BÔA: INTERVIEW


by martina rexrode

photo by freddie stisted

If you think the name bôa sounds unfamiliar, go listen to their song “Duvet” and then come back to finish this article. Originally released as a single in 1998, “Duvet” became the favorite song of an entirely new generation through its shares online, specifically as an audio on TikTok around 2021. Before then, the band hadn’t created music together in over 20 years. Now, they’re back with three singles, each showing off a different side of their artistry, and are excited to reintroduce themselves to their fans from the late 90s and early 2000s while introducing themselves to those who found them through “Duvet.”

It feels necessary for me to start by congratulating you on your three latest singles and also to welcome you back to the music world! I’m sure you weren’t completely separated from music in the 20 years since your last release, but how does it feel to throw yourselves back into creating and putting out music after two decades?

Jasmine: “It feels great! It’s amazing that as soon as we were in the room together we immediately started writing. Also, when our label, Nettwerk, asked if we’d like to make new music, we leaped at the chance.”

Alex: “Feels like we haven't stopped, to be honest. We all love playing and we clicked straight away.”

Lee: “We just all fell back into it like it was yesterday. It was wonderful.”

In what ways were each of you tied to music while living out your lives since your hiatus?

Jasmine: “Music has been ever-present. During that time, I’ve been working as a solo artist, playing shows around the UK and releasing music. Alex has been writing music and painting. Lee worked on his own music and production.”

Alex: “I've taught guitar and bass guitar over the last 15 years, done a few musical bits, and been doing a fair bit of abstract painting, too.”

Lee: “I continued to write and record music by myself, my Father, and assorted musicians.”

Can you tell us a little about the inspiration behind “Worry,” your most recent single?

Jasmine: “Lyrically — sleepless nights, rage at things I can’t fix or save. I think it’s important to name uncomfortable emotions. Almost as a way to manage them, to hold them up and investigate what they signify, and then let them go.”

Alex: “The progression is fairly straightforward, but the chord voicings are unusual in the way they hang together giving it a slightly different edge. The guitar melody over the chorus was an interesting find melodically.”

Out of the three singles you’ve released this year, which is the standout to each of you and why?

Jasmine: “I really love them all! ‘Walk With Me’ was one of the later ones we wrote, and it’s a hopeful song, so it felt right to be the first one we released. ‘Beautiful & Broken’ is soothing and gentle, kind of an ode to silence, and that moment when you can’t sleep, ‘Worry’ is fierce and honest. Also, it would make an excellent Bond theme…”

Alex: “I like them all, but ‘Walk With Me’ is fun to play. I love Jasmine's hook melody and the way the song works overall.”

Lee: “All of them sound great to me, but each one has its own vibe and sound, each for different occasions.”

How has your sound evolved since you first formed in 1993?

Jasmine: “As there are fewer of us as songwriters, our sound is a lot more streamlined, maybe a little heavier. Also, we like to joke that the album is the product of breakups and breakdowns, but it’s kind of true! We’ve all lived a lot in the meantime, and it’s gone into the songs.”

Alex: “Yes, we probably approach things differently now that we're a three-piece. There are different spaces to operate in, but I think there's a continuation of our original sound there, too.”

Lee: “We naturally kept the sound we had before, but we have developed over time as musicians, which keeps it fresh and interesting.”

What was your reaction to “Duvet” gaining traction online, especially on TikTok? At what point did you recognize just how much global attention the song was receiving from new fans?

Jasmine: “I think we’re still amazed by it. It started in messages here and there… all instances of friends saying, ‘I heard your song the other day.’ ‘Duvet’ is one of my favorites — it’s a joy to sing — so I guess it was nice to have other people feel the same. It also still feels a little surreal, but we read as many of the messages that we receive as we can, and it’s huge to think that people get the emotion behind the song and share their own memories with us.”

Alex: “We were surprised and really happy people liked the song. When the labels started to contact us, we thought… oh okay, this is pretty crazy.”

Lee: “I kept getting emails from various companies asking about the song. Then my son showed me on TikTok, and that kinda did it for me. It was so surreal and still is.”

When “Duvet” started to blow up on TikTok, it was such a strange time for the music industry and creative industries as a whole. What do you remember about that time, and do you think the timing for “Duvet” going viral worked in your favor?

Jasmine: “We were coming out of lockdown properly then, I think. In a way, it just added to the craziness of that time. I think there was something magical about it going viral for us. We’ve had a very loyal and supportive audience for a long time, so it was surprising and delightful to know that it was/is growing and on a new platform as well.”

Alex: “As Jasmine says.”

Lee: “Yes, as above.”

Even with just these three singles, as well as your sold out North American fall tour, your future looks extremely bright. What are you most excited for?

Jasmine: “Touring! Playing all the songs, old and new, to audiences finally, after all these years, with an amazing band. We can’t tell you how excited we are to perform together again.”

Alex: “Yes, touring and playing live is what we love to do. We can't wait to get out there!”

Lee: “Playing live with the band to an appreciative audience is fun for me.”

 

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EVAN DIBBS: INTERVIEW


by martina rexrode

photo courtesy of evan dibbs

With an incredibly apparent passion for creating music and a sound that is difficult to pin down amid all of the styles he embraces, Evan Dibbs is set to release his debut album next month. To prepare for this release, we talked to Evan about his singles “Fills” and, more recently, “Cincinnati,” breaking into the New York music scene, and what listeners might take away from the album.

Congratulations on your recent singles “Fills” and “Cincinnati!” Can you tell us a little about the inspiration and/or meaning behind each of these songs?

Evan: “Thank you! And thanks for having me. Each song was inspired by opposing views on life that I often have. ‘Fills’ describes a sort of spiritual murkiness, which causes you to float through life on auto-pilot. ‘Cincinnati,’ on the other hand, was inspired by an excitement for the vast possibilities in life and wanting to go out and explore them. What’s interesting to me, though, is that they both share a theme of indecision, but to very different ends. In ‘Cincinnati,’ indecision comes from a desire to feel unfettered and to be able to learn and grow in a freewheeling kind of way, whereas ‘Fills’ looks at indecision as a recipe for stagnation, as the inability to take charge of your life and pursue the things that would fill life with meaning.”

Both of these singles are off of your forthcoming debut album titled Breathe to Break. How are you feeling as this release date inches closer?

Evan: “Feeling great! It’s funny, when the record comes out, these songs will be new for most people, but I’ve been living with them for over a year as they go through the post production and release/promotion stage… I feel like I’m ready to make another record [laughs]. But at this stage, I’m getting excited to play this material live and reimagining some of the tunes for their live presentations.”

Why did you choose to release these specific singles as the lead-ups to your album?

Evan: “I thought ‘Cincinnati’ and ‘Fills’ were good representations of the scope of energy in the record. ‘Cincinnati’ to me expresses an excitement about life and a desire to explore its possibilities, whereas ‘Fills’ talks about the things that hold you back in life. I feel like the record as a whole explores the ways in which we engage with the surrounding world, and I wanted to put songs out there that showed a diversity of perspectives. They are also some of the more singable songs, which I always think qualifies a tune to be a single.”

Where does the album title come from? How does it represent the album as a whole? Were there any other title ideas you considered?

Evan: “Usually I go through a bunch of titles before settling on one, but in this case, that name came pretty immediately. I can’t even remember when the title came up because this record has been Breathe to Break even in its earliest writing stages. I think what drew me to it initially was the phonetic similarity of ‘breathe’ and ‘break,’ even though they have quite different connotations; breathing being a source of life and breaking being a disruption. I knew I wanted this record to be about reigniting a sense of awareness, and being able to engage sensuously with art, nature, and relationships. To me, the title describes having to create a disruption in order to reconnect with the things that make life beautiful.”

What can listeners expect from your first project of this length?

Evan: “I think it’s a record that rewards active listening. It can be dense at times, but I don’t think it’s inaccessible. There are a lot of lyrics and a lot of ear candies that I think open the door for new things to be discovered with each listen. I like records that make you want to put on headphones, lay on the floor, and close your eyes when you listen. But truthfully, that’s just how I hear the record and I’m fascinated by how differently people experience music. One night I had a small listening party amongst close friends and it was so cool to see all the things they took away from the record that I never would’ve thought of. I think albums end up reflecting the listeners’ emotions and interests back to them in ways that’s almost impossible for the composer to predict.”

How did your partnership with producer Erik Kase Romero come to be? What was it like creating this album with him?

Evan: “Erik and I met almost ten years ago when our bands at the time were regularly playing in the New Brunswick basement show scene. We shared a lot of bills together and were friends, but we really connected when I asked him to produce my first EP World Before Us. That was the first time we collaborated and it immediately clicked. After that, I played on a lot of sessions that Erik was producing, including his own work as a songwriter. We’ve developed a huge amount of trust through all these sessions, and when it came time to work on this record, we had laid the foundation to do a lot of experimentation. We set a lot of limitations (for example, we decided all drums would be recorded in mono with no toms on the main drum part, and that we would use any keyboard or wind instruments) and that really quickly set focus and intention to the sessions. I think that’s where it starts to become really fun too, when everyone feels some sense of stakes and we all enter uncharted territory together.”

How have the New Jersey and New York music scenes influenced your identity as an artist? Do you have any advice for up-and-coming artists looking to break into their local scene?

Evan: “I think the most valuable part of being in NY/NJ is that there are so many artists of all disciplines all around you. No other area in the country can beat it. However, it’s really hard to ‘make it’ as your own artist in New York and I could see how it could actually be way more attainable if you lived somewhere where the cost of living isn’t so intense. You know, somewhere where it’s reasonable to have space to rehearse and record and you could go out on tour without your living expenses at home being so outrageous. But I do think I’ve become a more well-rounded artist from being in New York for so many years and I really value the community of visual artists, filmmakers, actors, musicians, dancers, etc that have enriched my artistic life.”

Which aspects of this album release are you most excited for?

Evan: “I’m really excited for it to become a social thing. The music takes on a different life when it gets in other people’s ears and when you start playing it live. You end up hearing things in the music that you didn’t know were there before. The record for me has been about connection, and I’m hoping the release will be the final stage of realizing that intention.”

Is there anything else you want to share with our readers about your music or any future plans?

Evan: “Album release show! August 23rd at Alphaville in Brooklyn. It's going to be a wonderful night joined by Molly Murphy and Tennis Courts.”

 

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CHRISTINA WARD: INTERVIEW


by martina rexrode

photo by sydney tate

With an incredibly personal pool of material to dip her lyrics into and a self-described sound that invites a dissociative feeling, Philadelphia-based singer-songwriter Christina Ward is set to release her latest single “Darkstar.” This single is off of her forthcoming EP Neon, and we were lucky enough to talk to her before this exciting release.

At the time of this interview, your next single is out in just over a month! How are you feeling as the release date gets closer?

Christina: “I'm excited to get it out into the universe!”

What does this single mean to you? Where did you pull inspiration from?

Christina: “Writing is an outlet for me, so it wasn’t difficult to go there, but it is difficult to share the experiences. I feel like I have to, in a way, find some meaning in it. Life is so random.”

You also have an EP out later this summer titled Neon. How does “Darkstar” set listeners up for what they’ll hear on the EP?

Christina: “It’s a demo version of what we do live. I think it fits in well with the rest of the EP, but this track was recorded in a bedroom mostly. I sent it out for bass and drum tracks. It might be the ‘darkest song on the EP [laughs].”

What led you to bring the band in for the first time on these new songs?

Christina: “We had been playing these songs out for a while before recording them, so all the parts were written. Usually, I write parts as I record them. It made the process of recording much easier, I think, having everything thought out and ready to go.”

Can you tease a little bit about one of your favorite tracks off the EP?

Christina: “I think ‘Darkstar’ might be my favorite, or possibly ‘Alive.’ I'm not sure what my favorite would be from the entire catalog — I write and record songs and rarely go back and listen to them after they’ve been released. It’s like looking back at journal entries from a year ago or something. Can be too painful, and maybe the songwriting process, for me, is a way to move forward from certain things.”

Have you gotten involved in the Philadelphia music scene at all? If so, what aspects have you taken away from that community of local musicians?

Christina: “I’m such a nomad — couch surfing, staying in a few spots at once — I hate to say I’m from anywhere or part of any scene. I’m mostly based in the burbs, but I do play a lot in the city as well. I’m so fortunate to know so many amazing musicians and bands from in and outside of Philadelphia; it’s a tight-knit community and it’s inspiring.”

Which artists inspired you when you were younger? Can you find any pieces of their artistry within your own music?

Christina: “Led Zeppelin was a huge influence. Jane’s Addiction, Living Colour, Pixies — too many to list here. I’ve always loved music, particularly the guitar. I didn’t come from a musical household, so a lot of stuff I discovered on my own or from friends. I think some of it comes out in my songwriting. You might be able to pick out pieces.”

How would you describe your sound to someone who’s never listened to your music before?

Christina: “Sad shoegaze-y indie/prog/rock that you can disassociate to. <3”

 

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ANNA AYA: INTERVIEW


by martina rexrode

photo courtesy of anna aya

With dozens of global artists and groups breaking into the Western music scene as well as the charts, it seems fitting to usher in an artist who has the potential to become the next big thing. Anna Aya is a multilingual singer, model, and actor who just dropped her second bilingual single “Hit Me With Your Love,” an electric pop song with a fusion of English and Japanese lyrics. Based on the success of her debut single “Someone Else,” it looks as though Aya is gearing up to be a breakout star for Japanese Pop (J-pop).

Congratulations on your latest single “Hit Me With Your Love!” How does it feel to have this in the hands of fans?

Anna: “Thank you! I feel so excited ‘Hit Me With Your Love’ is finally out and I hope everyone is singing along and dancing already.”

This is your second bilingual single after the success you had with your debut “Someone Else.” Does this release feel different from the last in any way?

Anna: “Yes! ‘Hit Me With Your Love’ is more upbeat compared to ‘Someone Else’ and definitely more of a classic pop song that you can dance to. It’s really fun to have a song everyone can sing along to easily.”

Which themes does this single tap into?

Anna: “‘Hit Me With Your Love’ is a sassy diva song, with a little bit of an attitude. I think it’s a fun pop song with some Japanese lyrics I wrote to make it a unique J-pop anthem.”

I noticed some early 2000s energy when listening, but I liked how fresh it sounded in the bilingual mix with lyrics in both English and Japanese. What led you to lean into this specific sound? Are there any artists that inspired your musical style?

Anna: “I definitely try to channel some early 2000s vibes with my music, because I love the aesthetic and music scene of that era. Ariana Grande has always been my biggest inspiration, as well as Britney Spears. I try to make my music my own with the bilingual aspect, being half Japanese myself, while incorporating the influences from these icons.”

Have you noticed any hints of your background in dance sneaking into your music, especially in performances? Are there any plans to incorporate these dance styles into future aspects of your career?

Anna: “I definitely feel like my background in dance has helped me grasp how to express myself vocally, which leads to the combination of dancing and singing for my performances being really exciting for me. I will always want to dance for my live performances, and imagine having so much fun with many dancers for my tour one day.”

What was it like to record the performance for the Grammys Recording Academy with Global Spin?

Anna: “It was an honor to perform for the Grammys Global Spin, especially having my video produced by Shannon McIntosh, who produced Once Upon a Time in Hollywood. I had an amazing time performing wearing an all pink outfit!”

From your perspective, what does the future of J-pop look like?

Anna: “J-pop will be the next big thing globally in my opinion. I hope to contribute to this and make the world love J-pop, and the beautiful Japanese culture.”

What is next for you? Is there anything else you want to let our readers and your fans know or anything you can tease?

Anna: “I am actually performing live for the first time ever on July 2nd, at Dodgers Stadium for Japanese Heritage Night, and I can’t wait. I’m always working on new music and might tease an unreleased song during my performance!”

 

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'MIRROR, MIRROR' / THE SCARLET OPERA: REVIEW


by joann snavely

Fans have anxiously been waiting for the up-and-coming LA-based band The Scarlet Opera’s forthcoming sophomore EP since the release of their lead singles “Someone’s Gotta Love ‘Em” and “Catch Me If You Can.” Composed of frontman Luka Bazulka, whose vocals snugly fit into the musical talents of band members Colin Kenrick (keyboard), Daniel Zuker (bass), Justin Siegal (drums), and Chance Taylor (guitar), the longtime friends are here to stay. Trailblazing in a genre of its own, The Scarlet Opera is gearing up to overhaul the music industry itself. Coming hot off the heels of their debut EP Comedy, which was released just last year featuring hits like “Alive” and “Riot,” The Scarlet Opera is here to change the way we listen to music, and their latest Mirror, Mirror EP does just that.

The album opens with the lead single “Catch Me If You Can” which instantly sends listeners into what feels like a coming-of-age film. It’s upbeat, catchy, and rampant with an essential blend of flawless production, and jaw-dropping synth to create a song that leads listeners excited for more. The opening track sets fans up for the album reminiscent of 80s pop with its own dramatic, and beautifully executed flair.

The track “Slutty” switches gears with a slightly less pop sound and instead infuses enticing guitar and vocals that are gritty, sultry, and somehow almost operatic at the same time. It’s unlike anything being produced in modern music as the band continues to emphasize what current music should be — unique, showstopping, and in a world of its own.

The rest of the album continues to exceed any pre-determined expectations fans may have had as it continues in its theatrical style of musicality. Each track composes its own unique sound that’s entirely different from the previous whilst still composing one cohesive record.

It tells a beautiful story of love, life, and everything in between while just being a fun record perfectly constructed for the summer.

The band spoke on the new release;

“For better or for worse, this music ended up being a reflection of our trials and tribulations being a band the past few years — the complexities of falling sucker to industry hype men paralleled eerily well to the simultaneous love affairs happening behind the scenes. Mirror, Mirror will always be a poignant reminder for us to keep our circle tight, the romance in the ride and our joy protected, at all costs. More music, sooner.”

The five-piece band isn’t new to musical acclaim, having been nominated for the 2024 GLAAD Media Awards and headlining a tour across the country this past spring, it seems that they’re just getting started, and there’s no stopping the musical empire The Scarlet Opera is building.

Check out their latest EP Mirror, Mirror here.