indie from St Louis, Missouri, USA
indie from St Louis, Missouri, USA
noise from Bay Area, California, USA
garage pop from Brooklyn, New York, USA
shoegaze from Loveland, Colorado, USA
bedroom pop from Los Angeles, California, USA
bedroom pop from Phoenix, Arizona, USA
jangle pop from Minneapolis, Minnesota, USA
lo-fi pop from Austin, Texas, USA
midwest emo from Worcester, Massachusetts, USA
emo from Sarasota, Florida, USA
Sometimes I wonder about a time when music was not only an IRL manifestation of online content. When everyone bombs the internet with aggressive PR emails, glossy VEVO accounts and an overwhelming number of soundcloud links, it’s sometimes crazy how much production goes into online branding for bands who may not have earned it yet. Especially in a genre like ‘emo revival,’ a term which has reached global ubiquity thanks to bands like The World is a Beautiful Place and I am No Longer Afraid to Die, Empire! Empire! (I Was A Lonely Estate), and You Blew It! *breathes*, it feels like there’s a lot of bands out there aggressively marketing hundreds of ho-hum releases that make even the most devout emo fans roll their eyes.
In comes Us & Us Only; a few days ago, the Baltimore legends quietly released a stunning three-track EP titled Bored Crusader over on Steep Sounds and within the its brief 8-minute run time, the release packs an incredible punch of crass guitar harmonies, subdued synth lines (do I hear a violin?!) and impressive arrangements and production. Fronted by Kinsey Mathews, Us & Us Only has been making noise in the Baltimore scene for the last few years, quietly putting out a string of stunning releases online. After seeing these guys open for Attic Abasement this summer at Club K, I was floored by their live presence, which on this release, they’ve paired perfectly with some hi-fi elements of a Topshelf-tier mainstay, while maintaining a sound that carved out their place as hometown heroes to begin with.
On “Hex,” Matthews bellows, “Traverse the town by broomstick/ Leave home/ Fake sick/ Traverse the town by broomstick/ Lay low/ Move quick.” These heartfelt lines about cutting toxic relationships become a manifesto as the band thunders into the track’s most climactic moment. As the EP proceeds, tracks cover themes of loss, loneliness and the afterlife with the poise and nuanced talent of a skilled lyricist who’s clearly put time in the craft.
I’m continually left thinking, for once, about just how honest these tracks feel. After growing slightly tired of emo-leaning things as a whole, this EP sits in a really refreshing place and a testament to what I found in emo to begin with: honest lyrics, soaring energy and an unmatched sincerity not seen elsewhere in the music industry. If anything, these tracks have got my heart racing at the thought of a potential full-length from these guys and, more wholly, I’m left feeling optimistic about the state of emo (or ‘emo revival’) in 2015 thanks to little bandcamp gems like this one.
Text by Rob Arcand
Photo by Us & US Only
pop punk from Ottawa, Ontario, Canada
lo-fi from Philadelphia, Pennsylvania
bedroom folk from Iruña, Spain
lo-fi pop from Houston, Texas, USA
surf punk from Philadelphia, Pennsylvania, USA
If you enjoy sweet, innocent vocal melodies and songs about heartbreak and cigarettes, then Ottawa’s Indie-Ambient-Emo band – PINE will suffice your needs.
PINE’s you bury me was produced, engineered, mixed and mastered by Cory Bergeron at Pebble Studios in Ottawa. The simplistic yet colourfully intriguing album artwork was done by Kyan De Vere. The EP’s title: you bury me is the English translation of the Arabic word “Ya’aburnee” which according to PINE’s Bandcamp means “A declaration of one’s hope that they’ll die before another person because of how difficult it would be to live without them” and that’s exactly what PINE’s debut EP is bursting at the seams with in the form of lyrical content on the issues of abandonment and wrenching heartbreak.
What I find really impressing about you bury me is how PINE can communicate such immense sadness all in just a sheer 15 minutes. Every song on this EP is packed with such dreamy reverbed guitar tones. The drumming is crisp yet steady while maintaining a heavier style. Not to mention the gentle female vocals to accompany the songs as well as the noteworthy tempo changes from drawn-out intros to rhythmic/clashing outro’s.
One of the most creative things I dug on “you bury me” was the second track off the record “Father//Layla”. The first verse of the song is directed at the Father from Layla’s (his Daughter) point of view. The second verse tells the story from the father’s perspective, which gives the song a new dimension that we don’t see in music nowadays I feel. It is a unique way to compile a song because it gives the listener emotional vibes that that resonates with us in a connective way that not many songs get across.
PINE’s you bury me will have you not only wet head-to-toe, drenched in a whirling pool of reverb, but also by the tears you will inevitably shed after listening to this huge of an EP.
Text by Lukas Foote
Photo by Pine
dream pop from New Paltz, New York, USA
Samuel Wells is a young musician from Victoria, British Columbia. I first came across his name when I started listening to Jackie Trash and later on released their album on cassette. He then started a new band called ACAB Rocky with similar lo-fi sound as JT. This year he released two ambient albums under his own name. However, now he and his pals from ACAB rocky are going to release their new studio album. When I first heard the new single Matches, I immediately fell into it and have decided to ask Sam a few questions about his music projects and his life in Canada.
You are releasing in the near future a new album with a completely different sound than previous releases. How have you decided to do your studio album?
Well we have always just made the music that was appealing to us. When we started working on a new studio album, we were listening to a lot of math rock, and emo music so naturally it melded into what we were doing.
Did you have a clear idea before recording how the new album will sound?
Both yes, and no. When we went to Vancouver to record we definitely knew we wanted all the layered guitar parts, but a lot of the synth work that shows up on the EP was added during the mixing stage, and just came of experimentation.
ACAB Rocky is three-piece band. Do you have a lot of time to practice?
We practice pretty frequently to stay tight for shows.
What’s the story behind your name?
When we first started the project we just chose it as a joke. “ACAB” is a very typical punk saying that we just thought was sort of funny. Eventually the band name will change, but it’s alright for now.
You are all pretty young. Are you on the same page with the plans for the band?
We like to take things one step at a time. I think we all definitely want to tour, and put out another record in the near future. Other than that though we haven’t thought a whole lot about what exactly we’re going to do.
I assume you are all from Canada. How did you guys all met?
Well, Oliver (drums) and I grew up together as kids. We’ve known each other for about 13 years now. As for Colt (bass) about 3 years ago we started a very short lived punk band with another friend of ours which Colt was a part of. When ACAB started playing live we needed a bassist so we brought in Colt, and he has since become a full time member of the band.
Does your hometown of Victoria have any music community?
Indeed it does. It has a huge punk and metal community. As well as fairly sizeable folk community. Victoria is a pretty artistic town so there is always plenty going on.
Which bands from your area would you recommend to listen to?
Pinner and is a great lo-fi garage-y band that I love very much. Also Woolworm (who are actually from Vancouver) is as extremely underrated band.
Have you ever thought about moving somewhere else? Where it would be?
Being that we’re all still in High School it’s hard to say exactly what will happen, but I think Oliver and I plan to move at some point. I’ve always found places like Olympia appealing, but as of late have also been considering Montreal.
Recently you have started a solo project with a more ambient, experimental feel. Have you been creating the songs for a longer time period or it is just a recent thing?
For quite a while now I’ve loved ambient and experimental music. Maybe 4-5 months ago I just started making it out of boredom, and found it extremely enjoyable. I threw it online to see if anyone would be interested, and it’s been going quite well. I plan to release a full length sometime in the middle of this year.
Which bands have shaped your music taste when you were growing up?
I grew up on some modern classics like Neutral Milk Hotel, and bands of that sort, but a few artists who have shaped what I do would be Mount Eerie/The Microphones, Steve Reich, Tim Hecker, Swans, Slint, Oneohtrix Point Never, and Women.
Was having a band your dream? How did you come to play music?
I grew up around a lot of music. My father, brother, and cousin are all professional musicians so I think it was implanted in my head at a young age that I could in theory do that. I always played some kind of instrument, but it wasn’t till I turned 15 that I started taking it a bit more seriously.
What do you find the most difficult about writing lyrics? What’s your inspiration?
I have trouble writing directly about myself. I find it easier to just write about characters. Even when singing in first person it’s more than likely not directly referencing myself. I also write a lot of my lyrics while recording, and just see what happens.
What is your biggest dream regarding the ACAB Rocky or your solo project?
Personally I’d love to see something I put out get a vinyl release, as I collect vinyl myself.
And here is the new ACAB Rocky’s single:
Questions by Filip Zemcik
Answers by Samuel Wells from ACAB Rocky
lo-fi from Sydney, Australia
Cutesy music in 2015 is nauseating; as ukulele youtubers and casiopop bandcampers consistently churn out different shades of the same regurgitated twee novelty, the Internet often feels incredibly over-saturated with a feigned claim to cuteness. With every scan through new releases, the amount of simply weak attempts at ‘indie’ endear we’re continually inundated with as listeners is overwhelming.
Luxury Beverage, the new album from Portland duo Michael Todd Berland and Christian Novelli, understands this; beneath this thinly veiled cuteness, the duo merges a self-aware nuance of this DIY twee aesthetic with eerie, deeply melancholy undertones. The album is continually seeped in a shameless cuteness; with track titles like ‘i see yr cute decor,’ ‘perrywinkle murder mystery,’ and ‘lavender blood’ and continual references to softer colors, stun guns and grape soda, the pair continually return to youthful cuteness and nostalgia thematically. But unlike others that use clichés of cuteness to compensate for a feigned authenticity, Fox Academy seem obsessed with using a clearly transparent cuteness to thinly veil deeper mental health issues. Much like Julia Brown’s first album, to be close to you, Fox Academy use indulgent twee melodies and arrangements from cheap keyboards, jangly guitars and skittering drum machines to craft an endearingly sweet album musically, further adding to the almost uncanny valley effect of the lyrics. Like a cuteness stretched so far that it’s slightly frightening, the album indulges in both the sappy and the sinister; on ‘lavender blood,’ the duo write, “turn into dust it’s dripping from my gums/ its not enough/ stay neat and healthy/ you need to help me.” Lines like this ooze simultaneously sweet and sinister undertones and give the overall feeling of the album the rough equivalent of looking at a discarded doll, one-time occupying a place of love and affection, but now resigned to a dusty and broken place in the bottom of a dumpster far from home.
Where many of the Internet’s pseudo-cute clichés seem to force-feed themselves through cute vibes in an attempt to compensate for a lack of originality, Fox Academy has internalized this cuteness and attempt to use elements of this wide-eyed youthfulness to speak to the more troubling elements of adolescence. At times, the lyrics seem to recurrently return to troubling, alienating moments of middle class youth. On ‘vampire banquet,’ the duo write, “ivory ceilings burgundy walls, theres blood i can feel it, as we float through the halls/ and as I start to spin the whole room gets dim,” contrasting images of the comforts of a middle class youth (ivory ceilings and burgundy halls as means of wealth and ‘image’ of the suburban middle class) with ambiguously eerie images of blood (could this be a stand-in for self-harm?) and spinning, a clear image of dysphoric disorientation. Ultimately, Luxury Beverage impressively moves beyond many twee clichés to become a deeply nuanced album, oscillating between a self-aware embrace of DIY clichés and the eerie, darker tones of a jaded middle class youth.
Text by Rob Arcand
Photo by Fox Academy
bedroom pop from Montreál, Québec, Canada
lo-fi from Hartford, Connecticut, USA
experimental pop from Tallahassee, Florida, USA
americana from Utah, USA
bedroom pop from Forked River, New Jersey, USA
folk from Los Angeles, California, USA
dream pop from Bristol, United Kingdom
acoustic pop from Grayson, Georgia, USA
Residing from the same small town as Molly Drag’s founder: Michael Hansford of Midland, Ontario- that has the population of 10,000 people all snuggled right into the shores Georgian Bay is where I was first introduced with Hansford’s musical projects. I was aware of Michael’s music since the other band he’s currently in: The Raspberry Heaven, was just a solo acoustic act, and if you wanted to travel further back into time of the Midland music scene, I would even bring up the first band I ever saw Michael perform in, which would of been the Post-Hardcore band: Demi Cassanova. Whom from what my 13-year-old mind can remember rocked the walls (literally) of Native Friendship Center’s in northern Ontario.
Molly Drag is Michael Hansford’s newest project however. An emo, experimental, shoegaze one. Majority of this LP was recorded in an apartment building in London, Ontario as well as a place known as Satans Cove also in London. Michael himself produced this LP alongside with Jake Jackman and was entirely mastered by David Newell.
To fully understand and grasp this LP I feel you need to know a bit about where it comes from. Deeply Flawed is derived from stories about Michael himself, stories of his friends/peers and his hometown of bittersweet Midland. A thing that I enjoyed about this LP were that the lyrics in it were not entirely about his own self-struggles and situations, but rather a combination of other stories he has heard through others. The lyrics contained depressing content and a lot to do with emotions, love, drugs and relationships. What I really dug in this LP was the spoken word segments in throughout the album too in such songs as “Upbringing” and “Sacrifices Speak”.
The really creative thing I found notable in Deeply Flawed was the track layout. The track layout of this LP was organized in my opinion to feel as if I were hearing a theatrical performance. The track “Sacrifices Speak” gave me the impression of the song being a reflection/a look back thus far on the record. It served as an intermission break if you would and I found this really artistic.
Another noteworthy thing I found in Deeply Flawed was not only the significant dynamics between the acoustic and electric guitars heard throughout, but also the synergy between Michael and every person featured in this album. Such tracks as “Deflowered” with Ryan Sweet or my personal favourite “Bleeding Out” with Emily Hathaway exemplify this.
Molly Drag’s Deeply Flawed will have you waving around in a sonic ocean of ambience. Rocking you back and forth with the feeling of despair, heartbreak and homesickness…in the greatest way imaginable.
You can buy cassettes and CDs via Hellur Records.
Read interview with Michael Hansford here.
Text by Lukas Foote
Photo by Molly Drag
lo-fi from London, Ohio, USA
acoustic pop from Los Angeles, California, USA
Molly Drag is new sad-pop project of Michael Hansford from London, Ontario, Canada. I have known Michael for a long time. We worked together on a cassette release on our label Z Tapes under his other moniker The Raspberry Heaven. He also did two reviews for START-TRACK and we talked a lot about music. Now, his new project Molly Drag has recorded a new 76 minutes long LP, and I have decide to ask him some questions.
The first time I came across your name it was connected to your previous project, The Raspberry Heaven. Why have you decided to start a new one under different name? Does it mean that your old moniker is dead?
The Raspberry Heaven is a band only now. We only write and play shows together. So it’s not a moniker of any sort. Molly Drag, however, is only me. I write it, and sometimes will have a backing band.
Your new album is finished and you posted on your facebook that it depicts your last 4 years. Have you been writing these songs for a longer period of time?
Basically these songs have been kicking around either on paper or in the back of my mind. I kept them messy for a while, and then my good friend Jake Jackman came over and helped me come up with the idea to record a double album. I already had the “molly drag” title in mind for a solo project. The songs poured out very naturally after we started. And for basically two months, I would work, walk an hour home, record all night. It was quite cathartic.
Is it hard to write and sing about topics that are connected to your life?
Yeah, it’s difficult sometimes. But also relieving. It feels good after a while.
Most of the songs have sad, emo vibes. Is it coming from your personal feelings or it is a music style you feel good in?
Most of it is storytelling of things that have happened. Some of the stories aren’t even mine, but from friends of mine. It feels good being able to be honest through you art or whatever.
You live now in London, but you grew up in Midland. Do you miss your hometown?
I actually got to visit Midland over the holidays after two years without being back. It was crazy. Living in London is cool, but I will always have a deep love for where I grew up and how beautiful it is in the winter.
When you moved to different town, did you try to fit in? Have you became part of a music community?
No. I just went to college. Started meeting people. Went to shows. And then I found myself opening for Bif Naked at Call The Office here in London, and then the music thing turned into a weekly thing. It happened very fast actually.
What are some of your favorite bands in the area you live?
There’s so much good music in London right now. Currently, I’m really into Raised By Swans, Single Mothers, Drew Thomson’s solo stuff, Heart Attack Kids, Hindsight, First Ghost… there’s so much I’m forgetting I think, but yeah, the scene is strong here right now.
Did you ever consider moving somewhere else? To another country?
I would love to move to Boston, or even Philadelphia so I could get to see all my favorite bands, but I’ve always wanted to move to France for the food.
You work closely with Fog Lake from other part of Canada. How did you become friends with him?
Aaron from Fog Lake and I have been talking for a long time, around 2 years almost. We collaborated on an old Raspberry Heaven song. Then this past summer, we did a short tour together and I filled in as an extra guitarist for his live act. It was so cool because I think his music is absolutely stunning.
Do you have any dreams connected to your music?
I just want to be able to keep recording my own albums and playing shows with other cool people. I really want to start touring more with friends and make new friends.
What are your plans with this new project?
I am hoping to play some shows out in Seattle with the Hellur Records family. Zayn and the guys from the band Mixtape Minus have helped me so much in order to release this album properly. It means so much to me. I really want to go party with those guys.
Have you consider touring USA or other countries?
A tour in the east coast of the states would be cool. I’ve always wanted to play a show in Philadelphia, or New Jersey or something. I really want to travel a lot more this year and would love to tour after I release this album.
Molly Drag’s new album is coming out tomorrow (10/1/2015) on Hellur Records, listen to it here:
Read a review of Deeply Flawed written by Lukas Foote here.
Questions by Filip Zemcik
Answers and photos by Michael Hansford from Molly Drag
new wave from Kharkiv, Ukraine
chillwave from Austin, Texas, USA
jangle pop from Melbourne, Australia
dream pop from London, United Kingdom
folk from New Hamburg, New York, USA
shoegaze from Healdsburg, California, USA
Growing up on the Internet is hard. With every NPR First Listen or Pitchfork Advance, we’re forced to briefly forget how disposable our music is in 2014 and bury our attention into hopelessly transient SoundCloud clips. For every musician attempting to make it today, it’s especially daunting. Even after the first hit, the first thousand listens, or the first [insert success-quantifying statistic of choice], there’s no guarantee of longevity. For every mildly famous Internet buzz band, there’s always a million who never follow it up with anything and a million who never get such an opportunity.
Buried under years of html compost and digital indifference, one such musician, Mike Tolan, formerly of the modestly-famous post-rock band The Six Parts Seven, has been quietly recording earnest folk songs for close to a decade. The songs, under the name Talons’, are pathetic in the purest sense of the word; steeped in pathos of paying off college debt, working for minimum wage with employees who’ve never heard of the Microphones, and spending late nights on the Internet, Tolan tragically embraces the realities of growing old, lamenting the loss of his twenties and the wide-eyed idealism of his earlier releases, like Songs for Babes and Love in the Time of Panera. On “Tired of IPAs” from his After Talons’ demos, Tolan, once a sneering ‘indie’ elitist, speaks to feeling old in his thirties and shamelessly embracing his own sincerity, singing,
“I got tired of irony when I was twenty/ making fun of everything/ I realized that I actually thought Fleetwood Mac were great/ but when I stopped laughing and tried to grow up/ I just saw the stupid and the sad”
Much like Sun Kil Moon’s recent everything-but-the-kitchen-sink, stream of conscious release Benji, Talons’ crafts songs with frank, plain, and deeply sincere language often unfamiliar in folk music, which regularly has come, to me at least, to feel absorbed in lofty metaphor and seemingly-daunting pseudointellectual absurdity. Each release from the aging Mike Talon wholeheartedly embraces that absurd, almost dysphoric feeling of the division between wanting so badly to relive your twenties as carelessly and recklessly as you once did, now paired with the wisdom and awareness of how awful things turned out living that way.
At the same time, Tolan seems obsessed with aging gracefully, becoming a grandfatherly sage only just beginning his thirties in a world that has been deeply unkind and unforgiving. Lyrically, the songs continually return to resignation with age, as Tolan (and an industry itself which seems to thrive on perpetuating and reinventing youth) asks, “How is it possible for an artist pushing thirty to stay relevant? Is it even worth it to even struggle through the PR hype cycle again?”
This all begs the question, “How do we know when we’ve peaked?” When we’re all pushing thirty, an eternity in years spent scrolling through Tumblr gifs and Facebook engagement photos, is it really possible to continually press onward with the wide-eyed sincerity necessary to make every album seem like our best? Are we forced to churn out hopeless mediocrity in hopes of touching someone? Or does growing up mean resigning to this middle-class purgatory, sitting at work and daydreaming of buying houses in the good part of town or sleeping in on a Saturday. If anything, Talons’ makes me feel a lot less alone with this plunge into an unknown age. This album (and Talons’ music as a whole) is music to grow old to, offering an enormous comfort when we’re all struggling to make sense of things.
Text by Rob Arcand
Photo by Talons’
bedroom pop from Norfolk, Virginia, USA
indie from United Kingdom
jangle pop from Anchorage, Alaska, / Denver, Colorado, USA
dream pop from Tokio, Japan
bedroom pop from Melbourne, Australia
bedroom from Long Branch, New Jersey, USA
dark pop from San Diego, California, USA
Ulysses S. Grant? That was the 18th President of the United States in 1869-1877. Grant Ulysses? That is Canadian-Orillia Teenager Cole Mendez’s solo project, written, recorded and produced from his bedroom.
Grant Ulysses has two music videos out entitled “Wealth” and my personal favourite track by him: “Selfish”. These two songs aren’t exactly happy, rather depressing actually but they are his two most alternative, catchy and up-beat songs. The Twin Visions EP that I’m reviewing however, is as Cole himself puts it “A more cohesive and fleshed out musical project”. This EP is unlike his previously released songs. I find this EP to be more Indie and Dream Pop with a haunting aspect throughout each of the four tracks. All songs sound hopeless with lonely lyrical content and amazing guitar tone to accompany the theme all throughout this EP.
Every song on Twin Visions had a catchy, quirky guitar intro to it, except on the track “Apathy” in which case had a groovy-ass bass intro to it. The guitar intro’s reminded me of a Peter Sagar from Homeshake like feel to them and it’s safe to say I dug it. The instruments, in particular guitar and bass are stimulating and the vocals on Twin
Visions are really lo-fi and daunting.
FAVOURITE TRACK: Apathy
FOR FANS OF: Night Sins, (early) Homeshake
Text by Lukas Foote
Recently I had chance to ask Skymning coming out of beautiful lands of New Zealand few questions and also premiere his new album Rekindle. You can listen to his beautiful ambient music on bandcamp.
I grew up in Slovakia which has always been on music (cultural) periphery. New Zealand seems to be in similar position. How the music has been growing there and how it was able to spread to other countries?
I guess New Zealand is the same to an extent – we’re pretty far away from everywhere and although in more recent years we’ve seen a lot more international artists touring it still seems ignored to some extent. The New Zealand music scene itself is pretty great. There are a whole bunch of artists doing awesome things and plenty of local shows to go to which is great. I guess without the internet I’d have pretty much no chance of spreading my music internationally or even within New Zealand for that matter. But things like Soundcloud and Bandcamp really give you the best platform to promote your music to an international audience.
Do you like creating music in New Zealand?
New Zealand is the only country I’ve ever lived in so I’ve not got anything to compare it to so I guess my answer would have to be yes. It’s a really beautiful country. I live in the capital and I’m still surrounded by nature most of the time which is great. I guess I draw a lot of inspiration with my music from nature just in terms of creating environmental soundscapes. It’s really important for me to not be trapped in a windowless apartment in the middle of a massive city so I’m very fortunate.
Have you ever considered moving somewhere else? Where it would be?
I’d like to travel but I have no idea where I’d choose to move. The world is such a massive place. I guess Scandinavia seems pretty untouched and beautiful much like New Zealand. I mean the name Skymning is Swedish so I guess I have some kind of attraction to that part of the world. We don’t get much snow here either I think I’d like that.
Are you part of a music community or has your music been produced in solitude? Also past months many artists from New Zealand have been getting worldwide recognition. Why not sooner?
I began making music in solitude but the New Zealand music community is pretty small so I guess it wasn’t too long till I felt like I was a part of something bigger. I work with a collective called Kerosene Comic Book and it’s been great working with them to put together remixes or mixtapes. I haven’t been following her music too closely but I guess Lorde is probably behind recent international recognition of New Zealand music. Having a #1 single on the American chats and winning Grammys is pretty amazing for a girl her age regardless of location.
What are your favorite artists from New Zealand?
To be honest most of my favourite New Zealand artists are just friends I’ve met through music. People like Race Banyon Eskimo Eyes Yvnalesca. There seems to be a growing electronic beat scene within young New Zealanders and it’s really exciting to see it evolve. Bands like Caroles Cheats and Sheep Dog&Wolf are awesome too. I went to some festivals over the summer – some of which had international artists but some just local and it was great to see just how much is going on in such a small country.
You have been working on new album. Will it be different to previous stuff you have made?
Right now I’m working towards another mixtape with the collective I was talking about before Kerosene Comic Book. There are a bunch of us (Race Banyon Yvnalesca Totems Career Girls – the list goes on) who all have the same goals with our music I guess. We’ve put out a couple of mixtapes so far and it’s just really nice being able to support each other and kind of pool whatever buzz we have as individual artists into hyping up compilations we’re all really happy with. We’re releasing the tape on 4/20/2014 keep an eye out. kerosenecomicbook.com
What was your biggest inspiration when writing new songs? What is the toughest part of doing music?
As I said before my biggest inspiration is probably my environment. It’s great working with a collective too I feel like hearing how amazing everyone elses’ music is has really pushed me to try and do better and I think everyone else feels the same. The toughest part for me is probably just trying to stay original and developing my music. Creating my own sound which is consistent with my other releases and doesn’t sound like I’m ripping off another artist’s sound.
And lastly list three top artists right now?
Oh man that’s a hard one. First I’d have to say Ricky Eat Acid. Three Love Songs is absolutely incredible I’m so gutted I missed the 12″” of that. Hmm second maybe I’ll say Race Banyon. The dude’s only 17 and is by far one of the most talented dudes in the country. I just want the best for him I really hope he starts to get some massive international recognition because he really deserves it. Lastly I’ll say Lil Wayne. If you haven’t given him a chance now’s the time download Dedication 2 and Da Drought 3 and get buck!
And as bonus here is a premiere of new beautiful album Rekindle:
Questions by Filip Zemcik
Answers and photos by Skymning
I have been aware of the A. Powell / Fog Lake for almost a year now. I stumbled upon his music within an email I received from “birdtapes” after asking if they ever planned to do a release with Canadian artists – they replied with a FL’s Bandcamp link. However, asking me to keep quiet about it; I just couldn’t – Instantly; within minutes, I emailed Fog Lake and asked to do a collaborated effort from a song I wrote recorded after breaking a window in my apartment. He said yes. We finished the song, and ever since then have remained very connected with each other, for this: I am very thankful.
Well now – let’s get to what is really important here – The newest work by Fog Lake, Virgo Indigo the 2nd 2014 release from the ever-growing label: Orchid Tapes (born in Toronto, now located in Brooklyn, NY).
Side note: Orchid Tapes are a heaven-sent label in sad state that is: the music industry.
As mentioned. I have had my fair share of alcohol induced nights staying awake till 5am screaming and shouting to the Holy Cross EP, but this new piece of work – really is, quite the magnum opus for a young musician like Aaron. Every time I listen to a song from this gent I think to myself “fuck, this guy is a prophet for everything in music I have ever needed.” – However, VI can really speak through translations to anyone avid open eared listener. With VI comes an advantageous effort to really stay true to yourself, and what you want to do with the sounds you enjoy. Flawlessly, Aaron triumphs his efforts with VI.
I am not entirely sure if there is a conceptual meaningfulness to Virgo Indigo, but I can’t help but picture the grayness’ that is the East Coast of Canada. I feel waves. I sense motion whilst deep within a heart capsizing itself. Drifting in from folk pop driven song like “nocturnal blues” – then wending itself outside with an ambient track like “transcanada” – but again, Aaron’s accomplishments blush with brilliance – almost effortlessly this man knows what he’s doing – and exactly how he is going to finish it. The track the personally whims my soul – is “erik”. From beginning to end I hear whispers of the Cocteau Twins, My Bloody Valentine, but with a dark twist. This is a brand new sound, all alone – Aaron has accomplished something unique. There’s so much more I can say about Virgo Indigo, but now I have to go and pre-order the cassette before they are all gone.
And shit dude, be proud of yourself – because so many of people around the world are.
Thank you, Orchid Tapes
Thank you, Fog Lake/Aaron Powell
Thank you, Filip
Michael Charles Hansford