated somewhat, or a state of acceptance achieved at least. Because “the Devil in me likes the Devil in you” sounds like a healthy way to cope and a good line for couples therapy. And even when the song spins off its axis it feels like more of a climax than a comedown.

And at last we get “Physical" a song that strays into panda-eyed dream pop territory with synthy strings and intense ominous whooshing custom made to appear in Twin Peaks Season 4 (one hopes) and yes I’ll accept that music consultancy position, Mr. Lynch. Except that the Julee Cruise/Chromatics vibes are mixed with some NYC grit (and some London grit since it's Pretty Sick's current base of operation) and probably only a born-and-bred city kid could be so seen-it-all jaded to write lines like “now that the party's done / [...] now that thе glamour's past / and everyone's come down / I know I won’t be remembered well” before turning 20. But it's also like a city kid to declare “I know I will never let myself down" which somehow I doubt many Pretty Sick fans will feel let down either by a record that, comedown or not, is such a shot in the arm. (Jason Lee)





Songs of Summer #1: "Heatstroke Summer" by Charlotte Rose Benjamin

The jury’s still out on what (no doubt worthy) song will end up being officially designated the Song of the Summer 2021™ and far be it for us to even acknowledge such a hackneyed premise. But hey that doesn’t mean we can’t start our own highly unofficial list based around a hackneyed premise because who says summer deserves only one song so take that Billboard and Tik Tok Nation. And so here we reveal our first entry in the Deli's summer song playlist, an unparalleled honor bestowed upon Charlotte Rose Benjamin’s “Heatstroke Summer.”

Now mind that this is a song some would call a “B-side” using the no-longer popular parlance (ask your parents) but here at DeliCorp we openly acknowledge that this is a B-side kind of blog so it’s totally fitting. And even Ms. Benjamin herself has stated an affinity for musical obscurities such as B-sides and "deep cuts" (ask your parents) to the extent that she wrote an entire tender aching ballad based around the notion of deep cuts named, quite fittingly, “Deep Cut" based around the premise: “Songs are are like lovers / and if it was a record / we’d be the deep cut / that no one remembered.”

But I digress. Let’s get back to summer songs shall we because right now there’s a good chunk of this country that's undergoing a relentless heatwave like here in New York City with a forecast high of 97 tomorrow, or Seattle and Portland which hit 108 and 116 degrees yesterday (wut?) which is a full 18 degrees above recommended boy band temperature. And that’s not even to mention Canada’s westernmost province British Columbia reaching 116 degrees yesterday which shattered national records. So, you see, if we don’t get around to naming a designated Song of the Summer 2021™ soon we’ll all be melted into a congealed mass of musical indecisiveness before this week is even over.

But I digress again. On “Heatstroke Summer” Charlotte Rose sketches a sonic portrait made up of fleetingly observed slices of life with an evocative Zen-like concision like in the opening lines—“Heatstroke summer / yellow is the color / cowboy in Corona / but the beat goes on and on”—which is either about a cowboy living in Queens or living through coronavirus or possibly both because before long she observes that “you can’t prepare for death anyway.”

And hey I’m not gonna spell out the whole song for you but there’s an appears to be a theme of escape running through some of the lyrics (piña coladas optional) with the song’s narrator dreaming about it being New Year’s Eve again and weighing an invitation to hit the road for parts unknown, until the song’s extended coda rides off into the sunset with overheated dogs barking in the background and an intertwined guitar solo that’s equal parts jangly and distorted/dissonant much like the jangled, destroyed nerves of a heatstroke victim. But with the overall gentle swaying vibe, and with Ms. Benjamin’s voice being as winsome and gentle as a tall glass of pink lemonade, "Heatstroke Summer" is equally suitable listening for backyard barbecues and existential (or literal) meltdowns alike.

And hey we can't ignore the A-side of this two-sided single which is called “Cumbie’s Parking Lot” in reference to Massachusetts-based convenience store chain Cumberland Farms (aka Cumbies) which just happens to be the state where CRB was raised before she returned to her ancestral home of New York City where her parents launched careers as a dancer and a musician/TV jingle singer. Anyway she seems to have a fairly solid grasp of the typical thought patterns of Cumbie's parking lot denizens expressing sentiments like “I wanna separate my brain from my body / I want you to let me use you like a drug” and “I don’t wanna go home yet / you can take pictures of me and post them on the Internet.”

And even if summer isn’t explicitly mentioned it feels strongly implied with the theme of escape still to the fore—escaping home, escaping the city, escaping oneself—and with the phrase “I wanna” employed nearly as much as on a Ramones song. And when the song reaches its first chorus the whole thing opens us like a blooming summer flower with sweet fragrant melodies and lush floating harmonies that'll hit your senses like a face full of pollen (in musical terms it's something like taking all 35 volumes of AM Gold and distilling them into one single refrain).

And hey if the songs don’t do it for you right away then the accompanying music videos just might ("Cumbie's Parking Lot" is even directed by CRB herself) because there’s a clear aesthetic at work. Though be forewarned that based on the video above you really don’t wanna ask Charlotte Rose to serve you up a slice of cake, because she approaches the task of cake cutting like Jason Voorhees and his mother approach cutting up summer campers and you probably don’t wanna drink your cake through a straw. But it’s a minor misgiving and you were already forewarned in the song “Deep Cut” after all. 

But I digress one last time. So anyway now you've at least got somewhere to start with your summer-themed listening and you can continue to check this space for more to come. (Jason Lee)





A Conversation With Kendra Sells

I sat down for a Zoom meeting with artist Kendra Sells to discuss her (at-the-time-forthcoming) solo album All In Your Head. This was our conversation.


TR: This album is a departure from your group BluMoon. What made you decide to do All In Your Head as a solo album?

 

KS: Really, it was just the pandemic. It was really scary at first, you know. I was just like, “Oh my gosh, if I am 10 feet away from anyone, who knows? It's gonna happen.” I'm diabetic, so at the very beginning of the pandemic, I was taking everything so seriously, really not meeting up with anyone. And, you know, it's just a hard time, especially being a musician. I was like, “Oh, my gosh, I don't know, anything” you know, “I don't know what's going to happen.” And so I was just writing the music, and I guess putting the songs together for myself, just to do it, because I like to make music and it makes me feel better. “I'm just gonna make some music”. And so I normally just write on my guitar, but I got Ableton and a little mini-keyboard. I was just able to kind of build a song head to toe, which I've never been able to do before. I guess that's mostly why, because I was just like, “Oh, this is my first time ever trying this, I just want to see what I can do”.

 

TR: Is it nerve-wracking going from being in a band to releasing your own solo material? Pursuing that kind of art, but without people around to kind of give you feedback?

 

KS: Not necessarily, because I guess that's where I started, for myself, as a kid. I would use like, what is it? Audacity? Yeah, recording my keyboard through the mic. So that lets you know where I kind of started, and I guess I left that for a moment. But I’m still with the band… But I've just done tons of solo shows and all of that stuff, so I guess I have been used to being by myself. If anything, sometimes being in the band makes me feel more like “ah, is this okay? Is that okay? Do you like this? Are you okay with that?” And I don't have to worry about that. It's just me.

 

TR: Was it jarring to stop doing shows during the pandemic?

 

KS: Yeah, for sure. We had a whole tour lined up and some really sick shows here in Austin. I felt the lack of shows in me physically. I feel really good when I'm on stage, when I'm singing, when I'm with the band. And when I'm performing, that makes me feel so great. And I haven't had that feeling in a while.

 

TR: Does it take the wind out of you creatively to not have the excitement of performing?

 

KS: That's not something that I have known that inspires me creatively. I haven't suffered in that way.

 

TR: What does your songwriting process look like?

 

KS: It really varies. I feel like my favorite thing is, some days, I’ll just walk into work in the morning, you know, I have my little caffeine mellow, and I'm just walking down the street and it's sunny and I'm just mellow. Just thinking whatever it is I'm feeling and sometimes I like it, and I'll record. I have so many freakin’ voice memos. I feel like I've written some of my favorite things that way. And other times, I'll just sit with a guitar hung around. Or I'll hear something in another song and kind of dissect it and rearrange it. It'll inspire me in that way. And I'm like, “I really like this, but I hear other things with it”.  And that will inspire me. Yeah, just kind of varies.

 

TR: What is some of the music that inspired the album, like if you had to pick like three recordings that were just like, yeah, without these, there would be no all in your head.

 

KS: Hmm. Well, that's an important question. Maybe like anything by Kimya Dawson. I feel like her, just the DIY approach, like, you can do that in your bedroom, you can do that, with whatever you have. You don't have to have this or that. That really, like for sure just gave me that type of courage to even approach this in the way that I'm approaching it. Because, at first, I was just gonna put this on SoundCloud, and be like, “Look”. But then I met with Quiet Year, and they were like, “hey, let's release this together”. But anyway, yeah, Kimya Dawson. I feel like anything she's done has really inspired me in that way, like sonically. It's kind of hard to say because I really do pull a lot of influences. 

 

Tirzah, her project Devotion, that kind of inspired me. of Montreal inspired me, Kevin Barnes. He's kind of the same way...

 

TR: What is the worst music you've ever heard?

 

KS: Okay, that's so funny you're asking me that. Because, literally, if I'm drunk, I will love anything, I will dance. But something that I don't like… and I know there's something...

 

Okay, no offense. But this guy- I'm not gonna name where I work or anything- but he'll come to my place of work, and just post up outside of it and perform because “yeah, you're at my show”. You know, that's what he's decided. And I call his genre “2008”. I don't even hate the songs, but I hate the songs in this way. And a lot of people do. But, um, you know, like that song “You’re Beautiful?”

 

TR: I'm kind of imagining James Blunt or John Mayer.

 

KS: Yeah! And nothing against those artists, but something against white men doing those artists in this specific way. That and in the year 2021. It's just the audacity for you to come to where I have to be, like they asked you to be here and make this your show? Yeah, that's the only thing I can think of right now.

 

TR: I feel like the song Wondering//Bad Doctorzz would resonate with anyone who's ever been to a medical professional. Was the track inspired by personal experience?

 

KS: I really should look, because I remember when I wrote it, I feel like I wrote it in the middle of the night. But I need to see when I wrote it because I know it did come from a specific moment. Butas of now, it's just been every experience where I've gone to the doctor. I can barely see, I need glasses, and I've gone to the doctor, like, three or four times to get glasses, and they just won't give me glasses. It's weird. It's a combination of so many things like that, being gaslit, being told there's nothing wrong, being all of this, especially being diabetic. I just realized everyone's like, “Oh, yeah, our healthcare system sucks” in the same way that they'll say, “Oh, the justice system is corrupt”, but there's not the same amount of scrutiny. Why isn’t pressure put on the healthcare system in the way that it is on the justice system? 

 

It's frustrating thinking how you're supposed to go to the doctor to feel good and so many people... it brings them so much anxiety to go to the doctor. I shouldn't feel so many negative things about going to someone that's supposed to be helping me, in the same way that police are supposed to be there to serve and protect.., So, I guess just the fact that it fucking sucks is what inspired that.

 

TR: Something that really struck me about the release is not only that you were releasing on cassette, but you were also doing a physical booklet. What made you choose the cassette format, rather than anything else, or why even release a physical copy in the first place?

KS: I just love having physical copies, and whenever my friends release them, I'm like, I want one. I also have this weird paranoia that one day, the internet is gonna stop working or music streaming is going to just... cease, and there's gonna be so much music that I won't be able to hear anymore. That's why I went to do something physical. And then with the cassette, Quiet Year just said “we could do a cassette” and I was like, “Okay, well.”

 

TR: Do you have any nostalgia for cassettes? Did you have them around as a kid?

 

KS: Yeah,I had some nursery rhyme ones. And me and my siblings would record the radio. We'd be  like “Oh, my favorite song is on!” and you'd record it. 

 

TR: What is the significance for you of having the zine as an accompaniment to the cassette?

 

KS: I feel like music is always up for whatever interpretation, but I just wanted to dig deeper into what I was going for with the EP...my willingness to embark on this thing that I've never done before. The zine itself is a really important process that I feel that I could have easily tricked myself out of, or let someone convince me to not do. I feel like that's something that so many people do for themselves. I really wanted to be more open and transparent about the process and how I feel in the process. [the zine] has lyrics and little journaling type things, like open ended questions or whatever, you know, just to really kind of get people just thinking more about themselves in those ways. I just feel like so many people sleep on their own potential, and I feel like that's just the saddest thing. And I just feel like for so long, I was kind of doing that with myself. And so I just wanted to be transparent about that journey. It's not just an overnight type of deal.

 

TR: How do you feel about physical releases and physical accompaniment for music dwindling as streaming becomes more and more omnipresent?

 

KS: I'm honestly not worried about it. Because it's like, if it sells, it sells, and if someone wants it, they're gonna buy it. And people do buy it, I buy it. Other people buy it, and if they're going to stream, then they're going to stream it. If you’re into the physical, the physical is there for you. It's not, in my eyes, a waste to have that option.  It does more for the artists to sell the physical copies then to have it streamed. I think it hurts to stream, but I think that it does you a favor to have physical copies because that's going to make more money from people that care.

 

TR:  Do you feel like your listeners are missing out on anything by not engaging with the physical version and only engaging with the streamed version?

 

KS: Yeah, I think so. I think of any album that I've ever bought, I know all the songs, I love that album, I listen to it from top to finish, you know, multiple times. Not that you can't do that with streaming, I do the same thing on streaming, but it's just the fact that you open it up, put it in, press play, it’s literally drawing you into the whole experience of listening to it.

 

TR: With your zine, and with your videos, too, it seems like a lot of your artwork is present. Do you feel like there's overlap in what you hope to achieve creatively with your music and your visual work?

 

KS: I have a lot of work as far as accepting myself as an artist. With music, I've been down this road. I am a musician, goddammit! It feels like it's only been two years... and with art, it's gonna take me a bit longer. But I have done album covers and t-shirts and  other stuff here and there. 

 

Art is more something that I enjoy doing for myself. And I don't love to do it for not myself. Music I don't only do for myself.

 

TR: How early into the pandemic did you decide that this was something that you wanted to do?

 

KS: I guess I started the songs in May, but I think maybe it was July when I was like, “Oh, I should, you know, release this”. I anticipated it coming out much quicker. But I just wouldn't finish the songs....I just kept going at it, like, “Oh, I need to do this, and I need to do that.” And I didn't come to a stopping point until about November.

 

TR: What has been the process since November?

 

KS: Well the songs on my end were all recorded and tweaked and all of that, and then I sent them over to my friend Jerry to mix and master. It took like four months for that.

 

I really didn't know what I was doing on Ableton. So I just kind of asked him I was just like, “hey, if I did something that was like really stupid or it just didn't make sense like, Can you help me now?” And he was like, “Well, you know, like a lot of your sounds are kind of just like stock and I have a lot of cool ones”, and so he just fluffed it up, you know, just made it sound better for sure. Not, that sounded bad, but he gave it the final finishing touches, he did like some live drums on Wondering//Bad Doctorzz and on Call Me When Ur Dead. He plays for a band called Glasshealer.

 

 

TR: What do you think is after this? Do you have any thoughts on what the next step is going to be for your solo work?

 

Unknown Speaker  24:33  

I want to do some b-sides if I finish them within a time that I feel comfortable putting them out, because I don't want it to be next year. I'm just looking to gig more with the band. We're all vaccinated and places have their procedures and stuff for outdoors. We have a song that we're working on. We're trying to record. I think we might be just looking at doing some singles for a minute. 

 

TR: Do you think it's going to be hard to get back in the rhythm of performing with people again? 

 

KS: During the pandemic we did a livestream thing, it was fine. The production of it was kind of funny. Our key player that we were gigging with before the pandemic moved to Florida, so we've had someone else sit in, but he's dope and does a great job. I just missed performing without the fear of COVID. I'm ready to be in a situation where it's energy and people are there and it's hot, you know, it's just, that's what I love.

 

 

-- Tín Rodriguez


 

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