'WILLSON' / ASHE: REVIEW

September 26, 2024

by kaylee pickens

Ashlyn Rae Willson, professionally known as Ashe, has released her third LP and people are singing high praises for its release. With over 10 million monthly listeners on Spotify, you may know Ashe for her track “Mortal of the Story” from her first album, Ashlyn (2021). A 3-minute track, that’s almost a member of Spotify’s Billions Club, has brought fans to the table to be served. The pop album, Willson, features 12 tracks including popular songs, “Please don’t fall in love with me” and “Running Out Of Time.” This third album follows just a few years after her second release, Rae (2022). It’s obvious that Willson’s albums are named after her and mirrors a sense of self in their lyricism and production.

The opening track of this album begins with a raw Willson begging someone not to fall in love with her because she’s not ready. Paired with an acoustic melody and airy piano keys, this 3-minute track is setting the tone for the rest of the album. Willson picks up the tempo and gives an infectious beat with “Running Out Of Time.” The backup harmonies matched with a hook that makes you feel like you’re having a main character moment is a killer way to start.

“Pull The Plug” introduces itself with simple string plucks and short phrases that tell a story. Living in a reverie, Willson finds herself begging to stay with lyrics like, “In case I’m asleep, don’t pull the plug.” With a quarter of the album already under the belt, the album progresses to “Cherry Trees.” Another 3-minute track that isn’t afraid to get personal. “Let’s get up and leave / Carve our names in cherry trees,” starts a wave of memories that Willson’s reliving as she sings through this song.

The fifth track on this album, “I Wanna Love You (But I Don’t),” is welcoming as a solo acoustic guitar plays out with Willson. A soft beat creeps in with the hook. With a full heart, Willson sings the chorus with backing vocals and a production that transports you to your most recent heartbreak. “Helter Skelter” accompanies this release well with another rhythmic plucking of acoustic strings and Willson’s voice whispering out. “I’m calling in sick the rest of this year,” she sings about. Resonating with us all as Willson’s voice dips in and out of the grooves of this song.

“Dear Stranger,” builds upon itself as the beat pulses with an infectious rhythm. While the song starts off with a visual of Willson falling through the sky, you can’t help but think about your parachute moment. That moment, Willson sings about, is falling so hard back into reality. With overcommitments and promises, Ashe sings about the time she’s lost, the changes in her person, and how things aren’t going to be like how they’ve been. The eighth track, “Hornet’s Nest,” starts with a story full of pain, regrets, and making things worse. This 4-minute track is one you can turn up and scream at the top of your lungs.

As the album winds down with “Castle,” this song isn’t one to sleep on. With a slow and gradual rise, the song opens with an electric guitar that Ashe sings against passionately. “I’m taking myself back / Even if I let everyone down,” Willson sings, a reminder to herself in her self-discovery journey. “I hope you die first,” is a love song for the ages. While it’s reminiscent of our two favorite lovebirds, Romeo & Juliet, this track rationalizes loving someone so much that you hope they die first. “Devil Herself,” has a strong piano presence as it begins with Willson’s imagery of committing crimes. From murder to pyromania, Willson is no stranger to letting her feelings get the best of her. With lyrics like, “I can tell you’re not yourself / Cause I fell in love with someone else,” Ashe is missing the way things once were. Paired with an addicting electric guitar, “Devil Herself” is a hidden gem of the album.

This 43-minute release ends with, “Ashe,” a self-love letter to herself. Singing about how she’s confessed to her shame, digging up the strength to ask for help, and lying about being okay, “Ashe” is an honest anecdote to the album’s end. Willson is a journey worth taking with Ashe, we promise you won’t regret it. You can follow Ashe on Instagram (@ashemusic) to stay up to date with new music, tour, and much more. Don’t forget to stream Wilson where you get music!

CLIFFDIVER: INTERVIEW

September 18, 2024

by emma schoors

Just ahead of the release of their sophomore album, birdwatching, we caught up with vocalists Briana White and Joey Duffy of CLIFFDIVER to speak about their Oklahoma roots, the writing and recording of their most challenging yet resonant record yet, and the transience of life as reflected in art.

Last summer en-route to Las Vegas, the band survived a freak auto accident that left bassist Tyler Rogers in critical condition. Rogers thankfully recovered, but it was a defining moment for the group that reminded them of their own mortality — birdwatching’s themes, and the band’s outlook on life, were heavily affected as a result. “I think us almost dying last year really changed our mindset on the permanence of anything,” Duffy says. “Everything is always changing and nothing is guaranteed. So due to the nature of that, you can’t just put off dealing with your real issues and feelings. It’s time to take control of your life, and let go of the things no longer serving you.”

Recorded at Barber Shop Studios in New Jersey with the help of producer Brett Romnes, birdwatching manifests as a “collection of moments,” Duffy says, contrasting the linear story their debut offered. It was an opportunity to hone in on trust and openness, which acted as a lifeline to the band creatively while they reckoned with the lasting physical and mental effects of the accident. “Working with Brett felt like fate in a way,” White adds. “He held nothing back working right alongside us to make this album great, and it is great. I’ll be thankful for Brett, Barbershop, and their whole team forever.”

birdwatching releases on Sep. 20 via SideOneDummy — check out our conversation with the band below for insights into the making of the record, Oklahoma-based bands to lend an ear to, and much more.

I’d love to get a rundown on how CLIFFDIVER came to be. I understand you were familiar with each other byway of Tulsa’s music scene before forming the band — what inspired you to come together and solidify this specific lineup?

Joey: “We all met through the scene for sure! Almost everyone had been in some form of a project together besides me, I met everyone through a local music podcast I ran. We slowly continued to add some of our other favorite musicians as we went, and now have a super team in my opinion.”

Why was “dayz gone” chosen as birdwatching’s lead single? What elements of this one popped out at you all, and what inspired you to let it lead this new era?

Joey: “‘dayz gone’ just felt big and anthemic to us when we were writing it. We also really felt like this was one that people would want to sing along to, which they absolutely did this summer and it was awesome. I think it has a universal appeal. Everyone knows what it feels like to be so exhausted and burnt out and wanting to quit. At first listen it can seem like a kind of negative song, but I think it’s really about not giving up, even if you feel like you’re about to break, just keep pushing forward.”

Bri: “It also got my vote because it would get stuck in my head for days on end even after recording, which is usually about the time I might need a break from listening to the songs over and over.”

You’ve described another of the singles, “goin’ for the garbage plate (feat. Stoph Colasanto of Carpool),” as being about experiencing loneliness and stagnation during depressive episodes. I’m curious if songwriting is at all a remedy to those feelings — does it act as a healer for you all to channel pain into pieces of art?

Joey: “Absolutely. I truly feel like being able to get out and share these struggles has done wonders for my mental health. I think the way mental illness really gets to you is in the silence, trying to isolate you and make you feel all alone. When we share our struggles and share our pain, we find others have been in the same place. That kind of resonance is incredible, and it really does go both ways. I think ‘garbage plate’ in particular lends itself to this. It’s a song about progress, but also about the transient nature of mental health. Both the good and bad days end, so sometimes you just have to brace yourself for a bit of a storm with the knowledge that it can’t rain all the time.”

Bri: “I think recognizing your own unhealthy patterns is one of the craziest and hardest parts of the ‘getting better’ journey — you have to get outside of yourself and your issues to even see it. This song is kind of the moment where you finally admit to them.”

“black lodge breakfast burrito (limited time only)” is another memorable single from the record’s tracklisting. Can you give us some insight into the writing and recording of this one, and any musical influences you were tapped into?

Joey: “This song was actually the first thing that I had written for the album. I had that first verse and a melody but that was it, and everything we tried to write after just didn’t feel correct until we got to the studio. Bri came up with this awesome pre chorus and chorus based on the first conversation we had about the song, and it just tied the whole room together. This idea that all your existential dread can keep you locked in. Probably my favorite thing about this album is how collaborative it was. There’s no song on here that we all didn’t have our hands on together.”

Bri: “It might come from being a mom but I only have so much time for my daily existential meltdown, and I think the song kind of captures that part of maturing where you know you need to do the work, you know your feelings and struggles are valid, but all your personal progress is sitting next to the crushing weight and obligation to show up for the people you love, or even work.”

This record represents a renewed spiritual approach for the band. What were some differences you noticed in the way you went about these songs lyrically? Were there any topics you hadn’t covered yet, that you felt compelled to this time around?

Joey: “I felt like the first album was more of a story, with a definitive start and ending, while this album is a collection of moments. It’s more true to real life, there’s nothing simple and easy about it, it’s a complicated mess of good days and bad moments. I think us almost dying last year really changed our mindset on the permanence of anything. Everything is transient, everything is always changing and nothing is guaranteed. So due to the nature of that, you can’t just put off dealing with your real issues and feelings. It’s time to take control of your life and let go of the things no longer serving you. The last album was ‘Do we want to live?’ This album is more ‘How do you deal with a crappy Tuesday?’”

Bri: “I definitely think we approached the process for the album with a lot more trust and openness, and it absolutely felt like a lasting effect of the accident. We knew going in that we wanted to open the conversation to sort of what happens when you’ve done all this work on yourself, but you still have to wake up and walk out the door to a world that remains ever-fucked.”

birdwatching was recorded at Barber Shop Studios in New Jersey. Take us through your decision to work with producer Brett Romnes, and any memorable experiences from your time on the east coast making this album.

Joey: “Brett is a genius, full stop. He understands music in a way that is pretty mind blowing and he really taught us to look at the writing process entirely differently. It was like a boot camp for songwriting. We were in the studio for 30 straight days, and for most of them we got there around 11 am and worked until 2-3 every morning. It was exhausting and incredible, but it really forced us out of our comfort zone. He’s helped make some of our favorite albums, so to be able to understand that process was wonderful. He was so kind and patient with us, while being totally honest and holding us accountable. He would present us with new ideas and then always, ‘Does that scare you? Because there’s no fear in this Dojo.’ It allowed us to get out of our heads and just be present, which I think led to an album that’s so different from anything we thought we were going to make.”

Bri: “I still sometimes feel like I haven’t left the studio mentally, I’m always still pulling from experiences I had recording the album. Working with Brett felt like fate in a way that’s probably way too corny to explain to anyone who wasn’t there. We’d had a wild year as a band and he held nothing back working right alongside us to make this album great, and it is great. I’ll be thankful for Brett, Barbershop, and their whole team forever.

Also, one memorable experience — Dony joined us about halfway through the month to record and when he arrived, we basically greeted him with ‘CLIFFDRIVER,’ which we had already decided he should write the lyrics to and perform. We had written and recorded the music already, everyone having swapped instruments [with] Matt on drums, Eliot on bass, and Tyler on guitar, so we figured Dony should sing. Makes sense, right? It took some convincing, but our boy came through. He’s really big into self improvement and I remember telling him, ‘Megaphone to the world, what do you wanna tell people?’ What we ended up with is so fun and earnest and I love it.”

Something special on the CLIFFDIVER Spotify page is your handpicked ‘Oklahoma On Top’ playlist, featuring OK-based artists. Who are some local acts you’d recommend our readers check out?

Joey: “We love our fellow Oklahomies, and truly think so many of them are going to be household names in the next few years. Some of our favorites are Ben Quad, Red Sun, photocopy, King Pink, SUNFO, Babies on a Halfpipe, Goodridge, Morris Village, Limp Wizurds, PeelingFlesh, A Mixtape Catastrophe, When The Clock Strikes, The Others Like Us, stepmom, Johnny Mullinax Band, Husbands, Downward, Outline In Color, and Team Chino.”

Finally, what are some milestones you’re hoping to reach as a band in the coming year? Any artists you’d like to collaborate with, or venues you’d like to headline?

Joey: “We’d love to go overseas, especially Europe and Japan, that’s probably our biggest goal. More tours with Hot Mulligan, play some cruises and every festival there is. Plus, to have the band become financially sustainable would be nice.”

Bri: “I really just wanna wear this passport out in 2025.”

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KYLIE SPENCE: INTERVIEW

September 13, 2024

by joann snavely

Rising star Kylie Spence has been making waves lately. Following the release of her latest single “Tobacco Roots,” the Nashville-based musician is ramping up for her latest record's release. Leading up to her newest release, Unclear got the chance to catch up and chat with her about everything from doom scrolling, fan interactions, situationships, and the journey that has led into her making music. Read about Spence and her Tobacco Roots here.

You’ve been writing music since you were 12. How has your creative process evolved over the years?

Kylie: “My creative process has changed in many ways, and yet at the same time, certain parts have stayed the same. I still write most of my songs on the floor and have random bursts of inspiration at the most inconvenient times, like when I’m driving, in the shower, or about to fall asleep. When I was 12 and hadn’t had my first kiss, I was writing about love, even though I didn’t know the kind of love I was writing about. After having a few more life experiences under my belt, I have enjoyed writing more specific lyrics. It’s very fun for me to add details into my songs that no one will consciously understand except the person that a song was inspired by. Whereas before, I didn’t have any specific moments or memories I could tap into.”

In writing your record, how do you feel it will resonate with listeners? How does it resonate with you?

Kylie: “I really had no filter when writing this record [laughs], everything is pretty much straight from my head and heart, and I hope listeners can feel that. It captures specific moments and feelings, yet it feels so universally honest, and I think people will be able to relate to that. It resonates with me in so many ways. I think overall, I’ve never been more myself, and that feels really good.

Can you tell us more about your single “Tobacco Roots?”

Kylie: “‘Tobacco Roots’ reflects on a situationship that was in and out of my life over the span of years that was left on a sour note. It ended in a way that left me more confused than I already was, and I never saw any of it coming. This song was a stream of consciousness late one night, and even though I feel differently now, it honors a part of me back then and how I was feeling while navigating my emotions.”

How do you feel moving from Montana to Nashville has influenced your music and creative processes?

Kylie: “Well, Everything And Nothing was pretty much complete when I moved to Nashville last year. I’ve yet to share anything that I have made while living here with anyone other than acoustic snippets of songs on socials. There is obviously a lot of country influence here in Nashville, and it’s different than Montana. I have a newfound appreciation for more classic country, and I want to take pieces of what I love about that and incorporate it into my next project. I do miss the landscape and beauty of Montana, but I know I can always go back. Every place has its own energy, and I have loved tapping into that with each place I go.”

What artists have influenced your sound and storytelling as you’ve developed as an artist?

Kylie: “I have loved Coldplay since I was a kid. I appreciate how they are able to evolve sonically yet there is still a piece that remains the same. That’s something I want with my art. Obviously I grew up listening to Taylor Swift. I love her. Quadeca is an artist I started listening to in high school, I love how authentic his music is, at least to me. Same with The National. I also love the poet Walt Whitman. I’m related to him on my dads side which is very special to me. I also really admire Izumi Miyazaki, she’s a Japanese photographer and her work scratches my brain.”

If you could describe your upcoming record in three words, what words would you use?

Kylie: “1. Everything 2. And 3. Nothing [laughs], but I really feel like it encapsulates everything I am and have been for the last couple of years. But serious answer: honest, unapologetic, me.”

What has been the biggest challenge in the transition between making an EP and a full-length record?

Kylie: “I wouldn’t really call it a challenge, but having twelve songs as opposed to only four to six, and thinking ‘how do I put all of this out?’ From marketing, PR, artwork, videos, logistics, etc, it was a lot for me to wrap my brain around. When figuring all of this out independently, I just modeled what I saw other people do the best I could and did a lot of it DIY. At times, I had no idea what I was really doing [laughs], but I know I’ll look back on these times. The music is all that matters to me, so I just needed to get it out into the world.”

You’ve played alongside some pretty notable names. Have there been any notable experiences or moments while playing live that have shaped you as an artist?

Kylie: “In Tel Aviv a few years ago while opening for Dennis Lloyd, I was on the catwalk which was crazy enough when a girl on the barricade stuck her hand out to me and I went over and grabbed her hand while singing and she started screaming out of excitement and that still sticks with me. Honestly, just getting to meet people after shows and talk to them, I find so much joy in hearing their stories. It’s something I won’t ever take for granted.”

Now for some fun questions! What’s the unusual place you’ve found inspiration for a song?

Kylie: “I find myself doom scrolling at times, and one time I was watching this video about how a man found expensive diamonds in the sidewalks of NYC, and I thought it was the coolest thing ever, so I wrote a song about that… not sure if it’ll ever see the light of day, but I have had many epiphany moments after long doom scrolls [laughs]. That’s how ‘Shoebox’ from my new record was born too.”

If you could only bring three records to a desert island, what would they be?

Kylie: “Impossible question. But Parachutes by Coldplay, Swimming by Mac Miller, Dragon New Warm Mountain I Believe In You by Big Thief.”

Finally, are there any upcoming shows or events that fans should be aware of?

Kylie: “I have my album release show on October 3rd in Nashville at the OG Basement, the first venue I ever got to play in Nashville, and I could not be more excited.”

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DRUMMING BIRD: INTERVIEW

September 12, 2024

by joann snavely

Nashville-based musician Austin Sawyer, who performs under the name Drumming Bird, has been rising across the indie rock scene over the past few years with his hard-hitting lyricism that highlights love, loss, and the underbelly of the American dream. Sawyer has begun making a name for himself since his debut album Great Smoky Love released back in 2019, having played shows across the country and garnered thousands of fans and millions of streams to pair. Unclear got the chance to sit down and chat with him about everything from new music, live music, and even ice cream flavors. Read more to find out the past, present, and future of Drumming Bird.

Where does the name Drumming Bird come from?

Drumming Bird: “I wish I had a better story of how the name came to be. It was a cool name — kind of playing off a hummingbird but like a more ruckus sound. I feel like it fits my music, definitely leans into more of the indie rock-sounding world, but I still put emphasis on the more delicate parts of making music like a hummingbird with my lyricism.”

What originally drew you into pursuing music as a career, and how has that journey been since you started it?

Drumming Bird: “It had always felt like something I wanted to do, my family was decently musical. My dad always had really good taste in music that inspired me growing up and I had other family members that played music. Also I grew up with two brothers around my same age, so playing music was always a fun way to bond with them and that’s how I started my foundation in music, and then it has slowly become my life’s passion.”

Since becoming a musician, what’s been the most gratifying moment you’ve had so far?

Drumming Bird: “There have been a lot of really great moments. The coolest part, and the thing that always is so encouraging, is when I’m at a show and someone shares what one of my songs has meant to them or sends me an Instagram DM talking about what a song has meant to them. That’s something you really aren't considering when writing a song. You’re writing it to express your emotions and to tell a story but you can never fully comprehend what it will mean to someone else, so that’s always a very gratifying part to see what it does end up telling people.”

You’ve been playing a handful of shows over the past summer, and you’re getting ready to go on tour with BAERD this fall — are there any pre-show rituals that you do?

Drumming Bird: “Nothing too exciting, there’s this five-minute vocal warmup YouTube video I always hit before every show. It has 100 million views so I’m not the only one doing that, but it's nice to have one consistent thing to do to get in the zone.”

Speaking of touring, has there been any particular show or venue that has been special to you as you’ve continued this journey of making music?

Drumming Bird: “I’m still at the point in my career where I’m playing smaller clubs, and a lot of them have a ton of character. There’s a venue called the Blue Door in Oklahoma City. It's a really special spot, and it's been run by the same guy for over 30 years. I played a show at the 40 Watt Club in Athens, GA which is a cool historic venue where a bunch of Athens bands got their start. I played Exit/In in Nashville which is awesome, another super storied venue that a lot of my heroes have played. I just played there a couple weeks ago — it was my third time. The Evening Muse in Charlotte is a great venue; it’s very homey and everyone’s super kind there. I love that venue a lot.”

You’ve been teasing some new music lately on social media. Are there any new techniques that you equipped while recording or producing those new releases?

Drumming Bird: “It was a pretty different process this time around. I worked with a new producer for the first time, his name’s Mike Viola, and he has a really cool track record working with a cool repertoire of artists from Dawes, Andrew Bird, Madison Cunningham, and Panic! At The Disco; he’s also a great singer-songwriter himself. It was cool working with him and having another creative force besides my own as part of steering the ship for this new project. We tracked the project to tape and converted it to digital which was exciting because it leaves a little less room for error than just doing all of it digitally and it gives it more of a cohesive sound. This new project is definitely a continuation of my sound, but a new spin on it for sure.”

With the new music that you’re working on, are there any records or musicians who’ve inspired the music?

Drumming Bird: “Last year was a big Lana [Del Rey] year for me. My fiancée’s been a Lana stan forever and she finally converted me a couple of years ago with Did You Know That There’s a Tunnel Under Ocean Blvd, and I was listening to Blue Banisters a bunch. I don’t know if that necessarily translates to the vibe of the new record, but artistically that’s where my head was at.”

If you could describe your music sonically in one word, what would it be?

Drumming Bird: “One word is tough. I don’t know if I have one word in particular, but I think ‘dusk.’ The emotion I try to capture in my music is how you feel on a summer night at dusk.”

Now for some fun questions — if your music was an ice cream flavor, what flavor would it be?

Drumming Bird: “There’s this ice cream store in Chattanooga where I grew up called Clumpies and they had a flavor called ‘Firecracker,’ and it was cotton candy that they put Pop Rocks in. So I’d be Firecracker-flavored.”

Continuing with that theme, if your music was a color palette what colors do you think would be dominant and why?

Drumming Bird: “A darker navy blue going off the dusk theme, I feel like a forest green, and maybe a desert sand kind of color.”

Finally, are there any new projects or events that fans should be aware of?

Drumming Bird: “Definitely the tour with BAERD coming up, so that's the end of September going into October, and my new single ‘Roadkill Poetry’ will be released on September 12th!”

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AX AND THE HATCHETMEN: INTERVIEW

September 11, 2024

by abby crabill

Chicago-based group, Ax and the Hatchetmen, recently dropped their new single, “Love Songs.” They hope to share the message of positivity with a care-free enjoyment of life. Along with the release of their new single, the group also announced their Way Too Late Tour across the United States. The group is focused on creating and friendship, while enjoying the overall experience.

Can you tell me a bit about the creation of Ax and the Hatchetmen?

Hunter Olshefke: “Yeah! Back in his sophomore year of high school, Sal, one of our guitarists, posted videos of himself playing acoustic on Instagram. Axel Ellis (singer and other guitarists) stumbled upon one of them and DM’d Sal, asking if he wanted to jam sometime. Within the next two weeks, they recorded a cover of ‘Cyclone’ by Sticky Fingers.

Sal and I were already playing together for fun, and they decided to bring me in for bass. From there, we just brought different people we knew to rehearsals and jammed. Everyone (Phil, Quinn, and Nick) who plays in the band now was also in our high school’s jazz band. So it was pretty easy to connect over that.”

How would you describe your aesthetic/sound to new listeners?

Hunter Olshefke: “I would describe it as an ode to 60s and 70s music with a big alternative/indie twist. We all are super inspired by multiple genres like jazz, rock, and blues that I think we cover quite a few bases, genre-wise.”

What does your writing process typically look like?

Hunter Olshefke: “Recently, we have been working with a producer and other songwriters outside of the band. Typically, Axel and Sal go to work with a couple of people to write a song (structure, lyrics, melody) and then they bring it back to the band to beef it up a bit.

We started it out with Axel mostly writing a song on acoustic guitar and then bringing it to the band, in the same manner.”

Can you tell me a bit about your single “Love Songs?”

Hunter Olshefke: “That was one of our favorite tunes to work on with our producer Jake Sinclair. We recorded at his studio in LA and were stoked that it was the third new song we’ve released this year.”

So far, what has been one of the most difficult parts about being musicians?

Hunter Olshefke: “In my opinion, one of the most difficult parts about being a musician has been staying healthy on tour. Quite often when one person gets sick it just leads to everyone else going down with them.”

What are you most excited about when you go back on tour?

Hunter Olshefke: “We are always stoked to be able to have a few nights to go camping and hiking. It’s always awesome when there is time to go explore.”

What do you enjoy doing on a free day?

Hunter Olshefke: “We love to hike and try the best restaurants we can find.”

Who are some of your dream collaborations?

Hunter Olshefke: “We all love Hippo Campus. It would be an honor to collaborate with them in some way shape or form!”

As a group, how do you overcome challenges that you encounter?

Hunter Olshefke: “Any challenges we encounter we just try to push through and make sure that we are keeping our heads on straight. In my opinion, we are lucky to have such a good fun-loving group of guys. We’re always able to laugh with each other even if things can get a bit stressful.”

Ideally, what does success look like to you?

Hunter Olshefke: “I think success to me and maybe all of us is just being able to have a good time doing what we do. No one in the band wants this to become mundane or unenjoyable (obviously). I think as long as we get to do what we want to do (play and record music, hike, camp) then we are in good shape.”

What can listeners expect to see from you in the future?

Hunter Olshefke: “More fun music and an upcoming tour starting in November!”

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