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intoxicatingimmediacy · 5 years

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Big Ups: Clipping Pick Their Bandcamp Favorites

“Right from the beginning, we always wanted to make a horror-themed record,” says Jonathan Snipes, a producer in the Los Angeles-based progressive noise-rap trio Clipping, alongside MC Daveed Diggs and fellow beatsmith Bill Hutson. The group’s third project for Sub Pop, There Existed an Addiction to Blood, updates the cult horrorcore hip-hop trend of the mid ‘90s in a thrilling and forward-thinking fashion. It’s a striking and deeply atmospheric record, powered by synth-based sonic experimentalism and grisly concept-focused writing that exudes a sinister and shadowy feel.

There Existed an Addiction to Blood adds to a stellar canon of work that kicked off with Clipping’s introductory midcity mixtape in 2013. “That one was really us learning how to be Clipping, and what we sounded like,” says Hutson, who helped mastermind the project’s metallic, glitch-afflicted beats. On the following year’s debut album, CLPPNG, the crew moved further towards what Hutson calls “dark and noise-tinged instrumentals.” The omission of the letter I in the album title represents the way Diggs avoids rhyming in the first person. Hutson maintains that if much of hip-hop involves MCs rapping about their own lives, Clipping’s music strives to be “a novel, not a memoir.” Case in point: 2016’s Splendor & Misery took shape as an Afrofuturist sci-fi adventure that explored an artificial intelligence world; 2017’s single “The Deep” inspired the author Rivers Solomon to expand the song’s environment into a novella of the same name.

Basing There Existed an Addiction to Blood around horrorcore and gory movies is a natural representation of Clipping’s influences and the way the trio approach writing songs. “Horrorcore is this forgotten and maligned subgenre of hip-hop that we’ve always had a tremendous amount of affection for,” says Hutson. “So much of Clipping is about referencing styles of hip-hop—almost all our songs were conceived as our take on a certain type of rap song—so this horror album was always going to happen.” Snipes adds, “We think of each of these songs as self-contained movie scores of vignettes in a specific genre.”

The original horrorcore movement that inspired Clipping’s latest album was spearheaded by RZA and Prince Paul’s Gravediggaz project, plus artists including Houston’s Ganksta N-I-P, Detroit’s Esham, and New York City’s Flatlinerz. ‘90s horrorcore lyrics were packed with macabre imagery and references to psychological disorders, satanism, and cannibalism; the gruesome verses were often relayed over willfully dank and grimey production. Clipping’s resurrection of the subgenre taps into the same lyrical themes—but this time Digg’s intense verses are backed by marauding waves of monstrous synths, sharp abrasive stabs of discordant noise, and snatches of field recordings that bring a chilling realism to There Existed an Addiction to Blood.

Key song “Run For Your Life” plays out like a frantic short movie. It co-stars Memphis MC La Chat, who used to roll with Three 6 Mafia and the Hypnotize Minds roster back in the ‘90s. “She’s hunting down Daveed and approaching and moving behind him in a car,” says Snipes. “Then in the third verse, we’re fully in the car with her.” To drum up the effect of the protagonist being chased to a bloody demise, Digg’s lyrics are surrounded by constantly shifting ambient noise: The sound of passing cars blasting music and dogs barking literally pulls the listener into the chilling scenario.

The same blend of adventurous production techniques and concept-heavy writing present on Clipping’s latest album also runs through Hutson and Snipes’s Bandcamp recommendations. Blasts of abstract hip-hop lyricism mix with innovative thematic albums and avant-garde film scores, adding up to a smart representation of Clipping’s advanced-level musical DNA.

Bill Hutson

Dax Pierson - Live In Oakland

I first saw Dax Pierson play around 2003, when he was in a group called Subtle that was an Anticon side project with Dose One and Jel. Dax was also the secret weapon of the Themselves project, which was also Dose and Jel, and on tour he’d play keys and finger drum on MPCs. Dax is this compelling, creative performer and composer. This tape came out on Ratskin and it’s from a more recent show—I might have even been at the show! His music is fascinating, almost uncategorizable left-field dance stuff that’s blending all these ideas.

John Wall - Hylic

I was really enamored of improvised music in the early ‘00s, and it’s a lot of what fueled my ravenous collector habit, which came from having to track down these obscure records that came from Japan and Germany and Switzerland and England, where they were only pressing a couple of hundred copies. John Wall is very careful as a computer music composer, and he’d spend years and years cutting up tiny pieces of improvised sounds and turning them into these totally austere and totally alien compositions. I was fascinated by the disparity between how much intention there was behind it and how alien the result sounds. Hylic almost sounds like there’s no human brain making logical choices that would compose this music—it feels like it’s naturally occurring in some way, like you’re listening to the background radiation of the solar system—but there’s also the most extreme version of authorship going into it.

billy woods - Hiding Places

I think billy woods is a fantastic example of this very abstract and angular and strange rapper but with these really strong connections to the history of New York rap. It’s almost like he’s from a different timeline where southern hip-hop didn’t take over the mainstream in the ‘00s and we kept going with Nas and Wu-Tang, and it’s developed into this new form. [Producer] Kenny Segal is a buddy—we’ve toured with him—and he would have been a youngster in the Project Blowed days but came out of the experimental L.A. hip-hop scene that produced Abstract Rude and Freestyle Fellowship and, later with the beatmakers, birthed the whole Low End Theory and Brainfeeder movement. This album is a New York and L.A. collab record that seems to perfectly synthesize two different types of left of center aesthetics, but feels completely natural in a way we wouldn’t have expected maybe 20 years ago.

Kevin Drumm - 09082001 gtr/synth ‘solo’

I included this not because anyone needs me to tell them Kevin Drumm is a fuckin’ noise hero, but I wanted to include Drumm because I think what he’s doing is a really unique thing that Bandcamp can provide: A couple of months ago I bought Drumm’s entire discography for like $22, which was like a hundred or so releases! He puts out so much, and it’s all of such high quality. This specific recording is from my favorite period of his work in the early-2000s, but it wasn’t available [back then] until he started bypassing labels and physical copies and started putting everything up himself direct to the fans.

DEBBY FRIDAY - DEATH DRIVE

[The label] Deathbomb Arc put out some of the first Clipping stuff. I think of [founder] Brian Miller as A&Ring my listening habits because he’s out there finding new artists I wouldn’t come across and putting out their records. DEBBY FRIDAY completely blew me away—this release seems both out of nowhere and so fully formed. It’s just brilliant and sort of industrial hip-hop. It’s really like the best Skinny Puppy album we never got but with way better lyrics and content and performance. It’s so smart and dark—she’s a really great lyricist.

Jonathan Snipes

Missincinatti - remove not the ancient landmarks

Missincinatti was Jeremy Drake, Jessica Catron, and Corey Fogel, and they had this band for a short time in L.A. where they played these contemporary arrangements of sea shanties. They’re all incredible musicians, and their arrangements were always so off-kilter and smart. This album is only on Bandcamp, and it’s like a little monument to this band that I loved so much for a short time. One of my favorite things is arrangements of folk music that almost feel like critical theory about folk music and this project feels like it’s in this realm. I wish they were still around playing shows so I could go to them.

François-Eudes Chanfrault - Inside

I discovered François-Eudes Chanfrault when I saw the movie for which this is the score. Then, when I started looking into François’s music, I realized that I’d run across him in online nerdy computer music circles. He became one of my favorite composers, and I became obsessed with tracking his music down. The development of the Inside score is really slow and tasteful, and that’s hard to accomplish when working with film. I also score movies, and film music always feels like if the music’s following a picture. It wants to be fast and have abrupt changes—but François is someone who is somehow able to make these really long elegant cues that actually play against the action of the film in this really striking way. It’s probably the last score I’d expect anybody to write for that movie, and it hits exactly the right tone. His use of electronics and computers and his use of a chamber ensemble are perfectly matched.

Lauren Bousfield - Fire Songs

Lauren’s a really good friend, and this album’s only available on Bandcamp. She’s an incredible musician—an absolute genius. This is the album she released shortly after her house burned down and she lost all her possessions in the fire. It feels very personal. It’s easy to think of electronic and breakcore as just splattered breakbeats that feel mechanical and machine-based. But this one, with the context [of the backstory], feels very emotional, and almost makes me tear up when I hear it.

Bryce Miller - W A S P

Bryce Miller is someone I found through some Bandcamp journalism, which I read regularly. This album, which is based on the Stieg Larsson Millennium books, is elegant and precise. There’s a lot of this retro ’80s synthwave stuff flying around—I’ve made a fair bit of it myself—but somehow this really nailed the tone of feeling very contemporary, but also very ancient. It’s like what I wanted synth records in the ’80s to sound like at the time, but they never quite did. The sense of melody and structure and tension and release is really spot on. Bryce feels like a real composer in that realm.

Max Tundra - With Love To Mummy

I first heard Max Tundra on the double disc compilation Tigerbeat6 Inc. from like 2001. I was really into Aphex Twin and Squarepusher and Kid606 and Matmos, and I was trying to figure out who was doing weird electronic music and that comp came out and it ended up being a huge window into bands I’d never heard of. Max Tundra’s track [“The Bill”] sounded like a general MIDI soundtrack to a spy show that he’d recorded into his answering machine! I’ve been a lifelong fan of his since then, and this collection is, like, his teenage recordings—it’s really interesting to hear his old music. It’s charming and fun to listen to as a fan, and to note where his music took him after that. I suppose other people feel the same way about that Radiohead release.

#clipping.#clipping #bill hutson #jonathan snipes #daveed diggs

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letterboxd · 5 years

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Wild.

“It’s made me feel really excited about what film, TV, and storytelling can be… It can be very deep, provocative, political, and very human.”

Irish singer and actress Jessie Buckley plays Rose-Lynn Harlan in Tom Harper’s new film Wild Rose, which also stars Julie Walters, Sophie Okenodo and a brief cameo from Kacey Musgraves. Rose-Lynn is a Scottish mother-of-two, recently released from a spell in prison, with dreams of becoming a country music star.

Letterboxd members report that Buckley is “a revelation”, "one of the most exciting people you could ever hope to see on a movie screen”, who injects “a heartbreaking pathos to a deeply flawed human” in a film “cleverly written with layers, great dialogue and unexpected twists by Nicole Taylor”.

Jack Moulton spoke with the Chernobyl star about Fellini, becoming a songwriter during the filming of Wild Rose, and wanting to be Julie Walters when she grows up.

Jessie Buckley as Lyudmilla Ignatenko in HBO’s ‘Chernobyl’ miniseries.

Right now [as of June 2019], Chernobyl is literally the highest-rated title on Letterboxd, as rated by our members. That’s above the Godfather films. Jessie Buckley: Wait, really?

Yeah, honestly. How do you feel about being a part of something so enthusiastically embraced like this? Well, I’m very shocked and proud. With Chernobyl, the scripts were so incredible, when you have quality like that you feel something happening on set. The story is unbelievable even though it’s all true. None of us expected such a tragic realistic drama would reach people like this and have the reaction it’s had. It’s made me feel really excited about what film, TV, and storytelling can be. It’s not just escapism like Marvel or fluff. It can be very deep, provocative, political, and very human. I’m really honored.

Does that [radiation sickness] makeup haunt your dreams too? I can’t imagine seeing that in person. Oh yeah, oh my god. Adam Nagaitis, my co-star who played my husband, was in make-up for nearly 10 hours just to get that right. The incredible art of the people who did that work is mind-blowing.

For Wild Rose, director Tom Harper has said that you were the only actress he could picture for the lead. That faith in you must be really gratifying. What was the first aspect of the script that hooked you in and made you realize how Tom was right to enlist you? I’m not even sure I would have said Tom was right. I was more “My God, are you sure?” What first excited me about the script was that it was like a prison break film; how Rose-Lynn was a catalyst for all these amazing women to break down the walls in their lives.

I was directed by Tom for War and Peace and played Princess Marya, who’s the complete opposite to Rose, so I don’t know how he saw me on that set and thought “oh yes, she’s good to be an outlaw”. But I loved working with Tom so much that I was so excited to work with him again. It’s very rare that you meet creative partners where you have an unspoken relationship.

Your character’s mantra is ‘three chords and the truth’. It’s tattooed on her arm. What part of your own truth did you want to bring to the role? You’ve got to be as truthful and honest to the character as you can and I always try and meet a character halfway. She comes away with a bit of me and I come away with a bit of her. But it’s nothing black-and-white like that, it happens after you’ve been nattering away to each other over a period of time and sharing each other’s passions and struggles.

So Rose-Lynn’s goal is to go to Nashville, and you’re currently bouncing between America and the UK for your projects [Buckley’s upcoming films Judy and Ironbark were shot in the UK while The Voyage of Doctor Doolittle and I’m Thinking of Ending Things filmed in the US]. You’re in New York right now. What do you think it is that keeps the American dream alive? Ha, I don’t know. I think people have achieved incredible things in this country. For Rose, Nashville is the epicenter for passion. Everybody who feels like her is there. It’s a promised land where her dreams can be accepted and she won’t be an outsider anymore.

As a novice to the genre, how did you prepare to play someone who lives and breathes country music? Did you discover any singers in particular who affected you? I think my entry point was Emmylou Harris. ‘To Daddy’ was one of the first country songs I learned. Bonnie Raitt was also a huge influence on me. I really loved her voice and the way she told stories in song. She’s an amazing musician and her womanhood and honesty inspired me. Those two artists especially, and then the lyricist John Prine I was just blown away with.

You co-wrote the songs for the film with screenwriter Nicole Taylor. It was your first time songwriting. Did that come naturally? What was the collaborative process? It wasn’t an idea pre-meditated before the film started. When we were filming, we would bottle around to Nicole’s house on a Friday night with coffee and croissants and since we had lived with this character for so long the lyrics just filled out between us all.

What did you find most difficult about playing a mother whose biggest obstacle is her maternal responsibilities? Balancing life and balancing wanting more for your life is a very tricky thing whether you’re a mother, or a father, or anybody. I don’t think there’s anybody in the world who hasn’t had moments where they’ve struggled with the dilemma of nurturing your individuality but also the relationships that you’re in.

Jessie Buckley and Julie Walters in ‘Wild Rose’.

How did you feed off playing against Julie Walters and Sophie Okonedo. What was the creative atmosphere like? They’re just the best of the best. Julie is an incredible woman and so down-to-earth. Getting to stand opposite her, I would just look at her and go “God, I wanna be like you when I grow up”. She’s in it for the right reasons. There’s no fuss. She just gets to set and is so available, generous, and as curious as you are to find the scene.

You’re starting in film almost ten years into your acting career [Buckley made it to the final of the UK talent show I’d Do Anything, where contestants competed to star as Nancy in the West End musical Oliver!]. That Beast shoot must have felt like a long time ago. How are you handling the wait for these films to get out into the world, especially with all these journalists—and BAFTA—telling you that you’re “a rising star”? I’m taking it all with a pinch of salt. At the end of the day, the thing I want to do is be good at what I do. So, yeah!

Finally, what was the film that made you want to be in the movies? The first film I ever saw was Meet Me in St. Louis. I couldn’t believe the color, or Judy Garland’s incredible performance. But I think a film that made me go “that is just amazing cinema” was Fellini’s La Strada. It’s my favorite film and Giulietta Masina is my favorite actress. That was the first film where I was like: “I wanna do that.”

‘Wild Rose’ is in US theaters now.

#wild rose #jessie buckley #nashville #grand ole opry #chernobyl #julie walters #letterboxd

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hallelujuh · 5 years

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shay’s favorite albums of 2017

didn’t commit to finishing this until the literal very end of 2018 but whatever fdjhfkjdsnfds

I’m not sure if it was my newfound willingness to explore new genres and artists, but I thought 2017 was a fantastic year for music. Plenty old favorites of mine released new albums this year, and I was lucky enough to discover a lot of music, both from new musicians and old. Here’s my top twenty albums of this year.

20. Divide by Ed Sheeran

19. Fin by Syd

18. Blossom by Milky Chance

17. I See You by the xx

16. Trip by Jhene Aiko

15. Good for You by Amine

14. Future Friends by Superfruit

13. Sacred Hearts Club by Foster the People

12. American Teen by Khalid

11. All We Know of Heaven, All We Need of Hell by Pvris

10. From the Outside by Hey Violet - While I originally only cared about this band because it’s composed of mostly girls, which is rare, I’ve grown to really love them as musicians. They’re very creative, producing catchy pop tracks that aren’t like most pop songs, and their debut album is fun as hell. Each song makes the listener feel badass and sexy and young, and you just kinda wanna dance and enjoy life. Favorite track: Tie between Like Lovers Do and Unholy. The former is distinctive and unique, and reminds me of Emilie Autumn, and the latter is incredibly well-produced and pretty visceral for a pop track by such a young band.

9. After Laughter by Paramore - Continuing their previous album’s sound so that every song sounds like Ain’t It Fun, After Laughter has a gorgeous aesthetic, a memorable sound, and, notably, follows the trend of most emo artists of today - disguising sad lyrics beneath happy music, as made famous by Twenty One Pilots. Each song is catchy, allow the lyrics all leave you feeling a bit empty, but you’ll be dancing to misery. Favorite track: 26. I’m always a sucker for the one mellow song on an album full of bops, and that rang true once more. 26 is about reflecting back on how you’ve spent your youth, and it’s paired with a bittersweet simplistic guitar. Hayley’s vocals hold pain, but also gratitude.

8. Hopeless Fountain Kingdom by Halsey - I’ve been a huge Halsey fan since before Badlands even came out, when all we had was Room 93 and live versions of then-unreleased tracks. Though her evolving sound was criticized by some, I appreciated that HFK follows the formula so many other sophomore records follow, with the lyrics addressing new-found fame and how the artist is dealing with it, and also how they want their sound to be since they’ve already made it big. This record was clearly more hip-hop driven, with production that sounded heavily influenced by Kanye, but it felt fitting. Furthermore, HFK is the redemption arc to Badland’s heartbreak-themes. It’s really a triumphant album overall. Favorite track: Sorry. While 100 Letters is my most-played track and therefore a close second, because the simplistic beat allows Ashley’s lyrics to shine, and she’s a lyricist and a poet before she’s a singer - I believe Sorry is the quintessential song from this record. Her pain is so tangible in this stripped-down ballad, and it’s such a nice switch from her usual lust-driven upbeat songs. I always have respect for musicians who can bear their sleeve in such an open, honest way, and while Ashley’s always been vocal about her struggles, it’s still nice to hear such a heartfelt track come about even after all her success.

7. Dua Lipa by Dua Lipa - This young pop singer's self-titled debut is a catchy, passionate, and solid record that's earned her a well-deserved place on the charts and in people's playlists. The songs are rather cliched, recycled themes that I've heard from dozens of other young female artists, but there's some emotionally-charged pop ballads that show potential. Dua's vocals remind me of a raspier Ariana Grande mixed with a less-powerful Christina Aguilera. Seeing as those two aforementioned singers can over-do their performances a bit, I enjoyed this mellower newcomer. Don't get me wrong, Dua's unique in her own way, and she's hardly a copycat; but I'm worried her talent will overlooked because there's already others like her. Still, it was a solid album that I enjoy thoroughly, and I had multiple tracks from it on repeat.

6. Beautiful Trauma by P!nk - I've been a P!nk fan since I was very young, and this album was wonderfully nostalgic to me. P!nk's one of the few artists who's never been swayed by a need to stay relevant; she just makes the music she wants to make, and her fans love her for it. This record was, at times, a little generic beat-wise, but still distinctly P!nk. As always, she wore her heart on her sleeve and you can feel how personal every song is; how genuine every word is. It really pays off. Favorite track: Barbies - This is a song I think every girl over thirteen can relate to. I'm twenty years younger than P!nk, but this track really resonated with me. It was the only song on this record I listened to repeatedly. I think every girl wants to grow up as quickly as possible, but once you reach adulthood, you just want to be a kid again. You long for simpler times. The beautiful message of the song (enjoy your youth) is paired beautifully with gorgeous instruments (violin! cello! wow!), which adds a timelessness to the track.

5. One More Light by Linkin Park - Although most, myself included, were unhappy with the pop-driven sound of LP’s seventh effort, the death of Chester added a lot to how meaningful this album is. Listening to it now fills me with a hopeful nostalgia, in contrast with how I listened to it in the days following his passing. What once sounded like a cry for help that no one listened to, now sounds like a triumphant farewell. As usual, these guys put their hearts into the making of this record, and it’s a real bummer that it took Chester killing himself to make people appreciate that. LP is a master at their craft, regardless of what genre they’re feeling at the moment. It’s a solid album, full of truly heartfelt lyrics and Chester’s beautiful voice, and I’ve often found myself listening to it when I’m feeling down. It really helps. And that’s what LP’s music has always been about, I think. Being there for you when you feel like no one else is. This album still felt like that, even though it was through a different genre. They let go of the anger that fueled their signature sound in the beginning, in exchange for a more rounded, reflective take on things. I think that’s comforting, and beautiful, in a way no one seemed to understand. What’s better than someone making peace with the world? Alternatively, what’s worse than someone taking their own life because people didn’t want to see them get better? Favorite track: Talking to Myself. I watched this video the day it was released - hours before Chester’s passing was announced. I enjoyed the bass and the video made me smile. After I found out, and after a few hours of crying, I rewatched this video, and it meant so much more the second time. The song itself is a favorite because it’s such a fun track. The bass line is catchy as hell, and my favorite part of the song is the chorus following the bridge, where Chester does a powerful run and then briefly lapses into Meteora-style vocals (”you keep running like the sky is falling”). That bit is so profoundly incredible to listen to for me, and I’m glad he left us with it.

4. Revival by Eminem - I’m one of the biggest Eminem stans of all time, so I’d probably buy a record that consisted entirely of Marshall shitting - but in all actuality, though he could never disappoint me, I was prepared for the worst, and I was pleasantly surprised. This album felt more solid than MMLP2′s experimental sounds, with Em showing us he really hasn’t fallen off. His usage of words like “lit” and “shook” are admittedly a little cringey, and his take at a more modern sound on Believe (with a trap beat and a Migos-like flow) is questionable, but the lyrics show he’s just as on top of his game than ever. It’s not an instant-classic like MMLP - those days are probably over - but it’s a decent record with several damn good songs. (Edit, 12/2018: Bro I wrote this last year, what the fuck was I on dgfkjdgh.) Favorite track: In Your Head. While the most memorable tracks on this record are definitely the collaborations - my favorites being River with Ed Sheeran and Need Me with P!nk - this rather short track really stood out. I listened to the album for the first time on my CD player, without having looked at the track listing since it was released a few weeks back, so every song was a surprise, and when I heard O'Riordan’s vocals, I got very excited, since Zombie is one of my favorite songs of all time. Though the original song is about war, Em raps over the sample track’s bass line and signature guitar riff and speaks about the skeletons in his closet with a passion reminiscent of The Eminem Show and a flow taken from his Recovery days. The smooth transition to Castle is another nice touch. While his speed in the last thirty seconds of Offended is impressive (with Flight of the Bumblebee in the background! Ha!), this was the song that sold me on this album. It’s everything I love about Eminem. (Note: This was written before O’Riordan’s passing. RIP.)

3. Scum Fuck / Flower Boy by Tyler, the Creator - From the goofy poster boy of a generation of carefree and colorfully dressed punks, to an extremely talented and capable producer and musician, watching Tyler’s growth as an artist and a human has been extremely rewarding, especially as a longtime Tyler/OF fan. While Cherry Bomb failed to impress me in the midst of my emo-craze, I appreciated that it was a turning point in Tyler’s career. SFFB, however, successfully took me right out of my indie-craze. Flower Boy builds upon what Tyler tried to do on CB, and it works out much better. Watching his brilliant NPR Tiny Desk Concert only solidified this belief. Tyler’s a musical genius, and I hope more people come to realize it. Favorite track: 911/Mr. Lonely. The whole record is full of earworms - Glitter, Boredom, See You Again - and it’s truly a feat Tyler was able to pull that off. But I have to go with this single - both songs are catchy, the production is masterful, Frank Ocean and Steve Lacy’s voices are beautiful. Who Dat Boy didn’t particularly excite me upon first listen, but these two tracks did, because they reminded me how talented and incredible Tyler is.

2. DAMN. by Kendrick Lamar - My favorite thing about musicians is getting to watch them mature, both musically and personally. I’ve frequently compared DAMN to J. Cole’s 4 Your Eyez Only, as both records feature Jermaine and Kendrick discussing much more mature concepts within their albums. Kendrick’s always been grounded because of his upbringing, whereas Cole was a little more blinded by fame for the first few albums. However, since their respective last albums, Kendrick has gotten engaged, and Cole got married and had a little girl (EDIT: Apparently he had a boy!), and you can hear how these lifestyle changes have influenced their lyrical content, which is really nice to behold. Kendrick’s always seemed like a very intelligent person, with an understanding of the world many in his field lack, and this album highlights that beautifully. Favorite track: Humble. While Love’s a personal favorite, Humble’s success reminded me of Control. I still remember the day that dropped - and Humble felt similar, as it was Kendrick reminding us that he’s simply on another level. The simplistic and almost grating beat excellently parodies every single rap song that’s on the radio these days, except Kendrick proves his superiority by showing us that the beat’s not the important part; the lyrics are. It’s genius, and I’ll never get over how iconic it is, honestly.

1. Saturation I, II, & III by Brockhampton - Because this remarkably talented new group released three new records this year, and I can’t pick a favorite, nor can or do I want to rate them separately, they easily earn this spot. With flawless and innovative production, refreshingly creative and intricate lyrics, remarkable versatility, and, best of all, a youthful individuality reminiscent of Odd Future circa 2011, Brockhampton is one of the best things 2017 has offered. I’ve grown attached to these kids, and I’m glad I’ll be able to see where they go and how big they get. Favorite track: Star. While Junky is the most impressive track, and Follow is my personal favorite, Star earns this spot because it’s the song that single-handedly got me into Brockhampton. The name-dropping bop is a good introduction to the band, as it features their signature memorably synth-infused beats, Ameer’s clever wordplay, Ian’s favorite thing to talk about (his sexuality) as well as his penchant for hooks and bridges, Merlyn’s loud and brash vocals, etc. I won’t be compiling a list of my favorite songs of this year, but if I did, this would easily make the top ten. It reminded me exactly why I love rap music, in a time when I was beginning to doubt hip hop.

honorable mentions

CTRL by SZA - Though I’d never heard of SZA aside from her feature on Consideration, this album was hyped immensely by Twitter, so I felt I had to check it out. Unfortunately I was disappointed. Although the album’s masterfully done, and I love the production and her voice, the lyrical content ruined it for me. Of course, this is personal preference, and she’s allowed to write songs about whatever the hell she wants to, but the nature of the lyrics were what kept me from being a fan. To each their own, I guess.

Everybody by Logic - I wasn’t a big Logic fan prior to 1-800. Funny story, actually - I thought he was entirely white, and I’m vehemently against white rappers. He's more like a biracial Kendrick, especially in flow on Hallelujah. The record continues the trend started by Bey’s Lemonade of celebrating black power and beauty, with Logic demonstrating a fresh, biracial perspective on it. Loved that there were actual instrumentals, that was refreshing, considering modern rap beats are often created entirely using synthesizers. Also love that Logic’s cementing himself as the Inclusive Rapper, and accepting that title proudly. Good for him.

I Decided by Big Sean - I’ve been a casual Big Sean fan since Finally Famous (2011), but he’s very rarely impressed me with his lyricism. This album showed that Sean’s matured and grown as a person and a rapper, but the songs didn’t leave enough of an impression on me to be featured on my list.

Lust for Life by Lana Del Rey - Although I’m sure die-hards were more than happy with this record, I didn’t enjoy it as much as I wish I could’ve. Lana’s sound hasn’t changed much, so I don’t think the quality of her music is decreasing, I just think my tastes are changing. This newer stuff hasn’t appealed to me nearly as much as her Born to Die/Paradise stuff did. I think 2012!me would’ve loved this record, but 2017!me was unsatisfied.

Melodrama by Lorde - I can always appreciate growth in an artist, but in Lorde’s case, I couldn’t bring myself to like the change. While there’s traces of the sound that put her on the map, and the music still sounds like teenage rebellion, it just doesn’t invoke the same feelings. It’s less grounded - and not in a good way.

Lovely Little Lonely by The Maine - The pop punk 1D continues to make catchy, solid tunes, but nothing about this record particularly stands out to me. Still, it’s a decent album from an underrated band.

extended plays

they’re too short to be included in my top albums, but i wanted to mention them anyway.

Caught Up by Sarah Close - I found this adorable Brit through her fantastic covers of popular songs, and thankfully I was subscribed when she started posting original music. Caught Up isn’t particularly unique, but the songs are fun, her voice is wonderful, and it’s a solid little EP.

Y.O.U by Dodie - I’ve watched Dodie’s covers for a while, so it’s nice to see she’s making original stuff. Love the style of it. Very excited to see what she puts out next.

dont smile at me by Billy Eilish - The fifteen-year-old, who sounds very similar to the recently-disgraced Melanie Martinez, may talk like an annoying skater boy, but her angelic singing voice keeps pulling me back in. I’m not used to talented celebrities being younger than me. It’s depressing. (EDIT: I spelled Billie wrong jdgdhf she’s in my top 10 artists of this year now too hahh)

Hard by The Neighbourhood - This band has been a favorite for four years now; I even saw them live for my birthday in 2015. They could never disappoint me, but their recent music hasn’t changed much to what long-time fans like myself fell in love with in the days of I Love You, which is nice to see, when so many other artists I used to like are experimenting with their sound in unflattering ways.

#mine #txt #2017

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dujourmeans · 7 years

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so, josie and the pussycats. you all know the band - and the movie, and the comics. but did you know that the movie just!! celebrated it’s sixteenth anni? probably not but that’s where this little idea sprouted from: nostalgia. tl;dr: what you’re about to read is about two group (one all girl band, one all boy pop group) and their ... uh, journey together, per say. there’s a lot of details that still need to be figured out such as the names of both groups, the name of their company and where the plot is set in (though i figure los angeles is going to make the most sense) but some of that can be figured out when a few of the characters are snatched up. i’m going to be putting the blurbs i put together behind a cut, but before i do that here’s some fast details on what is going to be sought out through the plot:

what is being looked for: 5/7 members of an all boy pop group (as the girl group is now filled up). when i say “all girl” and “all boy” that’s not to be taken completely literally so if anyone has an interest in making one of the characters nonbinary, etc. then that’s totally cool! i also want there to be diversity in the faces used. ages can be toyed with a bit. i’m thinking twenty-two to twenty-five with the girl group (but the alexandra can be a bit older if the alexander ends up being so, unless she’s taken first), and twenty-two to twenty-eight with the boy group.

anyway, here we go!

-- a quick note that i took some liberates in creating the blurbs below ... as you can probably see. i featured characters from three difference versions of josie and the pussycats (the comic series, the original animated series and the 2011 film), along with characters from some other archie comics such as sabrina the teenage witch. also keep in mind that you don’t have to abide strictly by that is said in the blurb - they’re just bases for the character. you can work around what is written and do whatever you want to make them much more ... dimensional.

background: a local girl band that ran into random luck while playing at a badly promoted underground rock festival. was signed by the company partially due to their looks, but also because they wanted something "fresh and new" to put out. the company doesn't take their sound or dedicated toward music seriously and it pisses them off but they're all determined to represent girl power, female musicianship, etc. to the masses. ■ similar to: lillix, shonen knife, dum dum girls, the bangles, the donnas, scandal, sleater-kinney, stereophony, etc. in concept.

the josie: lead singer, lead guitarist and primary lyricist. one of the two founding members of the band, along with the valerie. a bit of a scatterbrained oddball, has difficulty deciding what she wants but well meaning and dedicated to her craft. has always dreamt of becoming a musician and is seen as both the face and driving force of the band. childhood friends and in a long term flirtationship with the alan m. (britt)

the melody: drummer. childhood friend of the valerie and first official recruit to the band. known more for her looks than for her drumming skills - which are very great, thank you very much. happy-go-lucky, lives with her head up in the clouds, kind of a space cadet and a tad bit over emotional but passionate, loving and supportive of those around her. (kari)

the valerie: bassist and primary composer. one of the two founding members of the band, along with the josie. loyal, headstrong, opinionated, levelheaded. has taken on the (hardass) motherly role in the band ... and also with some others. [note: character must have a black face claim.] (cass)

the sabrina: secondary guitarist and lyricist. second to be recruited to the band, not long after moving to the city with her family. persistent, honest, flirtatious, very spunky and often the type to not look before she jumps into something. (maddie)

the pepper: rhythm guitarist. third and final to be recruited to the band. childhood friend of the josie. intelligent with a sharp and cynical wit, calm and a bit more emotionally reserved than the other members. (faith)

the alexandra: keyboardist. the final member to join the group ... somewhat to the dismay of the others. twin sister of the alexander and former tag along, she was asked to join the group during a moment of weakness ... and need for a keyboardist. blunt, often crude, scheming, often hateful and self-centered and very, very misunderstood, her relationship with the others is ... shaky (and a bit comical) at best. (emma)

the alexander: band manager and reluctant roadie if needed. answered an ad for a manager when the band first formed and the members have ... kind of, sort of regretted letting him take the job ever since. rich, temperamental, wishy washy, spontaneous and ... not very good or dependable at his job. twin brother of the alexandra. (millie)

background: your typical pop boy group. half of the original members (the dj, the les, the albert and the sock) trained together for years, originally being told that they were going to debut to the public as a harmonizing quartet ala boys ii men before the remaining three members (the travis, the marco and the alan m) were brought in and they became [insert group name here]. they debuted to immediate overwhelming stardom and, despite the fact that their fanbase is still incredibly dedicated, the company is trying to do them in a bit because they feel that they need to "move on" to something fresh and new, aka: the girl band. ■ similar to: backstreet boys, n*sync, new kids on the block, bts, exo, super junior, arashi, the jonas brothers, one direction, etc. in both popularity and sound.

the dj: main vocalist, main dancer and leader. sarcastic and usually calm, but not afraid to take charge (both due to his leader position and in general) or bite back if need be. usually the spokesperson for the group on top of the "guide" for the other members.

the travis: lead rapper. always tired, easily frustrated, the first to complain and the first to give up when something doesn’t go his way. raised with a silver spoon in his mouth and spotlight on his head so it’s somewhat difficult at times for him to share that with others. childhood friend of the alan m.

the marco: subvocalist. self-proclaimed leader of the group despite the fact that the dj has the official title under his belt. loud and, as some would say, a bit on the obnoxious side. reminiscent of a frat or party boy, sometimes vulgar.

the les: lead vocalist. sensitive and shy. one of the least popular members of the group due to how quiet he is. the type that has a lot to say but only does when either there's a dire need for something to be said or he has no other choice.

the alan m: vocalist and lyricist. childhood friend of both the josie and the travis. was given the "mysterious heartthrob" role by the company when, in reality, he's far from that. self-confident and crafty but somewhat of an airhead, though still well meaning. in a flirtationship with the josie. (bri)

the albert: main dancer and subvocalist. mischievous, something of a goofball, somewhat sensitive. the type to change their personality and style to fit both new situations and new groups of people that they meet up with. (kae)

the sock: main rapper and lead dancer. sporty - considered a career in soccer or baseball before turning to music. easily plays into the "dumb jock" stereotype but he's quick on his feet and more witty than people give him credit for.

#flashflashrp #if you're interested you can either dm me on here or send me a message in the discord room!

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castawxayaway · 7 years

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in the middle

why is it that since I got requests I have just gone a bit AWOL? i’m sorry, it has been a few days since I posted and it’s been me and my headspace right now- i’m spacey. i hope you like this though, and of course it had to be the artist that it is, if you know anything about me this is who I personally am in love with right now (music and person wise).

if you requested something from me it is coming! i promise I haven’t forgotten about it (entirely) and they will all be done before wednesday as that is when i’m at reading festival for almost a week.

also I wanna do a q+a for my youtube, so if you have any questions about anything (literally anything) send them in! if you want to be anon be anon I don’t mind. just something I want to do and tumblr is a good platform to ask for mixed questions :)

love you guys 🖤

prompt list / collection of my writing / requests open *nudge nudge*

Unable to get the lyrics out of my head I find myself tapping on the keyboard, my foot bouncing to the rhythm and soon enough I am singing the words under my breath. I can’t stop myself from going online and straight to Twitter where many of my bizarre thoughts lie filled with numbers from others in agreement or sheer curiosity.

cannot get the song ‘In the Middle’ by dodie out of my head! the lyrics to ‘intertwined’ are something else #obsessed

Immediately I see lots of responses in agreement, some from pages dedicated to the singer and others recommending me other songs. The known smile forms on my face as my screen goes dark, giving me the chance to see my reflection before it turns itself back on and becomes flooded with life. Twitter is one of those platforms where you can just talk to anyone, I’ve been lucky enough to connect with various artists through Twitter, have them praise my lyrics and even ask for my help with producing a song or two for their albums or EPs.

My job isn’t the easiest, it can be challenging at times, but it pays off when you can hear it on the radio, or talked about online; just like dodie’s is. I sit for a while and scroll through the tweets change in my mentions and focus around someone besides dodie, instead they focus around Bastille.

Leaning in closer to my laptop I analyse their comments; ‘omg dan loves her work!’ ‘shit you know her too? dan was tweeting about her the other day’ ‘@bastilledan another reason why you two could be super cute together’ they all differed in opinions, but they all kept mentioning him and me along with dodie. Seems like I am the one in the middle this time.

Part of me wanted to see if he’d respond too, if he even knew who I was. I’ve worked with bands like his, but none of them have ever been as unique as Bastille is. Their lyrics hit you somewhere unknown inside, they delve through all the hidden and buried emotions, bringing them to the surface for four minutes at a time. They are a reminder at times of what we should value, what can easily be lost when we least expect it. Eventually I give up on waiting, I leave my phone at my desk and go to my music room and work on some lyrics knowing that I have a meeting with a new musician in a few days.

A few hours had passed and I had barely been able to get anything done, the jitters over Dan were settling as curiosity was consuming me and ruining my creative abilities. I kept telling myself to just test these lyrics with these notes, but it was no use. Sitting I stare at the blank notebook, nothing achieved due to my phone calling my name, whispering possibilities in the other room. “Oh fuck it.” I mumble to myself as I rush to my phone as if my life depends on it.

Scrolling through the masses of notifications to do with the three of us I see one that catches my eye and makes me smile. ‘EeeeeEkkkk it’s you! you like my music??? I listened to your work for YEARS l o l <3′ dodie, a true sweetheart. Shifting my focus from dodie I can feel my heart pause until I see it, until my eyes can find it fast enough for everything to resume.

‘I wasn’t sure if anyone else really knew of her for the music she does? good to know you love her too!’ ‘as much as I admire her talent, instrumental is a great piece of music, don’t you agree?’

I glanced over his words, the words he had aimed at me to read and respond to. Fans immediately got on board, responding, freaking out and fanning their hearts out; which is exactly what I wanted to do, but no I am going to keep my cool. It’s only Dan Smith, an incredibly talented musician and lyricist. Only.

We talked back and forth via tweets, dodie along with others unable to keep up with the excitement of fellow people within the music realm discussing her work, but it was getting to that point where fans were suffocating. Suffocating is that point where the meaning of the conversation is lost in the feed of fans losing their shit, those who love bastille favouring or protecting them/Dan from wanting to speak to me.

Rolling my eyes I just went to DM him instead, knowing it would be easier in some aspects, but more difficult to not mess it up. After a few messages were exchanged I eased into it more, we both did. Our conversation slowly moved away from dodies music, towards the direction of my own- specifically my writing process and how it is to write for others and not so much myself.

‘Writing for myself is always a personal thing, some songs I write and I know I can’t share it or give it to someone else to release. Most things I write I tailor for them specifically, I work with them to get the best result rather than put myself in them, I put them in me- not literally obviously!’

Why did I send that, it sounded so rare and professional, but like always I cocked it up.

‘No no, I see where you’re coming from. There are so many songs I wrote and published, but I never perform them, really talk about them. Sometimes I wonder what if I did? What if I were willing to perform them again? But it was before Bastille, that was when I was just ‘Dan Smith’ and it doesn’t seem like the right thing to do.’

‘As if it is outdated?’

‘I think it is and isn’t. Some music can be timeless.’

‘Like The Beatles?’

‘Yes, but also the likes of Kendrick Lamar.’

‘So you’re an in between then? Somewhere along the scale of being too caught up recent affairs and stuck in the past?’

‘Unfortunately so. But how come you’ve never published under you, as in become an artist and not just lyricist?’

I lean back in my chair as I read over the message. It’s not something I’ve been asked for years, my parents enquired why I wouldn’t do it myself, but I felt too vulnerable in my young adulthood. Now it is a different story, but I just don’t think I could do it.

‘Conformity, pressure, the stress. When I write a band or an artist a song that is my role done, I get the contract, I write the songs and I get paid. I hear it and my name is written legally as the lyricist, but I have no other ties that are so severe. It prevents me from getting overly exposed, risk of being watched 24/7. I’m just afraid to try really.’

He doesn’t respond for a while unlike before. Maybe that was too much, a bit too honest for someone he doesn’t really know besides the work I produce for others. I resume my work as I listen to the rain beating down against my window, trying its hardest to fight through the glass with little success. Now I find myself humming his songs, not dodies. I tap my pen and play a few notes that I can remember off of the top of my head. Interrupting my moment of distraction my phone goes off, he’s back.

‘Would you like to meet up with me sometime? It may seem a little forward, but I would love to discuss music, possibly working on something together. Only if you’re comfortable doing so. I’ve heard your work, as in your work when you did a few videos prior to writing for others. I didn’t know how to tell you that without sounding like a creep, but I would love to see that person, only if you’ll let me?’

My mind wanders back to those years when I would set up my brothers camera on a stack of books as I played on my piano with a small microphone by me to hear my voice above the piano. I forgot I had those uploaded, now no one really knows about it as it remains hidden in the depths of the internet, yet somehow he found it. He actually watched my 19 year old self nervously introduced myself and the song before that part of me melted away into the song. It was an offer to get back into that, to reopen that side of my music that has not been truly revisited for years.

Glancing over to my notebook, to the second one that is filled messily with tea stains, small doodles and hundreds upon hundreds of lyrics I compare it to the neat, carefully colour coded organised one that I use for other artists and not myself. I used to have fun writing songs, but of late I’ve lost the heart to it.

Licking my lips I sit behind my piano and envision myself again, that part of me I loved. I close my eyes and my fingers naturally find the keys that I memorised, my mouth opens and the lyrics are still there, despite being shrouded in multiple songs since. It was the first song I truly wrote, the one that I was actually proud to call my own that only few have seen online; Dan being one of those few.

I reach over for my phone, wanting to thank him for a reminder of why I write music. That sometimes you need to just re-evaluate what is happening around you, to go back to what you know in order to keep creating music.

‘That sounds like a plan, thank you Dan. It may seem odd, but having a small conversation with you I feel as if I have rediscovered my music. It’s something that is easier to explain in person. How is next week?’

As I send the message I can’t wipe the smile, it differs from the smile for the fans on Twitter. It is one of giddiness, of excitement for what is to come with my music, with meeting the musician and lyricist who has lived in the same boat I have for possibly longer. Fans still conspire amongst themselves about our absences, so I leave them wondering with a tweet to an old song of mine.

‘For the person who made me realise why I do what I do’

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pigsonthewingpdx · 5 years

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welcome, Holly.....welcome to the....

The Pigs on the Wing Animals 2019 tour kicks off in just over a month with a debut performance at the Liberty Theatre in Astoria, Oregon. 2019 brings change to the band - most notably in the role of vocalist - with Holly Brooks stepping into the gig full time following Keeley St Clair’s departure.

While Holly will be kicking off her first full year and official tour with the Pigs on the Wing this year, she’s already been performing with the band throughout the NW since last summer and is no rookie when it comes to either live performance or traveling rock bands. Holly is an incredibly talented musician whom we are truly fortunate to be able to welcome into the band. We sat down to ask Holly a few questions by way of introduction - and here they are:

POTW: Let's start with a big question. What's it like singing Great Gig in the Sky live? What's your approach to interpreting that song? How is it similar to or different from the original recorded version?

Holly Brooks: It's thrilling. The audience holds excitement and anticipation for this particular song like nothing I've ever seen before. People are moved to tears, it's beautiful. It's such a relief to sing this song for everybody, too- there's such a release of pain and joy at the same time. You feel it. The whole space vibrates with it. I hear people cry out like they're feeling my pain. It's symbiotic. Great Gig is a swan song, almost a dirge to me. The last performance. There is this uncanny beauty to the screaming wail this vocal is often interpreted as. I listened to every live performance of this song I could find when working on my own interpretation, and it's always there in the delivery. The wail of vocals that pushes the boundary of human limits. It leaves you breathless.

Holly onstage with Pigs on the Wing in Spokane, WA - OCT 2018

POTW: What's your own history with the Portland / NW music scene? Tell us about your original projects.

HB: I was born and raised in this city. It's my heart and my home. I've watched the music scene develop and grow here my entire life, since the early-early days of Jimmy Mak's. I've been investing myself fully into the professional scene here in Portland for the past three years, mainly performing in my personal project Jane Deaux. It's become my alter ego. We're about to release our first album, it's only the finishing touches that remain now. There are some really beautiful moments on this album that I'm proud to have finished with team Deaux. We've just released a music video, recorded live in-session at Myna Bird Studio & Sound. Wanna see it? https://www.youtube.com/watch?v=nK67RabPV0I

Holly performing live with her band Jane Deaux in Portland

POTW: What is it like working with Pigs on the Wing ? Any moments performing / on tour with them stand out so far as memorable?

HB: Oh, the stories I hear about this band. I'm not sure what I'm getting myself into. It's been a lot of fun so far. I love that our fans are really sweet. At our new year's show, someone made me a hand-embellished POTW velvet sweater- she literally handed it to me when I said I was cold. So sweet! I love that we're given baked goods by the fans, too. It's so fun to perform to people who love what they are seeing. It's really just been very exciting and great fun, and I feel like I'm lucky to be able to join this great crew at such a good time.

POTW: What is your favorite Pink Floyd song ( besides Great Gig in the Sky) ? Why?

HB: Dogs. It's one of their longer songs, and part of a thematic album. I'm particularly excited about this Animals tour in 2019. I'm a huge lyricist myself, so any song that tells a good story has a special place in my heart.

POTW: What is your take on the Portland music scene? Are there still some surprises or has it all been said and done?

HB: Portland is a young city. Its "music scene" is still being carved out. I think there's a lot of room for this community to grow. I've also had a lot of great experiences with the community here. I've worked with Friends of Noise, #WomenCrush Music, and other amazing local groups to help support our lovely scene here. This town has grown a lot the past few years, so our music industry has this vulnerability right now that I really want to care for. Anyone who's been in this city long enough might know what I mean. If you support your community, you'll only make it a better place for your future.

Holly performing Great Gig in the Sky w/ POTW in Walla Walla WA - OCT 2018

POTW: What other artists or musicians have had the biggest influence on you personally as an artist ?

HB: There are so many great, amazing artists I've come to love over the years. Bjork. Anyone with a freak flag. Janis Joplin, the Chili Peppers, Billie Holiday. There are some amazing Portland locals I've come to love as well, especially China Forbes. I grew up loving and listening to Pink Martini. Storm Large, too- her live energy is phenomenal. There's so many greats to look up to.

POTW: Whiskey, beer, wine, or coconut water ?

HB: All of the above. This is really just what would be in my personal mini-fridge. Except for the red wine. Don't put that in the fridge. It's not supposed to be served cold.

POTW: Queen or Led Zeppelin?

HB: As a vocalist, I have to put my vote in for Queen. Somebody to Love was one of the first songs I really learned how to wail on.

POTW: What advice would you give to other up and coming musicians trying to find their way?

HB: When you walk into a room, the energy will change depending on what you put into it. Always put a positive note. Whether it's playing your instrument or playing along well with others. Put your energy where it needs to be.

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sometimesalwaysmusic · 7 years

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JAD. Jad Hammoud (JH) is an Ottawa singer-songwriter who has gained experience playing many stages in Ottawa and surrounding regions, both solo and as the frontman of the defunct band, Tall Trees. We chatted about the importance of honesty in song-writing, his many influences, and his love for other local artists. Read on, and then check him out at an upcoming April gig opening up for John Wozniak (of Marcy Playground) at Pressed!

VITALS

Facebook: https://www.facebook.com/jadhammoudmusic

Soundcloud: https://soundcloud.com/jadhammoud

Twitter: https://twitter.com/Jad_Hammoud

Latest release: Monster (Single, January 2017)

Upcoming shows: April 22, 2017 - John Wozniak, Jad. 7:30PM. $20/$25 doors. Pressed Cafe, Ottawa ON.

SA: How did you get your start in music? JH: In a van in 1999. I was either three of four, and The Backstreet Boys had just released "I Want it That Way". My mother was driving around the city with my twin sister and I in the back seat and the song came on the radio, so I started singing along. Apparently, as far as children go, I was fairly decent. Just to make sure she wasn't giving me too much credit, being my mom and all, she phoned a friend of hers to listen in and give his opinion (it wasn't illegal to use the phone while driving yet). He agreed with her, and it just went from there. It was unusual for me to not sing. I was always practicing, in a sense, and everyone in my life had come to know me as a singer or musician. I've always known that music is what I wanted to pursue, so when the time came, I ended up in the music program at Canterbury High School, where I specialized in vocal performance. University's been somewhat convoluted, but basically I've continued studying music there. Music has always been a significant and essential part of my identity. So I guess I owe it all to the Backstreet Boys?

SA: What bands would you cite as biggest influences on your sound? JH: The Backstreet Boys.

No no, I jest. I like to listen to a lot of diverse music, so I'm usually very influenced by whatever I'm listening to at the time.

One of my favourite artists of all time is Elliott Smith. I could honestly do an entire interview on why his music means so much to me and why I see him as one of the best songwriters of our time. Musically and lyrically he is so sophisticated but also knows how to maintain that sophistication in the simplest of songs. There is something about his music that transcends the surface of the human condition and undeniably evokes a very profound wave of emotions and in a way forces us to feel, process, and accept them. I will always be most connected to him and his music until the day I die.

Mother Mother has also always had a big influence on me, since I first heard "O My Heart" back in 2008. Ryan Guldemond is one of the most incredible songwriters of our time since Elliott Smith. Quote me on that. I guess you literally are. I've been lucky enough to meet the band several times over the years and I'm determined to open for them one day and get mentored by Ryan. It's going to happen. Another GREAT band is Vancouver's JPNSGRLS. I opened for them a couple of years ago, and have kept in touch with them. Their frontman, Charlie Kerr is an incredibly creative and clever lyricist, and he's been a sporadic mentor to me. He's releasing a solo album on April 21st under the moniker Matt and Sam's Brother (do yourself a favour and check him out).

I have to also mention Frank Ocean. He is a visionary. He is another true artist. Channel Orange and Blond(e) are masterpieces. Okay, before I get too invested, some other artists I adore (in no particular order) are Sufjan Stevens, St. Vincent (Annie Clark could curb stomp me and I'd be grateful), Grimes, Father John Misty, Leonard Cohen, Broken Bells, The Black Keys, Alex Turner, Wilco, Mac DeMarco, The Cure, David Bowie, The Strokes, Simon and Garfunkel, Arcade Fire, Anderson .Paak, The Smiths, Nirvana, Nick Drake, Bon Iver, Led Zeppelin, The Beatles, Gabriel Fauré and the list just goes on and on and on. I will undoubtedly have more come to mind within seconds of completing this.

Oh, and Freddie Mercury. That man was a gift to this world. Never forget. I just love music.

SA: Thus far in your career, what has been your biggest success? JH: I don't think you can ever prepare for the feeling that comes with seeing a crowd lined up down the street waiting to see you play. This was in the summer of 2013 when Tall Trees was still around and we hosted an album release. We had just graduated high school, and we rented out an entire hall in a church for the show. I remember designing and printing a small run of t-shirts and stickers, getting in touch with media and doing interviews, as well as renting light and sound equipment -- basically tons of effort went into organizing and preparing for it. I should give a special shout out to my friend Ben Compton -- he designed the poster for the show and the album artwork. He is an incredible, unique artist and I highly suggest you familiarize yourself with his work when you have the chance. Anyways, the turnout was overwhelming. I think something like 250 people came out and packed the room. I've never felt something that special.

We played Folkfest (now known as City Folk) right after that, and tons of people came out to that as well. It was so beautiful.

As far as a solo act goes, it would probably be the time I played a bar in Kingston packed to the brim with students singing along to my songs. But honestly, things are just beginning and the best is yet to come.

SA: On the other hand, what is the biggest challenge you have faced, and how have you dealt with it? JH: By far, being alone. After Tall Trees had come to a discreet end, I felt lost for a long time. Coupled with being painfully unhappy in university, I became very depressed. I felt that I could no longer write. I stopped listening to music, I stopped playing music, I stopped going to shows, I just lost my entire sense of self. This lasted for about three and a half years, and even now I'm still getting back to being at 100% again. So I guess it's something I'm still dealing with, and to be honest will likely always be dealing with. I feel like artists are never satisfied with their work, because in the process of creating it, they improved. I'll always be working on myself, and I try to find solace in knowing that it's part of my personal and artistic growth.

SA: How do you approach the song-writing process? JH: I wish I knew the answer to this... I don't have songwriting figured out, so songs are sort of born via differing methods and out of a need to write . More often than not a song will come to me as one or several fragmented ideas that I will develop and eventually synthesize into some sort of finished thought. Sometimes the music comes first, and other times lyrics will come first. Occasionally, I'll be blessed by Apollo (haha) and everything will come to me all at once, resulting in a song that writes itself. In the case of the song I'm currently working on, I had the music more or less figured out and let it sit and occupy my mind for a couple of weeks, slowly adding ideas here and there. Only now, after some recent experiences have I managed to put words to it, and even then I'm not 100% satisfied with them, so I'll be editing and rewriting both the lyrics and the melody until it's something I'm happy with.

Honestly, it never happens quite the same way each time... I'm very contemplative and introspective in a sense when it comes to writing. I like to search within and feel things out so that I'm not only effective in the communication of it all, but more importantly I'm affective, vulnerable, and honest. That's more important to me than anything. At the end of the day, it comes down to sitting down and just writing and working out your feelings. You can never get better at something you don't do.

SA: What are your thoughts on the Ottawa music scene? JH: Short answer: it's complicated. Slightly longer answer: it's really complicated. Long answer: This city has a lot of incredibly talented, skilled, and hard working artists. It lacks the means to nurture these artists and encourage their growth and development. At the same time, there are a lot of great resources for artists in the city, such as OMIC, Megaphono, City of Ottawa grants, OAC grants, and independent venues that support local music. The city is doing a lot and things are happening so Ottawa is well on its way. I have faith in that. I think the rest needs to happen on an individual level. Artists need to develop a genuine sense of community with each other. I'm only one opinion, and it depends on who you talk to/who you surround yourself with, but there is also an unspoken, overarching sense of competition, and it's kind of hostile. Hearing "I support you!" or "I want you to succeed." seems to come with a small asterisk attached to it that says "...as long as you're not more successful than I am". I think that for the community to truly thrive, artists need to genuinely support each other and work together to build something that everyone benefits from. Again, it depends on who you talk to. Don't get me wrong, I love this city and there are people who will absolutely disagree with me, but this is just my opinion based on my experiences and I feel I have to be honest about that. Nowhere is perfect, but Ottawa is working on itself to get better, and things can only go up from here.

SA: In your opinion: What is the best song you have written? JH: Oh god...I pretty much hate every song I've written. Not really, but I sort of go through this cycle where I'll write a song, think it's good, then feel it's pretty mediocre until enough time has passed and I come to realize it's actually good. There are a few songs that are very close to my heart...from the Tall Trees days, I'll always have a soft spot for "Girl On My Mind", "Cheers to You, My Stone Cold Queen", and "Marionette". As for the newer solo stuff, I'm really fond of "Knuckle Sandwich". It's a little dark but I think it's one of the most honest songs I've written in a long time. It came to me all at once and I wrote the entire thing in an hour or two.

SA: How has your song-writing changed, or evolved, between your experience in past projects, such as Tall Trees, and your solo work? JH: I was around 16 or 17 when I started Tall Trees, so I think that while I felt mature in my writing, I was still approaching things from a somewhat naive place. I've always been a very emotional, sometimes verklempt person, and so if anything my connection to that contributed a sense of maturity to those songs. Since Tall Trees, I feel I've undergone a lot of personal and artistic growth, especially after having been unable to write for the past several years. I am very aware that I am still metamorphosing today and I've come to embrace that, and in fact it excites me.

I would say that the biggest difference in the way I approach writing now would have to be in the way I view songs and the process. When I was younger, I always wanted to be cool, and I wanted my songs to be cool. I approached them honestly, but I was also preoccupied with wanting them to be cool and the verse-chorus structure was almost too present. I thought that songs had to be that way. Now, I think of songs as thoughts that we need to communicate, or things we need to disclose out of a profound visceral need. They are the things we have to say because withholding them would be too stressful on the soul. Some are observational, others emotional, some just to make a point. Following a strict structural guideline is not nearly as important to me as it used to be. I let the songs come and be what they will be, rather than trying to make them fit some preconceived notion of what constitutes a "good song". Art is art -- it is fluid, subjective, and will be what it will be. Good art is art that's made honestly and from the heart.

The last thing I'll say is that I'm no longer afraid to be completely honest in my writing. I used to hold back a bit because I thought people may find certain notions off-putting, but now all I want to do is be completely open and use that to connect with people in a way that transcends the surface. Growing up, I was always told I was too sensitive for a guy (social constructs are the worst) and I always wore my heart on my sleeve. I have felt unwanted, unlovable, and so very small. I have a lot of feelings, and an incredible amount of love for people -- I want them to feel loved. I want to do away with the notion that having feelings and being honest about them is a bad thing.

I just want to connect with people, and hopefully affect them in a way that they'll hold on to until the end of their days.

SA: A question for fun: If you had to pick your favourite local band in Ottawa, who would you choose and why? JH: So far, my answers have been long-winded, so I'll keep this one short and sweet. I like a lot of local bands, but recently I've been really into this local artist Trails. She's very young, but her music is so mature, honest, and unapologetic. I wish that I had been able to write that way when I was 17. A lot of love and respect for her.

SA: What do you have in store in 2017? Best wishes for your continued successes, Jad! KM: I've been in the studio working on an EP, so I'm really committed to that right now and planning the release. There'll be a small tour, maybe some merch, and I may or may not be playing some festivals soon (I'm still waiting to hear back). I graduate from university in April, at which point I'll be able to fully dedicate myself to music. Things are just beginning for me, and big things are coming, so (shameless plug) keep up with me and everything I'm doing. The best way to do that is on Facebook. Thanks for everything, Pierce. It means a great deal to me to be able to finally discuss the things I've been thinking about for so long.

#jadhammoud #livemusic #newmusic #ottawa #canada #gatineau #talltrees #trails #OMIC #megaphono #grimes #jpnsgrls

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