#Caleb Hinz
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Baby Boys.- I'm Set
Review: Baby Boys.- I'm Set
Ce que ces trois artistes essayent de nous présenter est un travail sans limites, ou contraintes.
Electronic sounds and vocoders. Robotic and cut-up voices. Experimental, intricate tempos, eerie or foggy atmosphere etc… These are some of the few words that will come up to you in a brainstorming exercise about Baby Boy’s debut EP “I’m Set“. The band is composed of Nathan Stocker and Jake Luppen from Hippo Campus and Caleb Hinz from Happy Children
The whole thing feels like you’re emerging,…
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#album review#Baby Boys#EP#France#Happy Children#hippo campus#I&039;m Set#Indie#Jake Luppen#Nathan Stocker#Paris#review
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#hippo campus#nathan stocker#Nathan's birthday 2021#jake luppen#demi#raffaella#decarlo jackson#roma hinz#hanna sprout#caleb hinz#gianna mascaro
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From Raffaella’s Instagram story (13 March, 2021)
#not a quote#video#mine#raffaella#jake lupin#whistler Allen#Zach sutton#Nathan stocker#hippo campus#tumblr ate this like three times so if it posts#multiple times#uhhh idk what to tell u lol#that’s why I guess#Demi#Gianna mascaro#Caleb hinz#Roma hinz
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samiatheband: here come
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The Happy Children
Cambridge, MA, 2018
#photography#portrait#band#indie#rock#The Happy Children#caleb hinz#mitchell seymour#sam mathys#robin heil#remo drive
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stream i’m set by baby boys
#10/10 would recommend#jake luppen#nathan stocker#caleb hinz#baby boys#hippo campus#stolen from my twitter
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The Happy Children Interview!
Last week, Taylor and I sat down with Caleb Hinz and Mitchell Seymour of the Minneapolis-based rock band, The Happy Children! We talked about their current EP, "Small Talk" and the what the future holds for the band! You can read the interview below, or for the full, uncut interview, click HERE! Thanks for reading!
To start things off, can you tell us who you are and describe your role in the band?
Caleb: I’m Caleb Hinz. I sing and play guitar in the band. And I write half of the songs. We both write a pretty equal portion of everything.
Mitchell: I’m Mitchell Seymour. I play the bass and I sing for the band, and then I do writing as well.
On your Bandcamp page, it says, “The Happy Children not only rule the underground, they change people’s everyday lives.” Something we often write about on our blog is how music has the power to heal, or like you said, “change lives.” How does the band try and influence the lives of its listeners?
Caleb: I think in the past, our shows were super high energy and people kind of just went crazy. There’s a certain freedom to that. I don’t think we are healing the world or anything, but I think there is a reason why people come back to music all the time, every day, all day. I think we’re just doing our part in that. We’re not saving the whales or anything.
Earlier this month you guys released a video of you playing “Came and Went” at The Paperhouse here in Minneapolis. From a band’s perspective, what makes house shows different from a those in an “official” venue? Is there one you prefer over the other?
Mitchell: There’s benefits to venues too, especially with sound. And playing at certain venues is better than playing at Paperhouse, but there’s a quality of energy that you just can’t get at a venue. It doesn’t matter how great the venue is, you just won’t get that at a venue. It might not matter that you can’t get that, like when we were playing First Ave, we felt like that was the best thing ever. It feels amazing to play a venue that is so professional and everything sounds perfect. We didn’t notice that “Oh! It doesn’t feel like Paperhouse,” but there is something to the house show environment that just feels so great.
Caleb: The dynamic is also completely different where you’re leveled. There is no stage, and everyone is sort of “having a party” in a way. It can go beyond “Oh, I’m partying and I’m drunk.” And there is an inherited limitation because you can’t even fit that many people into a house, but it’s sort of a cool limitation. Our favorite show that we’ve played ever was at Beloit College in this tiny basement. Fifteen to twenty people max were watching us, but it was one of the pinnacle moments of my life. I mean First Ave was one of the pinnacles for a different reason, but that was more like a stamp in time.
Earlier this year, you released a song called “All Wrong,” which is one of our personal favorites. What has the response been like thus far? Is there anything in particular that inspired the creation of that song?
Caleb: We wrote it after Mitchell and Judah got in this big car crash, and we had to take a hiatus because Judah had a stroke and a seizure. Mitchell had busted his head open, like there was this huge gash. It was a serious car accident, and it was right after the Beloit show.
Mitchell: We were driving home from the Beloit show, and Caleb was in a different car with our friend, Julia. Judah and I were together with his big speaker cabinet and my bass cabinet in the backseat. We just got hit from behind, and I don’t remember anything, honestly. And [the speaker cabinet] flew forward and hit me in the head. When I woke up, Judah was seizing in the seat next to me and my head was bleeding like crazy. Yeah, it was a crazy, life-changing thing.
Caleb: I feel like the essence of that song was…well it’s not even about our band. Everything is always fucked up. We were talking about this last night like I can’t go one day without making sixteen different mistakes, but that’s not like “Oh my god, I suck! Life is awful!” and that’s why it’s good.
Mitchell: I could’ve died in that car crash, and that would have been that too. I mean that’s just what happens.
Your debut EP, “Small Talk,” was released back in December of 2016. When you go back and listen to some of those songs now, how has your perspective of them changed?
Mitchell: With a lot of those lyrics, I can really think about what happened with Judah. And this is how I write lyrics: All the value of the words isn’t there right away. You kind of create the meaning behind it later. You’re like “Oh! I see how that connects with all of these things that have happened!” So with Judah right now, that’s what the lyrics mean for me.
Caleb: I think it’s a really good piece of something, but it’s still not quite at something we want. When we listen back, it sounds like us back then. It’s harder for me to be stoked the same way I was back then, because now we’re writing new music and we’re really excited about that. We have a new drummer and everything is changing.
Mitchell: It’s sad too because it’s never going to be what it was. We’re happy with the way things are moving, but the old music is never going to feel the same way.
Caleb: I think we’re experiencing loss. We were pretty high on everything that was happening, and then everything changed, but we’re still The Happy Children. Me and Mitchell still write all of the songs. People are still showing tons of support, which makes us know that it is still alive.
Speaking of “Small Talk,” something that has always caught our attention about that EP is the cover art. What is the significance of it?
Caleb: It’s actually a painting that I made. I don’t remember when I made it, but it was when Mitchell and I were living together and I was painting every night. We were broken down into three colors: pink, blue, and yellow.
Mitchell: That all happened accidentally. It was a coincidence that [Caleb] painted that painting. It all just kind of rolled together. It wasn’t like “Oh, this album artwork! He’ll paint this album artwork!” We were just living our lives. Frankly, most of our time was spent working our shitty jobs, so it’s cool that we can just kind of grab at things in our lives and put them together. It’s better than trying to plot out the whole thing.
Caleb: I think a huge part of my process since I started making anything is just make, make, make, make. And then it’s like I have this big bag of shit, and you can just kind of pick and choose. There was awhile in high school where these dancers were asking me to compose music for them, and I was like, “I’m not going to compose music.” And that sounds shitty, but that doesn’t sound fun to me. I just gave them unreleased music that I had and they were like, “Oh my god! It fits perfectly!”
Mitchell: It’s not like, “Oh, it just comes to me.” It does come to you but through constant hours of working.
Since becoming a band, what is the most important lesson that you have learned?
Mitchell: For me, a big thing was realizing that – well, I live with the drummer from Hippo Campus, so I’m really close with him and I have known him since middle school. I’ve been with him since Hippo Campus started and I watched the whole thing. That’s inspiring to me and like, “Woah! That can happen!” Instantly, I realized that our journey is going to be way different. Every musical career is different, and so I have to not want for the same exact experience. You have to embrace the difference. You’re going into something and you don’t know what is going to happen.
Caleb: In a similar vein, I was really stressed out about being successful at a time. I was constantly trying to find ways for us to “blow up,” and after a while, it felt ingenuine.
Mitchell: Obviously, tour and success would be cool. And making money would be cool, but those are all things that are only going to happen and feel good if you make the genuine music that you want to make and just do what you love. You can make the right business decisions and make the right career moves to try to further yourself without putting pressure on yourself. But overshooting your stage, like trying to get shows at big stages when you know you can’t fill them, that sounds like hell to me. It would be way better to fill a small room.
You guys seem to have a close relationship with fellow-Minnesota natives, Hippo Campus. Something we love to see are local bands coming together to support one another. With this in mind, what does the Minneapolis music scene mean to The Happy Children?
Caleb: Not much. I don’t feel very motivated by it. I don’t draw inspiration from it. If there is anything I draw from the city, it has nothing to do with art.
Mitchell: I get more inspiration from my job and the people that I work with, like those blue-collared people working at Jimmy John’s.
Caleb: We’re also exposed to a very small portion of what this scene really is. I’m afraid for the people who we are exposed to and are in our ring to hear us say that, but we’re not talking shit. I do think that Minneapolis will, very soon, have a huge pop of new bands. I think a lot of people are paying attention to [the Minneapolis music scene] now. Because Hippo Campus is sort of putting the city on the map again, especially in terms of youth music. They’re like the dominating force of local music.
What can you tell us about the band’s plans for the future? Are there shows or tours in the works? What about upcoming music?
Caleb: We’re starting to write for our album. It’s probably going to be called “Self-help Book.” We’ve wanted to make an album for a long time called “Self-help Book.”
Mitchell: We don’t have a track list yet, but we’ve got songs. We also have a new drummer to work with, so it might be a long time coming. That’s the next big thing that we are working towards.
Imagine that you have been given an elephant, and you are not allowed to give it away or sell it. What would you do with it?
Mitchell: I can’t give it away? I would have to keep it in my backyard. What I would probably do is build a fence or something to prevent the elephant from leaving. I’d have to have it on a rope.
Caleb: My girlfriend would probably keep it...or I’d eat it. It would probably feed me for a long time.
Mitchell: Oh yeah! I would have to hire someone to kill it thought because I couldn’t kill it. Wait, but aren’t elephants endangered?
Caleb: I’d impregnate it.
Mitchell: Yes! And then you could sell the babies and kill the mom. That’s a good way around it! Then, you have no elephant problem anymore and the same number of elephants.
The name of our blog is “Just Your Average Misfits.” In your eyes, what makes you a misfit?
Caleb: My crazy abdominal muscles. Do you want to see them!? It’s a great party trick! There’s like this hole in them!
Mitchell: I’m pretty normal…no, no, I am a misfit. I’m not that talkative, I’m pretty quiet. I’m semi-socially awkward, but we all kind of are. I do bike deliveries. That’s pretty misfit. You can be a misfit in some people’s eyes, but in other people’s eyes, you can be a basic-ass hoe. There’s no such things but there is.
***THE HAPPY CHILDREN'S OFFICIAL LINKS***
WEBSITE (Normal Parents)
FACEBOOK
TWITTER
INSTAGRAM
YOUTUBE
ITUNES
BANDCAMP
#the happy children#caleb hinz#Mitchell Seymour#Band Interview#Music Blog#Interview#The Happy Children Interview#Minneapolis#Minnesota#Local Music#support local music
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We’ve been on quite a Baby Boys kick ever since we came across their song Kinky Toe a few months ago. The St. Paul outfit has brought us some of the more unique and stand out offerings of the year on their self-produced debut EP, I’m Set, which came out last month on Grand Jury Music. And they recently released a music video for EP track Wannabe, giving us another chance to partake in the trio’s glitchy burbling song, airy trickling song, which fuses the indietronica vibes of Bon Iver’s ‘22, A Million’ with Rostam's whimsically melodious lilt. The video for Wannabe was directed by Ethan Nelson, who also helmed Baby Boys’ Kinky Toe music video. It featuers hip hop dancer Rachel Wilson, and it was shot on location in Holy Land USA up in Waterbury, CT.
Baby Boys is a supergroup of sorts, comprised of Minneapolis musician and artist Caleb Hinz (of Happy Children), alongside Hippo Campus co-founders Jake Luppen and Nathan Stocker. The band is the result of friends coming together in the name of music and the freedom that comes with it. Stream/purchase debut EP, I’m Set, here.
#Baby Boys#Wannabe#music video#indie#indie music#alt#alternative#alt pop#alternative pop#experimental#experimental pop#glitch pop#electronic#indie electronic#indie electronica#music#song#indietronica#folktronica
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Baby Boys, Schorl3, Gossenboss
Baby Boys, Schorl3, Gossenboss
Baby Boys
Augenzwinkern zählt nicht unbedingt zu den vordringlichsten Eigenschaften männlicher Musiker – schon gar nicht, ohne dabei kindisch, ironisch, gar zynisch werden. Die Baby Boys aus Minneapolis sind letzteres gar nicht, ersteres ein bisschen, nur mittleres könnte auf das Trio zutreffen, das nach ein paar Einzeltracks nun ihr erstes Album veröffentlicht. Was Caleb Hinz, Jake Luppen und…
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Baby Boys - Threesome „Der Weg ist das Ziel“, soll der chinesische Philosoph Konfuzius einst gesagt haben. Gilt das auch für die Kunst? Oder ist das Ergebnis immer wichtiger, als die Entstehung? Im Fall von Baby Boys ist jedenfalls beides spannend. Zwei Jahre nach der Veröffentlichung ihrer ersten EP legt das Trio, bestehend aus Caleb Hinz, Jake Luppen und […] #BabyBoys https://www.musikblog.de/2021/03/baby-boys-threesome/
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samiatheband: @britobrien
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The Happy Children
Minneapolis, 2017
#photography#art#robin heil#caleb hinz#mitchell seymour#normal parents#the happy children#minneapolis#minnesota#mn#Sony#A7sii#FE 24-70mm OSS
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best thing to happen all week
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The Happy Children - Same Dif
A pillar of the Minneapolis underground music scene is coming down with the release of one last record, but the infrastructure they leave in their wake will uphold generations of music to come. ‘Same Dif’ is the last effort from The Happy Children (of Normal Parents), released just last week after a brief cancellation. The record fully encompasses the development of sound between this record and the last- lighting up the newer influences in their arsenal.
‘Same Dif’ merges electronic processing with heavier rock instrumentation, providing a listening experience of the highest caliber and largest impact. Member Caleb Hinz spearheads much of the recording and production of the band’s music, and has continuously found ways to differentiate their music from the rest of the world in every possible way. This record, to me, is a necessary end to the catalog that I’ve loved for some time now, and I’m extremely glad that my fellow fans of the project were able to convince Hinz to release it after all.
The heart and soul of The Happy Children was never just music. Their focus on uplifting their own community, speaking on social and political issues, and running plenty of fundraisers for charities (through the band and through it’s accompanying brand Normal Parents) is a shining signal of how this band will continue to live on even after it’s departure from the music scene. Members of The Happy Children are also involved in various other projects, so their distinct touches on sound and scene will continue on regardless.
https://thehappychildren.bandcamp.com/
Written by Ashton Carr
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As someone who takes in an inordinate amount of new releases on the daily, I’ve come to discover that it’s always an uphill battle trying to find fresh and unique artists or songs within new music’s trend worshipping, style emulsified sea of sound. In many cases, the music is delightful, yet not memorable and enduring. St. Paul’s Baby Boys certainly made their mark on us earlier this month when we adoringly featured the band’s song and video, Kinky Toe, a modulated alt pop meets intricate folktronica ballad with whimsical strings and idiosyncratic production. Revisit that feature, here. We naturally set the expectation bar pretty high when we noticed that Baby Boys had released a new song Beatdown alongside the announcement of their self-produced debut EP, I’m Set, out March 1st via Grand Jury Music. And just as we had hoped, we were far from disappointed by the band’s ornate pleats of crisp beats and tweaked vocals, as well as their overall inventive whimsicality and warped creativity. Beatdown is a beatific, slinky, and groovy experimental pop song that sounds far different from Kinky Toes, yet carries much of the same stylistic and production undertones. Caleb Hinz from the band explains, "We wrote and recorded it all in one night and it was SUPER fun. Just kept moving and laying down ideas one after the other. Once Zach threw down that bassline we knew it was on." Pre-order Baby Boys’ debut EP, here. It came to life over the course of many unruly late-night sessions. With it, the band hopes to inspire others to embrace a similar freedom and shake off any self-imposed rigidness in their own lives.
#Baby Boys#Beatdown#experimental pop#indie electro#indie electronic#indie electronica#indietronica#music#song#pop#alt pop#alternative pop#alt#alternative#music video#band#experimental#groovy
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