LEAH MARIE MASON: INTERVIEW

February 17, 2024

by kaleigh gieraltowski

On her journey from country roots to pop star, performer Leah Marie Mason is changing directions and taking charge. With her newest single “YOUR BOYFRIEND SUCKS” that dropped ahead of Valentine’s Day, she encapsulates a relatable tale of someone close to her being stuck in a toxic relationship. The sprightly beat and her personable lyrics give an insightful ear to the inner workings of what her new album has to offer. After spending time in Sweden laying down her emotions and navigating her new sound, Mason is set to release the new record later this year. We can expect a thrilling pop-centric sound and raw storytelling from the heart and soul of Leah herself. With all these exciting projects on the way, we asked her to tell us a little bit more about how these ideas came to life.

Congratulations on your new single “YOUR BOYFRIEND SUCKS!” I love that you released it on Galentine's Day, can you tell us more about this single?

Leah: “Thank you so much! This song is definitely for the girls and their friends that are tired of hearing about boys that are truly a waste of time! When I wrote this, I was at my wits end with one of my friends that kept going back to someone that treated her like trash and was just so manipulative with his words. Sometimes you have to give your bestie some tough love, and that’s exactly what this song is!”

Coming from a country based genre and evolving into a pop-centric sound is an extensive change in direction. Can you tell us more about that transition?

Leah: “I’ve always loved pop music! The first song I put out was country-leaning and after it went somewhat viral and accumulated 16 million views, I definitely felt a sort of obligation to pursue that. So I did for a while, but I wasn’t feeling truly fulfilled. Randomly, I met a Swedish producer at a Warner Chappell pop writing camp and it was like my entire world shifted. We started making music that I didn’t even know was possible for me to make. I was so excited about what we had accomplished in just a few days that I actually flew to Sweden a month later and wrote an entire album! I feel extremely creatively fulfilled by my new music and I can’t wait for everyone to hear this side of me as an artist!”

Having creative freedom in your musical genre is an important skill to possess. Besides country and pop, what other sounds can you see yourself gravitating towards?

Leah: “Even though I might not be the most skilled at making this kind of music, I really respect and take a lot of creative influences from R&B. SZA, Janelle Monáe, and Tyla are all artists I listen to daily and they definitely inspire me to push the boundaries of my own music.”

Being a songwriter has given you the ability to create beautiful narratives in your songs. What’s it like being so vulnerable with your lyrics when creating music for yourself?

Leah: “Honestly, it’s all I know! I have a really hard time writing about things I haven’t personally experienced or gone through, but when it’s my own story it just kind of flows out of me in a way that’s hard to describe. It’s really special to be able to write lyrics and songs that illustrate my feelings in a way that I haven’t really heard before because it is so personal to me. But, I also feel like that raw emotion is what makes something so relatable too. Whether that emotion is anger, joy, resentment, happiness, etc., it just has to be genuine.”

You wrote your upcoming album in Sweden. What was it like creating new music in such a new environment from where you live in Nashville?

Leah: “ “It was honestly the change of scenery that I needed! I think anyone who is a creative knows how important it can be to switch things up and get re-inspired in a new environment. It was really motivating to be around other creatives that I looked up to myself. Seeing Dua Lipa and Ariana Grande plaques on the wall was absolutely insane to me, and the gratitude I felt to be working with such talented people was truly indescribable.”

What have you been listening to lately? Does your personal music taste influence your own projects often?

Leah: “I’ve been listening to a little bit of everything, I love a multitude of genres and I try to switch it up daily. That said, I’ve lately been listening to Olivia Rodrigo, Ryan Beatty, Dijon, SZA, Tyler, Ethel Cain, Phoebe Bridgers, Hozier, and Conan Gray, just to name a few! I think my personal taste definitely plays into the kind of music I make because I think every artist I listen to is inspiring me in some capacity, whether it’s vocally, lyrically, or stylistically.”

How was creating an album with a genre shift difficult? How did your country roots help influence this new era of sound for you?

Leah: “Honestly, creating the album was the easy part! I loved every second of it and it really is a cohesive body of work that I’m really proud of. I think the hardest part is making this actual genre shift and seeing what the outward public opinion is. It’s a big change, but I’m excited to see where it takes me because I do believe it’s the best music I’ve made! Coming from a country background, the focus on lyricism in that genre definitely played a part in my songwriting for this album. I learned so much about the importance of storytelling and emotion, and it’s still a major theme in my new music.”

If you could describe “YOUR BOYFRIEND SUCKS” in three words, which ones would you use?

Leah: “Rage, fun, honest.”

How are you looking forward to embracing your new songs when performing live?

Leah: “I am SO excited to perform these new songs live!!! I have so many ideas for stage design and what that would look like, so now I just need to find someone to bring me on tour! ;)”

Can you tell us anything else about your upcoming album? What should we expect?

Leah: “This album is a lot about navigating my emotions as a girl in her early twenties. Friendship breakups, exes, personal turmoil… it’s basically describing my midlife crisis, LOL. It’s just so real to me and I hope other people hear these songs and feel a little less crazy, because I know I would’ve loved to hear them when I was going through it.”

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ZOE KO: INTERVIEW

February 16, 2024

by joann snavely

NYC-based musician Zoe Ko started 2024 off with a bang after the recent release of her debut EP Baby Teeth. The alt-pop artist who released her debut single “Line” in 2022, has continued to release the songs of the season since. In her latest EP, she explores a newfound genre in rock as she explores emotions that have been holding her emotionally hostage since childhood. With a quickly expanding fanbase, we had the pleasure of speaking to her about her past, her future, and most importantly the making of Baby Teeth!

What got you into music in the first place? What was that journey like?

Zoe: “I don’t remember a day or time I wasn’t into music. Music has kept me breathing and happy my entire life. I think when I got into my teen years I just naturally gravitated towards it as a career and more professional passion. So I started doing anything I could that involved music or creative things adjacent to it. I did highschool programs, little gigs, internships, my own music, etc., and never stopped! And now I’m here.”

For your new EP, Baby Teeth, what was the inspiration behind it?

Zoe: “Baby Teeth was an emotional release and healing process for me. I needed to come to terms with some things that had boiled my blood for the past few years and my life. A through line was coming to terms with my childhood traumas, high school bullies, struggles with being a woman in the world, etc.”

On the same note, what do you want fans to take away from the EP?

Zoe: “I want them to feel reflective and in their feels, but like hot badass bitches after listening.”

Was there anything new you explored in creating the EP?

Zoe: “Yes! Diving more into my rock side as a vocalist and with the productions. I feel like this EP was my way of finding my sound and voice as an artist.”

What was the creative/recording process for the EP?

Zoe: “I made it with my friend/producer and co-songwriter Jonny Shorr! We worked out of his studio in his backyard. And we brought in UPSAHL and Catie Turner to help write on two of the songs. It was a really natural process creating this EP. I would come into the studio and just start ranting about whatever I was feeling that day then we’d somehow turn it into a song.”

You’re getting ready to go on your first major-scale tour. What are the things you’re most excited about? Nervous about?

Zoe: “I’m just so excited to finally meet some of my fans that are in cities I haven’t been to before!! They feel like internet besties or something that I’ve gotten to know long distance. I also adore performing now (though I still struggle a bit with stage fright) so I can’t wait to actually just perform and dance around on stage and put bras on my band members and be crazy. I also love running the merch table and talking to people about the jewelry I make and sell. It brings out the little girl who loved yard sales in me.”

Finally, a few fun questions. With your tour, if you could add any dream venue to the tour docket, what would your dream venue be to play in?

“My new dream is festivals!! And specifically Webster Hall in NYC. I grew up right next to it and would pass it all the time. I used it as inspiration, telling myself I’d one day perform there and be able to sell it out. :)”

What’s a fun fact about Zoe Ko that most fans wouldn’t know?

Zoe: “I held a pigeon once in NYC in Washington Square Park and it was marvelous. 10/10 would do it again and recommend.”

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BONES AND JONES: INTERVIEW

February 15, 2024

by emma schoors

Bones and Jones’ latest EP, In Blue, marks the beginning of a year-long project that sees the Australian alt-rockers traverse genres, sift through decades of inspiration, and step outside their comfort zone as an entity with more moxie than ever.

The five-piece got their start as classmates in Geelong, and are now based out of an old apple orchard on the Victorian surf coast, where the new collection of songs were recorded. “The amount of physical space and tranquility that you experience here is a big inspiration to the way we write,” the band says. “Not necessarily in terms of the sonic architecture of a song, but how it can clear up your mind to allow the creative process more freedom.”

Released last November as the EP’s first offering, “Need It” fuses Strokes-y vocals with shimmering guitars, while “In Ya Nature” introduces breezy echo effects and a backbeat reminiscent of early 2010’s indie rock giants. Simple, refreshing, and earnest, the EP exists as an ode to beloved genres of the past, and a crowd-pleasing introduction to the band’s newest and most authentic chapter.

In our recent interview with the band, Bones and Jones dive into the creation of In Blue, from the equipment that helped piece it together, to the lyrics that encapsulate its overarching message.

Before we get into your new material and upcoming projects, we’d love to know where the name Bones and Jones originated. Who came up with it, and is there any major meaning/significance?

Bones and Jones: “Hi, Emma! We had a couple of names that didn’t really stick when we were first starting. We were all trying to think of something cool when our drummer Conor found a CD at his folks’ house. The CD was titled Bones and Jones, and it was a compilation of songs written by Brian Jones from The Rolling Stones. No real meaning behind it other than we love the Stones!”

You’re currently based out of an old apple orchard on the Victorian surf coast. That has got to be the coolest band “home base” I’ve heard of — how does that landscape influence your sound, if at all?

Bones and Jones: “It is a pretty special place. We’re very lucky to live here and have a studio on the same property. The amount of physical space and tranquility that you experience here is a big inspiration to the way we write. Not necessarily in terms of the sonic architecture of a song, but how it can clear up your mind to allow the creative process more freedom.”

Congratulations on the release of your brand new EP, In Blue! When in the writing or recording process did this title come about? Were there any other titles in the running?

Bones and Jones: “Thank you! I can’t give away too much, but the title is linked with a series of EP’s we will be releasing over the next year. We’ve been pretty set on the idea of this project for a while so there hasn’t really been any other names for it!”

Talk to us about the first track, “Need It,” and the influences that shaped it. What were some records or genres you were all listening to in the creation of this EP?

Bones and Jones: “‘Need It’ was a real throw it against the wall approach to see what sticks.

It sat as an instrumental for a couple of weeks, and then I just chucked a melody and some words on it and it all sat pretty well. There have been some parallels drawn to a Strokes sort of sound, which I think comes from the vocal crunch, but that was really something that came out in the mixing rather than being a sonic intention before recording.

For the EP, we didn’t plan out any definite way. We just wanted to shift the sound of the band. Everything was super organic, and we just treated each song as their own and worried about any sort of coherent sound later. It's definitely a bit disjointed in that way.

We just wrapped tracking all the next stuff, and it follows that same formula, really. I think for the EP we had a greater focus on just balancing guitar tones and textures. A kind of less is more approach. The studio is in our backyard so it gives us way less time constraints to play around.”

What equipment ended up at the forefront of this project? Any pedals, guitars, or software you played with to achieve the varying guitar tones?

Bones and Jones: “We’ve become a lot more interested in and focused on the soundscapes of our songs and obsessing over all the little things that fill in the space (or create space) in the back of a mix. Through that we’ve introduced more synthesizers and have definitely been playing around a lot with different effects and just experimenting with anything we can get our hands on. A pedal we’ve been loving at the moment for lead tones is the Electro Harmonix Ripped Speaker.”

What lyric do you feel best encapsulates the EP and the message you hope to convey to listeners?

Bones and Jones: “Hmm, great question! My personal favorite lyric is from the track ‘Need It.’ Jasper sings ‘Do you wanna be anybody, does anybody know your name?’ The way I interpret the lyric may be different to how it’s intended when he wrote it, but I guess that’s the beauty of art. I think it evokes a lot of thoughts and sparks interest into pondering the question of your own existence. From my experience, it can be healthy to ask yourself these questions to try and make sense of your life and the natural world around it. It helped me to appreciate the smallest of things and how lucky we are to be alive.”

You’re heading out on an Australian tour with The Grogans in late March. What’s the most rewarding aspect of taking your catalog out on the road?

Bones and Jones: “Very excited to be touring with The Grogans again! They’re very close friends of ours and we love them lots. A lot of our music that we’ve released is quite upbeat and fun to dance to, so it always makes us happy to see people dancing. With a few slower, newer songs we’ve released (and a few unreleased ones), it’s going to be exciting to see people hopefully connecting to them in a more thoughtful and meaningful way. Anytime I see someone smiling and having a good time though, is what really makes it rewarding and worthwhile!”

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CRY BABY: INTERVIEW

February 14, 2024

by emma schoors

New York-based Cry Baby wants to be your guilt-free favorite boy band. “A common sentiment we all share is being unashamed of what we’re into, regardless of its relevance today,” vocalist Alex Carlson says. “I think it's fun to be polarizing in that sense.”

Saccharine yet moody like FOUR era One Direction, with a glitchy, surreal backdrop like Beabadoobee, the five-piece have been slinging genre-defying material since their South Carolina conception. This isn’t the first iteration of the band, with Carlson joining last year after their previous singer left — a call-to-action via social media from bassist Joey Haines was what helped assemble the current lineup.

“Joey’s IG post looking for a singer was just a hail mary attempt to keep this dream they all had going. I’m not sure any of them had much confidence that would amount to anything,” Carlson says. Still, he took a leap of faith and met up with Haines: “I can only liken that experience to a first date where you’re hoping the other person is having as good a time as you are.” He was, the pieces clicked, and Cry Baby was reborn.

“Hollister” was the demo that brought the new lineup together. With a similar electropop synergy to The 1975’s “It’s Not Living (If It’s Not With You)” and a driving, minimalistic drum track, the song calls on Carlson’s hypnotic vocals and the existing sonic kinship between founding members. Their newest single, “One Thing,” similarly propels the band forward in all its careworn beauty. The track follows the demise of a relationship, and the unease that precedes it. “We got to dial in these really fun, glitchy, distorted electric riffs, and in the second verse there’s a country-esque lead line I got to play which is so fun to do live,” guitarist Carter Long says. “[It] brings the inevitable South Carolina influence into our sound, however subtly.”

Cry Baby’s genius lies not just in their spearheading of unabashed bedroom pop, but in their use of social media to further the reach of each single. “We don’t want to change the system. We want in,” Carlson joked in a recent Instagram video. As laden with sarcasm as it is, it speaks to their willingness to seek exposure in an era where care is mistaken for desperation. By expending energy on the things that matter — fan interaction, creation, and heart-on-sleeve lyricism — they’ve laid a foundation that’s sure to steady them in the New York alternative scene for years to come.

We had the pleasure of sitting down with Cry Baby to discuss “One Thing,” the specifics of their DIY bedroom studio setup, and the story behind their “wistful, nostalgic sound that is really bright on the surface, but is informed by a lot of sadness and struggle,” as Carlson eloquently puts it.

Thank you for taking the time to speak with us! Before we get into your latest release and forthcoming plans, we’d love to get a feel for how the band got together. How did you all initially meet, and have you always been based in Brooklyn?

Alex: “Yeah thank you for having us, we love Unclear. Joey and I had some mutual friends and I knew him outside the music world for about a year, existing more in the periphery of each other's lives I guess. I knew he produced music and that had always interested me a bit, so when he put up an IG story about looking for a singer, I jumped at the opportunity. Everyone outside myself moved to the city from Charleston, SC where they were in a previous iteration of the band, but soon after moving here their time as a band together was thrown into question because their singer left.

Joey’s IG post looking for a singer was just a hail mary attempt to keep this dream they all had going, I’m not sure any of them had much confidence that would amount to anything. But as fate would have it, I reached out and met up with Joey to talk music, and at every turn it felt we had all these niche interests in common. Some artist names we were throwing around were James Ivy, Third Eye Blind, and joan. It became pretty obvious we had a lot of reference points in common, some of which were pretty specific, so I think that helped Joey feel comfortable enough to show me some instrumental demos he was working on. The first one he threw on was what ended up becoming our first single, ‘Hollister,’ which was love at first listen for me. I can only liken that experience to a first date where you’re hoping the other person is having as good a time as you are. Turns out they were.”

Cry Baby is very much a DIY band, as the music is written and recorded out of a bedroom studio. Give us a rundown of your setup. What equipment, amps, pedals, and software do you typically use? Nerdiest answer possible, please.

Joey: “Yes, we’ve always been a bedroom operation. People literally sitting on the bed with guitars. But, I’ve always used just a handful of really quality pieces of equipment. Instead of owning a bunch of stuff that you half use, better to have just a few things that are perfect. I work in Logic with a Universal Audio Apollo, a Taylor Grand Auditorium acoustic (the best acoustic I’ve ever played that my mom got for me so I could play in our church band growing up) and Fender American Telecaster/Jazz bass. Our mic is a super nice Telefunken, plug-ins do all the rest! I honestly love working on the computer because you can record something so ‘normal’ and completely transform it by sifting through plug-in presets. I’m always chopping up and layer breakbeats also to give a hybrid acoustic/digital drum feel. Some of my fav plug-ins on the debut EP have been Izotope Stutter Edit 2, Guitar Rig 6, Soundtoys Decapitator and CLA plug-ins.”

Do all of you listen to the same genres of music, or are there varying tastes within the group?

Carter: “There are pretty huge variations in taste which make us the band that we are. I think most of us are quite open minded musically and listen to a lot of different stuff, but we’re definitely drawn to different things.”

Alex: “I think vibes are important to distinguish what we’re each drawn to musically. Speaking for the others here, but I think Carter, Matt, and I are drawn to sadder emotional music, while Josh and Joey lean on the more upbeat end of the spectrum. That's a big generalization of course, but a common sentiment we all share is being unashamed of what we’re into regardless of its relevance today. Honestly for myself, I’m proud of my guilty pleasure tastes like Bieber. I find the unabashed pop thing to be refreshing. I’d like to be on the borderline of a guilty pleasure band for people, I think it's fun to be polarizing in that sense.”

If your band were described as the lovechild of two existing bands, which would they be and why?

Alex: “Ah, tough one to answer. I’d say a one night stand between Third Eye Blind and Beabadoobee. I guess we have some elements that remind people of that pop rock era that Third Eye Blind dominated, sort of a wistful nostalgic sound that is really bright on the surface but is informed by a lot of sadness and struggle. Beabadoobee feels like a band that embodies that today, really glitzy and cute on the outside but a lot of emotional depth in the art. That’s certainly something we’re striving for and I suppose everyone should look up to their parents.”

Talk to us about your brand new single, “One Thing.” Joey described it as one of his favorite Cry Baby songs to date — what are some sonic elements you got to incorporate this time around that you hadn’t in previous singles?

Carter: “‘One Thing’ has a little more of a rock edge than the first two singles. We got to dial in these really fun, glitchy, distorted electric riffs, and in the second verse there’s a country-esque lead line I got to play which is so fun to do live and brings the inevitable South Carolina influence into our sound, however subtly.”

The accompanying video by Fiona Kane doubles down on the restless, uncertain feeling that permeates the track. Was there a set vision going into it, or was it more of a spontaneous filming process?

Alex: “I’m happy to hear that comes across in the video. It was all very spontaneous. We just knew we loved Fiona’s previous work and trusted her vision. We had some small ideas at the beginning, but Fiona threw out the possibility of having access to a convertible to shoot in while driving around the city which piqued our interest. Long story short, Fiona had connected with this legendary guy, George L Senior Jr., who has a huge convertible collection via TikTok. He was kind enough to drive us around the city for an afternoon while Fiona filmed Bea Enrico and myself being so over each other, Bea is a friend and she immediately came to mind as someone I wanted to shoot with, because she plays apathetic so well.

The other elements like the moving sculptures were courtesy of kinetic artist Walter Rossi, Fiona’s incorporation of his pieces are what made the video special to me. It reminds me of the cover of the I Spy books. I love it. Fiona is amazing at what she does.”

You’re becoming a staple in the New York alternative rock scene. Who are some local acts you’d recommend to our readers?

Alex: “So many to include, but I’ll keep it to a few that have been big reference points for us. The Life, DBA James, Middle Part, and James Ivy. It’s an exciting budding scene to be a part of, I feel like bands are back in a big way in NYC.”

What are some band milestones you’re hoping to reach this coming year? Are there any plans for an EP or album in the foreseeable future?

Joey: “I think this year we wanted to put out a lot more music, starting with our debut EP. We are of course into turning out singles like we’ve been doing, it’s going to feel really good to have the whole collection out. These were the first songs we wrote as a group so they are very special to us. We also are super into the idea of collaborating with other artists we love, something we haven’t gotten to do a lot in the past so we are definitely trying to make some cool things happen in 2024. Lastly, we want to tour and reach as many cities as we can. Support touring is always one of the things at the top of our list, our inbox is always open Matty Healy.”

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NATL PARK SRVC: INTERVIEW

February 13, 2024

by mariah estran

The seven-piece indie collective NATL PARK SRVC emphasizes emotional growth through a sweeping concoction of sound on MAGICIAN. Previously released in October, the two-part LP moves through heartbreak and its aftermath.

Focusing on their production structure, they found the beauty in letting things flow while learning to understand who they are personally and as artists.

The group worked through demos, modifying them to keep that initial idea in mind. The result is an array of emotional high points that carry you from beginning to end.

NATL PARK SRVC took the time to go in-depth about MAGICIAN. The ensemble shares more on their creative vision, producing, and how the album helped them unpack their own experiences at the time.

I understand that the album is supposed to be two different sections. One being heartache, the other being what comes after. Was setting up the album this way always the intention, or did it happen overtime?

NATL PARK SRVC: “I think it was a little bit of both. We knew we wanted to do a double LP. We think a lot about the track listing and album structure. We're always keeping that in mind when we're making a record, but in terms of the content of the songs — I think it came pretty organically. We had the structure of it, but the emotional points weren’t there until it happened.”

How do you feel the album setup heightens those emotions?

NATL PARK SRVC: “I think when you have a long record, it's got to warrant its length to a certain extent.

I think an interesting point is how the second-half of the record goes from ‘Like All Good Magicians’ to ‘Up On Marlene's Hill.’ This set up of the record lends that self to being an emotional high point.

There’s pretty obvious peaks and emotional high points. If you’re going to tell a narrative — there’s a beginning, a middle, and an end. But I think with this record, it’s this big emotional, sweeping thing, but it doesn't come to a conclusion. In the end, it sort of just leaves you with it.

That is sort of cathartic in itself.”

You all mention how it is a cathartic release. The album looks inwards at things that happen throughout life. What introspective lessons became unveiled while piecing together this album?

NATL PARK SRVC: “The album uses broken relationships with people as a catalyst for this journey to understand yourself a little bit deeper. And recognize where you can be within the process.

To answer the question, it's a journey of learning — what it takes to be a part of a community and learning how to understand yourself so you can relate to other people.”

This album follows your debut, and there’s a progression in sound. How did this project help you hone in?

NATL PARK SRVC: “We found our footing in writing and producing on this one. On our last album, we recorded with a group here in the studio, which was a lot of fun, but we realized that we work the best in our own element.

A good chunk of this record, all of the auxiliary instruments, all of the vocals, all of that was recorded in our dining room, which was a lot of fun. But it sounds a lot more natural and a lot more fluid.

Definitely the closest to NATL PARK SRV sound that I think we've ever gotten to.”

All of you were putting your hand in this together. It wasn't a one man show, y'all are basically a collective. What is it like collaborating with one another?

NATL PARK SRVC: “We found a cool way of writing these tracks, doing multiple iterations of demos. So we'll get a certain number of people on a track, then all of a sudden the drums don't fit as well as they could, or this part could be emphasized more; this needs to be rewritten and we're able to. Like growing the song in that way, in a way that we have not been able to do in situations where you're just jamming.

You don't wanna lose the magic that comes with the initial idea. When we have these moments together, you’ll hear it on the record — there's lots of those moments.”

Lastly, how do you feel this album has documented your growth so far?

NATL PARK SRVC: “All you really got to do is listen through the discography, right? You’ll see.

I think a lot of it comes down to stepping back a little. Earlier, with the songs, we were putting stuff on because we like the way it sounded. With this record, when we were working on stuff, we wanted to step back and go, ‘OK? Does this need to be here? Like, what is essential for this groove?’ We made sure that everything served the song.

I think the songs, the lyrics, have improved a ton. It it sounds like we know who we are now.”

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