'BAD START' / STRATEJACKET: REVIEW

November 2, 2024

by martina rexrode

Bad Start is a fairly accurate album title for a band who spent their early days gigging around San Francisco (under bridges, on beaches, you name it), were signed to EDGEOUT Records in 2021, and, amid each of those milestones, dealt with all the uncertainty the pandemic lockdowns brought to the music industry. For months, even years, the Northern California alt-rock/pop punk trio weren’t sure when they’d play their next gig. Now they’re releasing their debut album composed of 11 tracks that were recorded back in 2022 in Vancouver, five of which were featured on a self-titled EP, and it’s clear just how much fun they were able to have amid such stressful and confusing times.

The members of StrateJacket — Jackson Roemers (lead vocals, guitar), Fabian Angel (vocals, bass), and Nate Mangold (drums) — amass an incredible assortment of musical influences. From The Beatles and The Black Keys to Led Zeppelin and Elton John, it’s safe to assume that these guys were raised on music in all its forms. The two influences that stood out most after listening to the album were Green Day and The Fratellis. From the first line of “Bad Start,” and especially on tracks like “Be My Drug” and “Living a Lie,” Roemers’ vocals screamed Billie Joe Armstrong. At certain points, it almost sounds like he’s talking you through the lyrics, but then the chorus hits and it’s undeniable how great his voice is while conveying the words they’ve written. The Fratellis influence is noticeable in the constant presence of head-banging guitar riffs and standout basslines, as well as their ability to create a catchy chorus.

With the variation throughout the album from punchy, energetic songs like “Bad Start” to the stripped-back energy of “Torch,” it’s impressive how many different musical sides they’ve showcased on a debut album. Their theme of, in their own words, “being an idiot but meaning well” on the title track feels pretty consistent within the album as a whole. The late 90s and early 2000s musical style harkens back to dozens of young artists and bands who embraced their messy teenage years and immaturity to create some of the most relatable songs to date. In a way, StrateJacket appears to be tapping into a similar niche.

In simple terms, the album is a whole lot of fun. It’s youthful and a bit dark in its humor while remaining authentic to the sound of the Bay Area’s local scene. In their music videos, you see three guys goofing around and bringing their songs to life. When listening to their songs, you hear a sincerity that is almost infectious. When asked about their identity as a rock band, they say that they’re proud to be placed in that category, “When people hear the album, I hope they feel a little nostalgic,” Angel says. “I want our listeners to feel like kids with guitars and basses in their bedrooms and not alone. I want them to know that little bands still want to be big bands.” This little band is off to a pretty great start to me.

SLOAN GOLDEN: INTERVIEW

October 24, 2024

by mariah estran

In late September, Sloan Golden released her debut EP, Long Conversations. The six-track project highlights pivotal discussions had over several years — the chats during a journey of grief and healing, and conversations where friends would lend an ear. Now, fans can find solace in those cathartic releases.

During the fabrication of Long Conversations, she found that while the topics were deep, they allowed her to process her emotions further and ultimately understand that these experiences are not only singular. Songs like “Dressing Room” describe that feeling that overcomes you while standing in a department store mirror, while “Dandelion” tackles the aftermath of assault. Then, the scene is set in “Parking Lot,” as you experience those late-night drives that spark a much-needed dialogue with your friends.

“I hope that the EP becomes a companion to whoever needs it,” she says on the EP. “These stories are specific to me but they're also everybody else's.”

Sloan Golden took a moment to tell us more about creating Long Conversations, sharing personal stories, making “Dandelion,” and her personal growth.

There’s a major moment in this new EP. You describe permitting yourself to process trauma. The project, overall, allows space for that, but why was it important to disclose these honest and meaningful stories to your listeners?

Sloan: “While I was going through these things — you never go through trauma and you're like, ‘Oh, I'm going to write a song about this.’

Writing all of them helped me to process those events. It helped me get to the other side where I wasn't holding on to things as much. I was accepting things that have happened in my life.

I was sharing those stories with people to let them know that they're not alone and to provide a source of support through music for anyone who might relate to the topics on the EP.”

While creating this EP, was it easy to do so? Or had you already arrived at a place where it became okay to lay it all out?

Sloan: “It was a process along the way, the songs were written over six years. The oldest song on the EP is ‘Dandelion,’ which was born in 2018.

It was a process of getting all the songs together. As I was writing them, I didn't know they were becoming this EP, I was just writing things I was feeling. Then they all came together in this conceptual way.

I think when I wrote the last song, ‘Long Conversations’ — that was the last song of the EP in 2022. It felt like the bow on top of the whole thing. Like that chapter is closed, I've addressed, for now, what I needed to say.”

The EP is set up to go through the stages of grief. When you started piecing it together, how did you see that it was naturally describing these pillars?

Sloan: “I was driving home one day and thinking about how the EP would be set up — chronologically, in terms of the events and how they happened in my life. I was thinking about the themes of each song. Whether it's the EP as a whole, or the songs individually, they all hold one stage of grief or many. Like, in ‘Dandelion,’ you can go through all the stages of grief in that song alone.

In the entire EP, you go from the beginning to the end, which is acceptance.”

Do you feel a sense of release now that it is complete and released to the world?

Sloan: “Healing from any sort of trauma, it’s a constant back and forth.

I’ll say, having captured all of these moments over the last three years and putting them into this EP — I feel like it’s weird to say pain is worth it to make good art. But I'm glad that it wasn't for nothing. I was able to take it and make something out of it to help me process those things.”

For this EP, the overall sound, you found inspiration from artists such as Maggie Rogers, but how was it encapsulating these major emotions in your sound?

Sloan: “The modernism of Maggie Rogers' first production style (mainly from her first album). Also, the raw instrumentation of the band Daughter. I wasn't sure how those two would mesh, but when we started reproducing the songs in 2020, we found that in ‘Dandelion.’

That was the first one we started reproducing and it was interesting. Some of the songs on the EP can be a little angrier. ‘Dandelion’ deals with an intense subject, but is carried in such a delicate way, sonically.

I wanted to infuse the songs with the elements of anger and panic. So at the end of ‘Dandelion,’ there are sounds of high-pitched synths, but they're actually high-pitched screams.

Then in ‘Dressing Room,’ the melody has a cynical nature, which is an allusion to cynical thoughts. Then in ‘Corner of My Eye’ we incorporated my sophomore college roommate. She videoed me yelling at someone on the phone. I took that audio clip and put it the song at the end of the bridge; and the beginning of the song.”

I want to circle back to “Dandelion,” specifically the visual imagery. You used black goo to symbolize permanent scars. What can you tell us about the music video and the creative process behind it?

Sloan: “Director Maddi Boll and I had worked on the creative for ‘Dandelion’ for a long time. We wanted to make sure that whatever we did wasn’t going to reemerge people in whatever trauma they were potentially going through. We want to be subtle about the ways that we visually showcase an assault happening.

I wanted to bring life to the feeling of being permanently marked by a traumatic event. So we made these two different worlds. One world, it was real, where all of the actions were taking place. Then the other world was like in the field where I covered myself with black goo. It's an abstract interpretation of what is going on in the real world. When I get touched on the cheek by the male character in that music video, black goo shows up on my cheek.

It was a cathartic experience to make the music video — it was a little bit harder emotionally than I thought it would be. But it is one of the videos I’m the most proud of.”

How do you feel these songs have unveiled your growth, musically or even as an individual?

Sloan: “When I had the first four songs in 2020, I thought they were amazing, and it's not that they weren't, but they were amazing for a 21-year-old me. Now, four years after that, it’s been amazing to see how much those songs have grown, and how much I have grown both myself and my songwriting. Also, my ability to convey what I want musically.

I worked with four different producers on this EP, it was great to see what kind of working styles I prefer and the best ways to articulate what I want sonically. My biggest concern was that it wouldn’t be cohesive because so many people had touched it. But I feel confident in all of the songs, even though they have so many people, they are also mine.”

What would you like listeners to take away after they have a moment with this project?

Sloan: “I hope the EP becomes a companion to whoever needs it.

I think there's an interesting conversation to be had about what is called ‘Sad Girl Indie Music.’ Phoebe Bridgers has kind of been a part of it and so has Lucy Dacus. My wish isn't for any of these songs to make people sad, but for it to be something people listen to when they’re sad and need comfort.

I try to be specific in some of my lyrics on the EP, like with ‘Parking Lot’ and ‘Dressing Room.’ Even though those things are personal experiences, I think everyone has their own parking lot story or that retail store where they had a meltdown in the dressing room or stayed up all night with their friends because they didn't want to go home.

These stories are specific to me but they're also everybody else's.”

FIND SLOAN ONLINE

TWITTER INSTAGRAM FACEBOOK

KATE VOGEL: INTERVIEW

October 1, 2024

by martina rexrode

Kate Vogel’s new album soft is easily one of the most vulnerable releases of the year. Tapping into personal events that resulted in Vogel taking an extended break from creating music, it’s easy now to hear the passion and love she’s regained in tracks like “light at the end of the tunnel,” which calls back to her 2019 comeback single “Reasons to Stay.” Vogel’s voice and emotional lyricism are incredible strengths to have in a career as important as hers. To keep up with her for future releases and news, be sure to follow her on Instagram (@katevogel).

Congratulations on this new project! How does it feel to have these tracks in the hands and ears of listeners?

Kate: “Thank you so much, it feels amazing. I'm so grateful for the opportunity of my music being there for someone like my favorite artist’s music has been there for me. I always get stressed before my songs are in the world, because I want to leave a recorded legacy for my grandchildren to listen to one day. Maybe even my grandchildren’s grandchildren. How special is it that we can pass down our life stories and lessons in recordings.”

These eight tracks take listeners on a vulnerable, touching journey from beginning to end. What can you tell us about the inspiration for this record as a whole?

Kate: “Thank you so much. The record was inspired by the ups and downs of life and love, and the struggle to not become jaded and bitter. It started with something really bad happening in my personal life and I fought the bitterness every day until I knew I had to write a song about how hard it is to be soft. Thankfully my friends and cowriters in Joshua Tree helped pull it out of me, and the song wouldn't exist in this form without them, I would’ve made it too dark. In every song, I tried to be as honest and vulnerable as I could be in writing the lyrics, even though it's scary.”

What made you decide to release “light at the end of the tunnel,” the last track on the record, as the final pre-release single? How does it serve as the final track?

Kate: “Thank you for noticing, ‘light at the end of the tunnel’ felt like a bookend to summarize the entire record because whatever challenge you're going through, there will always be a light at the end of the tunnel. Sometimes the most painful parts of your story end up being the most important or pivotal moments. One of my favorite quotes is a lyric from Nashville singer-songwriter Ruston Kelly: ‘Don’t you dare give up when it’s hardest, that might be the moment you get it right’ — and for me that brings me back to when I wanted to take my life. Because it didn’t happen, that's actually when I wrote and released ‘Reasons to Stay’ in the middle of the darkest part of my story and life, and to see how many millions of people have been touched by the song inspires me to keep creating and to inspire others to create. You never know the ripple effect your music and art can have. ‘light at the end of the tunnel’ is the closing chapter of this part of my life, a callback to ‘Reasons to Stay’ and ‘The Grave’ on my first record, and the end of the soft lessons in this time period.”

You returned to releasing music in 2019 with the single “Reasons to Stay,” a delicate song that gained traction online fairly quickly. When you reflect on that time, what does that song mean to you? Does it feel more special after releasing soft?

Kate: “I never actually listen to ‘Reasons to Stay’ anymore because it hurts a lot to listen to, but it actually came on shuffle last night on accident and I started choking up. When you haven't heard something in a long time, you can hear it with fresh ears. I felt like for the first time I was able to hear it as a listener and couldn’t believe I wrote that. I couldn’t believe that was me. It didn't feel like me, it felt like listening to someone else’s story. To see how far I’ve come, I don't struggle with suicide anymore. It was beautiful and a song I needed. I'm just so grateful that it found its way to people who needed it. That time of my life was very dark and the scariest part is that if I had not made it out, I wouldn't know the amazing life that was ahead of me full of music and happiness and new friendships. It does feel special after releasing soft because ‘Reasons to Stay’ is the softest song I've ever written.”

Does your sound or lyricism on Someone I’m Proud Of, your previous album, bleed into soft, or is this more of a noticeable transition into a new sound?

Kate: “I think my songs will always lean towards my voice and lyrics first in any record, but it was exciting to use more pop-leaning production with my producer Wilson McBeath. Adding drums and more upbeat elements was fun and I think showed another side of my personality that is more positive and outgoing.”

How has the city of Nashville influenced your creative process?

Kate: “In Nashville there are musicians and songwriters everywhere. Walk down any street in any neighborhood and it will be full of musicians. I've always been a songwriter first, so living in the songwriting capital has been inspiring, constantly finding inspiration in conversations, songwriters will tell you: hey, that's a song what you just said. It's special. We all come support each other at local shows. It's special to be surrounded by people who have the same crazy dreams that you do.”

How do you hope your role as a mental health advocate inspires others? What can people do to get more involved in causes that highlight mental health advocacy and change?

Kate: “I don’t really even feel comfortable with a label yet, I’m just a person who needed healing trying to tell others that recovery and healing is possible. For so many people, including myself, you don’t think or know or believe that recovery is possible. It is, you deserve it, and there is a light at the end of the tunnel. To get more involved, supporting mental health education in schools is important, and also just asking the simple question ‘how are you?’ And waiting for your loved one to truly answer. If it’s serious you can help point them to resources for healing. You can get involved in your local AFSP chapter if you're passionate about suicide prevention specifically. Mental health is just as common as physical health, and the more we talk openly about it the more we’ll all understand it and it will be less scary.”

Is there anything else you’d like to share about this record?

Kate: “For sure. I’ve never felt such gratitude to be able to share the songs inside my heart and head. So grateful for my team and writers around me who brought to life these ideas in my head, and I’m already itching for the new chapter to begin!”

FIND KATE ONLINE

TWITTER INSTAGRAM FACEBOOK

'SAD SONG' / P1HARMONY: REVIEW

September 28, 2024

by martina rexrode

After a successful run with their first full-length album 때깔 (Killin’ It) which brought them their first Korean music show win, #1 on the Billboard World Albums chart, and #2 on the Billboard Top Album Sales chart, P1Harmony is back with their seventh mini album SAD SONG. The seven track mini album touches on topics and situations like the feeling of being stuck, rewarding yourself for pushing through tough times, and the shyness that comes with first love. It also covers a wide range of genres, similar to their last album, and showcases new sides of every member on each song.

The title track, stylized as “SAD SONG,” is a classic musical juxtaposition of melancholic lyrics hidden among high energy instrumentals and vocals. In the pre-chorus, leader and main vocalist Keeho sings, “I try to get away, loneliness stuck in my heart, oh, no, sad song puts me in a prison.” In the English version at the end of the album, he sings, “I try to get away, I'm stuck in this loneliness, I can't get out of sad songs, just locked up in here.” Both versions of this section reach the core of the song’s message, but it's easy to get lost in the fun of the execution that you don’t even register what they're singing until you actively read the lyrics.

The addictive piano riff adds flare to an already catchy song, pairing well with the quick-witted raps and layered vocals. Intak’s gritty tone stands out while Jongseob’s smooth flow only helps to solidify his reputation as one of the most exciting rappers within his generation of the genre. Keeho and Theo’s ever-present soulful vocal style somehow fits into every type of music the group tries, and this is no exception. (Their final harmony during the bridge is sure to leave your arms covered in goosebumps.) As usual, the combination this group brings of vocalists, rappers, and synchronized dancers comes together to create an energetic track without the TikTok bait dozens of K-pop groups and Western artists have started to lean into.

The b-sides on SAD SONG explore different genres and familiar sounds to anyone who’s a fan of 2010 American pop music. For example, “Last Call,” the third track, felt extremely reminiscent of Big Time Rush or Up All Night-era One Direction. The shouty chorus, quiet lines of dialogue within the verses, and funky electric guitar throughout were a charmingly nostalgic nod to American and English boy bands popular when the P1Harmony members and many of their fans were growing up. Another favorite is the sweet fifth track “All You.” Touching on the relatable feelings of shyness and uncertainty surrounding a confession of love, “All You” is a track driven by piano and 90s R&B elements which fill it with a youthful air that’s very easy to listen to.

The rest of the tracks fell to the wayside a bit on the first handful of listens with their instrumentations and deliveries feeling pretty familiar to songs on their previous album, but “WASP,” the group’s first unit track between rappers Intak and Jongseob, holds some potential for expansion. They aimed for a 2016/2017 American rap style, and they delivered that perfectly. However, the chorus sections felt too empty and repetitive where the group as a whole typically brings those sections to full, bright life. It’s a cool concept and a new style for both of them, but not enough to truly showcase their range to the ability they made present on the rest of the mini album.

Every time P1Harmony comes back to release a new project, it’s guaranteed to be something new. From their debut in 2020 to now, they’ve provided a refreshing sound in an industry where everyone is constantly trying to be the next big thing. Their energy feels genuine and the songwriting talents of their rappers should not go unnoticed. With SAD SONG, they’re sure to keep the trajectory of their success moving upward.

CAMERON WHITCOMB: INTERVIEW

September 27, 2024

by koby hirschaut

There is true beauty to be found on the broken road. And if the path is confusing, it only makes the destination more deserved. Cameron Whitcomb has walked on more confusing paths than most. Coming to music very late, he was discovered on Reddit after posting videos of himself performing karaoke on his couch. He’s stepped into the spotlight of the American Idol stage as well as the much of a Canadian pipeline maintenance team. Battling vice and the daunting task of marketing yourself with no team around you, Whitcomb has put in those oft-discussed hidden hours that many never get to see. Now, on the brink of an EP and his first headlining tour, Cameron sat down with us to talk about his mindset and the value of keeping in tune with every piece of your own journey.

How do you think growing up in Canada shaped your musicality and your love of music?

Cameron: “Y’know what’s so funny? Growing up, I never listened to country music at all. Not until I was, like, 18 years old… I always looked at country music as, ‘Oh, Luke Bryan and I don’t wanna listen to Luke Bryan.’ ...For me, I strictly listened to Eminem and a lot of the British Columbia rap scene, the Vancouver rap scene had a huge impact on how I looked at music and what I listened to, y’know? Like Stompdown Killaz and Madchild, Swollen Members… Canadian rap groups. That’s what I grew up on. At 17 or 18 my brother introduced me to Johnny Cash… I started singing when I found myself listening to Tyler Childers, I was like, ‘Wow, I can kinda sound like that.’ That was around when I was 18… I started posting little karaoke videos singing Tyler Childers on my couch and posting them on Reddit… and that was the start of my career.”

You’ve really garnered so much success in just a few years. You’re still just 21 years old! Has your youth affected how you view your place in the creative world? Do you trust your perspective when you’re writing?

Cameron: “I think what a lot of these kids have wrong nowadays is that they’re writing what they think people want to hear versus stuff that they’ve actually experienced and actually been through. I’ve noticed personally, whenever I’m writing a song, unless it literally comes from myself, you don’t end up with something that great. Even if it’s from the perspective of someone else. One of the first songs I ever wrote was for one of my buddies, his brother had committed suicide four years ago and we really sat down and I got to really pick his brain and we ended up with a really great song… Write songs that mean something to you, and hopefully they mean something to someone else. That’s what I’ve learned. For me, I write a lot of songs about addiction… because that means something to me, that makes sense to me… something I understand… I’ve struggled with addiction since I was 13 years old and I’m a year and four months clean now, but I’ll always understand that, the desperation and trying to understand why I liked doing drugs so much.”

So much of your journey has been done in the public eye. From being a teenager, battling vices and working on pipelines to being discovered and thrown into the spotlight of American Idol. Not to mention how vital promotion on social media is these days to musical artists just starting out. Do you feel in any way like your growth has been affected or altered by having all these eyes on you?

Cameron: “I think I was waiting for some wins, y’know? It was a pretty dark point in my life… just drinking so heavily and doing drugs and American Idol was really cool. That was a point where I was like, ‘Oh, I’ll quit drinking during the show.’ I was really looking forward to that and when I got kicked off the show it was like, ‘Holy fuck.’ I thought that was the point when my career was really starting to accelerate but it was the opposite. I got sent back to Canada and I didn’t know anybody in Canada and didn’t know how to write songs or play guitar. I tried doing the music thing for the whole summer… I didn’t have any songs of my own. I would go play these little bullshit shows with all cover songs… so many things I wish I did differently. But, honestly, I’m glad I got a taste of like — I thought I had made it! But then I got kicked off Idol and I was totally mistaken… I’d go around and see if I could get recognized in my hometown… I didn’t know what to do! So I fucked around all summer, did some shows, spent all the money I’d made on the pipeline and then went back to work in the winter. That’s when I was like, ‘Okay, I’m just gonna put everything I’ve got into getting better at my craft… I’m gonna learn how to play guitar and learn how to write songs. I’m gonna do it and I’m gonna work social media and that’s gonna be it… get voice lessons… I’m gonna post every day!”

It sounds like you’re saying you became notable and then you had to teach yourself to do the songwriting aspect after. Was it difficult to come off American Idol and then have to teach yourself that?

Cameron: “Yeah, I wrote a lot of shitty songs man! Honestly, I credit the music I grew up listening to, the straight rap music… A lot of writers, they hear other writers that they wanna be like and they try to write like those other writers instead of writing like themselves; don’t be scared to say weird shit! Dude, a lot of writers look at me and they’re like, ‘Why are you saying it like that?’ I’m like, ‘‘Cause I want to!’ But I’m still learning all the time, I’m learning every day… I’ve written now with a lot of writers and I’ll pick their brains every time. Never stop learning. As soon as you think you’ve gotten to a point where you’re like, ‘Oh, I’m better than that guy,’ like, fuck no, you aren’t… Be around who you wanna be like.”

So, upon listening to your song “Quitter,” I was struck by how straightforward and raw your discussion of sobriety was. Scrolling through the comments, I saw many people discussing their experiences and journeys through sobriety and even discussing family members struggling with the disease. I cannot imagine that the connection you share with your fans is lost on you. I’d love to hear your thoughts when people are able to hear your music and see themselves and their journeys in you?

Cameron: “Man, it’s incredible. It seems like every experience is so different, but at the same time they all correlate. Even if you aren’t an addict yourself, everyone has had somebody that struggled with addiction and it takes a toll on everyone around you… I think that’s why the song resonates with so many people even if you yourself haven’t struggled with addiction. On Facebook, really, is the only place where I’ll get hate for that song. People will be like, ‘Oh, you’re getting sober for the wrong reasons.’ But there is no wrong reason to get clean… It’s neat hearing people’s experience with it and especially people really resonating with the song and I try my best to — I don’t reply to comments as much as I should, but I do go through my DMs and I do find every now and again a story will really resonate with me and I’ll take the time to just talk to that person, y’know? I try my best to, it gets kinda overwhelming sometimes. But, I’m really grateful people feel they can be vulnerable with me. I think that’s important, I think we should all be a lot more vulnerable. That was really important for me, taking the time to really talk about shit and really find out why I am the way that I am.”

How do you know that a final product has satisfied your vision of it?

Cameron: “It’s just a feeling, man. The latest tune that I released, ‘Love Myself,’ we recorded that like four different times before I was like, ‘Yeah, that’s it.’ As far as the mixing and mastering, I have no idea. If it sounds the way you want it to sound when you’re in the production stages of it, the mixing and mastering they can do whatever they want with it. For me, I’ve never been overly precious about the music itself at all, I’m more of a lyricist to tell you the truth, I’m all about — if you’ve listened to ‘Shoot Me Dead,’ that shit sounds terrible. It sounds awful, y’know what I mean? It’s an awful sounding song because we recorded it, never got it mixed, never mastered then put it out the next day because I was like, ‘Fuck it, dude, I need a song out, this is ridiculous.’”

You are about to embark on a headlining tour this fall! Congratulations first and foremost. Upon speaking to artists, they all talk about how exhilarating a tour can be and I am always interested in the mindset of the headlining act on these tours. First off, how are you feeling? And secondly, do you feel that responsibility? To an outsider like me, it honestly seems like the headliner is the host of a big, traveling party circus sort of thing.

Cameron: “For me personally, I’ve never been on tour before… I’ve heard a lot of stories but I don’t think you actually understand it until you’ve been immersed in it and I have not yet… I put all the right people behind it, I bought my own tour bus, we tried the Sprinter van and tried a couple overnights and I could tell how tired the band was and I just said, ‘Fuck it.’ And bought a Prevost. I wanna do this right and I wanna make sure everybody’s comfortable and make sure my guys are taken care of, I’m taken care of. I’m just gonna really stay healthy and get as much rest as I can but treat every show like it’s the last. I want everybody to get an equal opportunity to either meet me or say hi; I think that’s extremely important. That’s my favorite part of doing the shows, just meeting people… I’m gonna try my best to put on the best show that we can. An honest show, a real show. I don’t even know what to think or how to prepare; I’m gonna prepare the best I can, but I don’t even know what the fuck to expect.”

You excited though?

Cameron: “Oh. Fucking hyped dude, yeah. It’ll be sweet. I’m so excited to see the States.”

Lastly, what’s next for Cameron Whitcomb? What sorts of moods and ideas are you hoping to delve into next?

Cameron: “I’m just really excited for some more experience in my life. I feel like everything — I’d love to pull shit out of thin air, but I think for me, personally, I’m just gonna see what this next chapter of my life is and then just keep going with that. Just keep putting 100% into whatever I’m doing, whatever that may be and maybe we’ll get some really cool songs out of it. Just try my best. Just look forward and try to put — I feel like whatever you put into the world it’ll come back tenfold.”

FIND CAMERON WHITCOMB ONLINE

WEBSITE INSTAGRAM FACEBOOK