by Meredith Schneider | Mar 5, 2018 | 5 to 7
Los Angeles-based rock collective Swerve – comprised of Gregory Mahdesian, Brandon Duncan, Ryan Berti, and Mark Gardner – has blossomed into an incredibly impressive act since the days that the moniker was attached to Mahdesian’s solo career. While the band admits their chemistry is off the charts at this point, we can hear it in the music they release. In fact, with their latest single “Lose Control”, we pick up on hints of influence amidst a bed of music that sounds like they’re having a really great time.
Luckily enough, we got to chat briefly with the guys about the track itself, as well as some really important topics like supergroups and Batman. Check it out below!
What was your first musical moment (be it a song you remember, a memory with a family member, etc.)? How do you think that impacted the way you make music today?
I actually have two that I can think of. The first song I can remember is from the Traveling Wilburys- that super group with George Harrison, Bob Dylan, Tom Petty and Roy Orbison. They had this track called “Not Alone Anymore,” and Roy Orbison sang the lead vocal on it, and it just floored me. I think my family had just moved across the country and I was a depressed little 5 year old, and that song, and especially that vocal, really spoke to me.
The other moment was around the same time. I had this walkman that could record the radio, and the oldies station played this song by the Box Tops called “The Letter,” which is just an awesome single. I would just listen to the station until it would play again so I could record it, and it’s the first song that was ever “mine.”
These both definitely impacted how I make music. I guess even at an early age I had a tendency to look back to the past for inspiration, and these songs really solidified my appreciation for classic song structures and catchy as hell choruses.
“Lose Control” is so fun with that twinge of 90s nostalgia that seems to pop out at points. What was creating that song like?
Thanks! Creating this song with the band was really fun. I started writing it on my acoustic guitar, and I must have been listening to a lot of jangle rock at the time because the song is filled with those little moments. When I brought it to the guys it turned into this fun, upbeat electric rock song. We added some acoustic to the recording to kind of pay homage to how it began. I remember that it came together very quickly- we finished off writing it in one session and anytime we would go back to try and tweak it, it was just kind of superfluous. There are definitely 90s touches in it. We really like to reference our influences without sounding too much like them, so you can notice them if you pay attention, but might not if you’re just casually listening.
If you could collaborate with anyone besides your amazing bandmates, who would it be and why?
So many people! Paul McCartney, just because he is the all time legend and I think I would kill to have him sing or play on a song. He’s still got it too! A few years ago he released this album called New that was awesome. I think I’d really like to get the producer Stephen Street to work with us, if he would do it and we could afford him. He produced the Smiths and all the best Blur albums, and I think he would be able to make our band really push ourselves and do something great. Noel Gallagher is my favorite, so to write with him would be amazing. And to have Michael Stipe sing something for me would make my year.
This month, you headlined the What Angie Says showcase at The Mint. What was that performance like? How has your performance style developed over time?
That performance was a lot of fun. We actually booked that right at the last minute- we had all been traveling so the band hadn’t been together for a little while, and the only time we found to rehearse was right before the show. It turned out to be one of our most energetic sets. In general, we’ve just gotten a lot more comfortable over time. We play around with harmonies more, and we don’t get nervous, so we can engage with each other and with the audience rather than just looking at our instruments and trying to play the songs correctly. The more we play the better we get as performers, but I don’t ever see us busting out dance moves or anything like that!
What has been your favorite song to write thus far? What makes it so special?
We haven’t put it out yet, but there’s a song called “Kennedy.” We usually close our set with it because it’s a live favorite for our audience. I’m really happy with the lyrics of it- the main line started out as a placeholder lyric and as the song developed I realized that it was actually the linchpin of the whole song. It’s funny how things like that happen. As far as the music goes, it went through so many iterations that we considered giving up on it, but we finally landed on the right arrangement and it felt so natural that I’m glad we kept at it.
If you could be any superhero, who would you be and why?
Batman, because he gets all the best toys and chose to be a hero rather than being born with a superpower. Although his backstory is very sad, at least he has Alfred.
What’s up next?
Besides world domination? We’re going to keep putting out singles leading up to our EP. We have some music videos in the works, and shows coming up in LA- the next one is March 26th at the HiHat in Highland Park. We want to start playing outside of the city soon, and to get back into the studio to record all the new material we’ve been working on.
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Keep up with Swerve here.
by Veronica DeFeo | Feb 28, 2018 | 5 to 7
Amsterdam based singer-songwriter VanWyck (irl Christine Oele) dropped her album, An Average Woman, in January of 2018. The LP features not only the insane talent of VanWyck, but the accompanying vocals of Marjolein van der Klauw and bass player/arranger Reyer Zwart. Having a widespread musical background ranging from classical piano to jazz-dance to rap and hip hop, VanWyck released An Average Woman as an answer to her own longings to share an authentic and creative thoughts on women today through a musical canvas. Her songs bring on chills as the listener delves into the all-encompassing soundscape of the album.
We were lucky enough to catch up with VanWyck to discuss her latest album, thoughts, and message.
The title of your album, An Average Woman, instantly caught my attention. How’d you come up with the name?
I wrote the song – that is the title track – a while back. It was during my one song a week project, where I tried to write and record one song every week for a year. I instantly knew it was a strong song, but also a difficult one to record properly, so I kept it for myself until the recording of the album. In a way it is a response to the way our media celebrates success in terms of uniqueness and individualism. I was so tired from the bombardment of perfect superwoman everyday, all the time. Sometimes it feels like only perfect women are allowed to be visible and to have a voice. There is so much pressure on women to be a certain kind of way and it so hard to rid yourself of that pressure, to find your own voice and your own values. It’s almost impossible. But in a way that was my assignment for this album.
What do you want to be the biggest takeaway from your music for your female listeners?
Maybe I hope for two things – one is that they feel supported in allowing themselves to be who they are – to free themselves from the pressures of having to be every woman, or to live up to certain ideals. That they find the strength to seek out their own ideals.
Next to that I hope they enjoy the magic and enchantment that I felt when I wrote these songs. After a lot of struggle and hard work I’ve come to the conclusion that there is this pool of infinite joy and creativity inside all of us – that we can always tap into that, but that we are often sidetracked by all the humdrum of modern life and obligations. I really think that inside each of us there is this river of knowledge and strength – we just need to find ways to tap into it.
Listening to tracks like “Red River Girl” gives me chills – how do you pack so much emotion into a few minutes of song?
Well “Red River Girl” was a very special writing process for me too. It really felt like someone else was writing the song. That I just had to let it wander through me. I think the subconscious really plays a big role in songwriting and the better you become at surrendering yourself to it – the stronger the songs will be that you find there. I think for this song I surrendered myself completely and maybe that is what you feel as well.
What’s your favorite view or landscape?
Anything wild and free will do. But I live in The Netherlands and we have hardly any wild and free left. It’s mostly cities and cultured grounds here – so sometimes I really have to free myself from that. Luckily we do have an amazing sea here with beautiful beaches and dunes and I try to travel to mountainous areas whenever I can.
The music video for “An Average Woman” is so beautiful! Where did the inspiration for it come from?
Thank you! I was very lucky to have met the artist and photographer Koen Hauser who directed the video. He was so moved by a song on my first EP that we got in touch. I was also very moved by his work and I guess there was this instinctive feeling between us that our work is connected in some ways. Like it deals with the same sort of themes. He also had strong opinions about how social media makes so many people feel like they are not good enough. So we decided to make a video with as many normal everyday woman we could find and to just let them be.
Where’s the best place to create music?
I can do it almost anywhere! As long as I have a guitar – but getting away from other people and noises is always good. I sometimes need some sort of silence and calm to be able to better hear all the voices in my head. But then again sometimes it’s the excitement of new experiences and new people that bring on new ideas.
If you could describe your music in a single word to someone who’s never listened to you, what would that word be?
Moving?
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Keep up with VanWyck: Website I Facebook I Twitter I Soundcloud I Spotify I Bandcamp
by Meredith Schneider | Feb 26, 2018 | 5 to 7, videos
Toronto-bred pop/rock duo Darcys – comprised of Jason Couse & Wes Marskell – has certainly been making its mark on the world with its own unique style of energetic tracks. While the guys were busy prepping to release the new music video for their track “Virtual Reality” – which will take you back in time with fun effects that trigger your nostalgic heartstrings – we got a few minutes to chat with them about their process. (Hint: Coffee is key, but you’ll be witness to their infectious energy that may or may not actually require a shot of caffeine.)
What is the first song you remember hearing? What song prompted your love for music?
Steely Dan’s “Aja“, Prince’s “1999“, Michael Jackson’s “Dangerous“, there’s just so many. Music feels good to listen to and even better to play. That kinda love doesn’t need much prompting.
You’ve created a variety of music from road trip anthems to happy holiday tunes. What is your favorite song that you’ve recorded so far? Why?
Black Diamonds. Every time I hear that song I congratulate myself for bringing it into this world. I don’t know what it is, but I really really love it.
What does a typical day look like for The Darcys?
Smoothie, coffee, Abelton, sandwich, coffee, Abelton. It’s pretty simple. Every day we’re in the studio trying to get inspired and create something that’s going to last. Something better the the record before, something we think will challenge our audience and something that will bring our band to a new place.
What is the creative process like for you when creating a new song/album?
It’s different every time. It’s about getting inspired and wanting to do something you love and care about. Our current workflow is much quicker than it’s been in the past and the new sounds reflects that. Still not sure where it’s going, but I’m digging it so far.
Do you have any pre-show rituals?
I do 40 push-ups, drink a double vodka soda and kiss Jason on the mouth.
What do you hope listeners take away from your music? Any certain feeling?
I try not to think too much about how the listener is going to interpret what we do because that makes creating more difficult. Centerfold, to me, was the ultimate escapism record. If you can listen to some of the songs and forget about some your bad for just a few minutes, I’m happy.
How would you describe your music using a GIF or video?
What are you currently working on? What do you think fans will be excited about in the future?
We’ve been deep in production and song-writing for a number of different artists. Lots of cuts are coming out this year and I think our core fans will be able to hear a few Darcys easter eggs.
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The Darcys Online:
Facebook | Twitter | Instagram | Website
by Veronica DeFeo | Feb 26, 2018 | 5 to 7
Los Angeles based two-piece The Palms, composed of Johnny Zambetti and Ben Rothbard, are making big strides in the alt-pop world, now more than ever with the release of their 14-track album, Mulholland Dr. After feeling somewhat creatively restricted in their previous band, The Palms was formed as a way for Zambetti and Rothbard to forge their own path and create authentic music. Exploding onto the Californian music scene, The Palms look to expand their horizons and reach many other places. With tracks that can uplift, amp up, and chill out, The Palms tick all the boxes that an alt-pop band seeks to fulfill. Get ready to groove when you put on a record from The Palms.
The Palms answered a few of our questions, and we discovered that pretty much everyone hates the Snapchat update.
As an L.A. based band, did the band’s name inspiration come from the locale, or elsewhere?
100% from the locale. I was living in Venice at the time as Johnny and I were starting our new project and desperately trying to come up with a name. During one of our early Studio sessions, most likely as we were writing Push Off, I took a bike ride to grab some stuff from the local market and passed Palms Blvd. It hit me like a lightning bolt and i texted Johnny. He agreed immediately and that was that.
What is the biggest inspiration for your music?
Our music has to feel fresh and classic at the same time.. We’re influenced by The Beatles and Beach Boys as much as we are OutKast or Kanye West.
If your band was a color, what would it be?
Purple
Describe each other in a word.
Ben to JZ – Talent
JZ to Ben – Vocal
Favorite live show played to date?
Playing The Troubadour is always a trip being that we’re both born and raised in LA and the history of that place is intertwined in the identity of the LA music scene. Hometown shows are always special too.
Snapchat or Instagram?
Instagram 100%. Snapchat update might’ve been in the fork in that one.
Dream collaboration?
Kanye West or Kevin Parker. That should give you an idea of what we’re going for with this project.
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Keep up with The Palms:
WEBSITE | FACEBOOK | TWITTER | YOUTUBE
by Chad Bennett | Feb 22, 2018 | 5 to 7
Thirteen years ago, Gibby Paul and Kix Mead, as University of Kansas students in Lawrence, formed the dream pop group Mammoth Life. They eventually relocated to San Francisco where they continued to play and record for several years. Now Gibby Paul has his own gig, expanding his vocal chops while still shredding on the guitar. The four-piece is already playing sets in the Bay area, shaking shit off the walls to warm folks up to their debut album, So Savage, set to drop this spring, with a big grin, on 4/20.
Two singles, with videos, from the LP have already dropped. The fun and raucous “Rock N Roll” was shot on location in the Pill Hill area of Oakland with a good dose of world-class air guitar. “Not the Only One” is a wonderfully trippy take on heartbreak, complete with vintage pop imagery.
Ideally, what would be the role of social media for Gibby Paul?
Social media for GP is to be a glimpse into my rock n’ roll reality. You know, like me getting loaded on speed, or pissing off the porch, or like ripping a Telecaster guitar and making it scream. Bong rips, chef boyar-D, passed out in a pile of Pabst Blue Ribbon cans…Taco Bell, cigarettes, LP records and teenage rebellion.
What elements of instrumentation have been essential to you throughout your career?
I love rock n’ roll. At this point in my career, I let the venues we play dictate the instrumentation that is essential to me with as few people as possible on stage playing. I like guitars, bass and drums. I like tube watts, and sub tones. Fuzz rock and dark rooms. I wanna bring it back to its roots.
Your video for “Rock N Roll” was filmed in the heart of Oakland, California. What do you like about the music culture there?
Oakland is the last of the old wild west. Grime and stickiness and sex and drugs all are prevalent and easily accessible here and are granted free flow. I call West Oakland and Pill Hill our rock n’ roll playground. ‘Cause you can have an awful lot of fun and a gorgeous stage to let the rock n’ roll commence and unfold upon. It is a beautiful and inspiring backdrop to score music to.
When will you be going on the road with your music? Any plans for a return to Lawrence, Kansas?
We will be touring on and off throughout all of 2018. I wanna say we will be back in LFK and KC, MO this summer.
What would you pay $1,000 to see?
If I had a thousand bones floating around, I’d buy another guitar.
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Learn more about Gibby Paul here.
by Madison Blom | Feb 22, 2018 | 5 to 7, premieres, wolf tracks
Adding to their growing collection of produced music is up-and-coming indie/alternative rock group Lowpines with their newest single, “Parasite”. This track features dreamy synth sounds as well as hypnotizing vocals that speak truth and honesty. Like their other releases, the members of Lowpines have been able to put together a new single that will resonate with those who listen and is sure to be put on repeat. Check it out!
Amidst the release madness, we got a hot second to catch up with the artist behind it all. Those words can be found below.
Given your success among fans in the UK, do you have any intentions of reaching a bigger market or fan base in other countries?
Absolutely, it’s always fun to be invited to play in other countries, and I’m always looking to do more. I’ve played some wonderful festivals in Europe and Scandinavia and plan to do more later this year. A lot of my listeners are in the USA so we’re planning a first run dates there this summer.
While looking to expand your musical lexicon, do you ever find it difficult to create music that matches the same style palette that you have created in the past.
I think I have the opposite problem – I’m always experimenting with different sounds, styles, instruments, collaborating with different people and producing other people’s music. But as soon as I sing on something it sounds like me. Which is something I always used to find frustrating, but I’m starting to enjoy it. Someone once said to me, whatever it is you don’t like about your voice, exaggerate it – because that’s the thing that makes it you. And I can totally see that now.
Now that you have done a cover of “It’s Not Happening”, will you look to do more covers performed by other artists or is the focus to write music and lyrics that are all your own?
I did that version of ‘It’s Not Happening’ when I was just starting out as Lowpines, and I wanted to see what happened if I did a cover in the style of what I was working on. I did a few songs and only that one sat right. I was pleased with how it came out and I learned a few things about the sound I was going for. I’ve done a few other covers since, and I keep a long list of songs that I want to try. Most of them don’t sit right so I ditch them, but I always learn something from doing it. I covered Judee Sill ‘There’s A Rugged Road’ and it got picked up by the radio in the UK, and is still my most popular song on Soundcloud, so it’s interesting seeing what happens with a cover, even if it’s not an especially well known song.
Where do you see Lowpines in the near and distant future?
The new record ‘In Silver Halides’ is my first full-length with Lowpines so it’s exciting to get it out into the world and see what that does. It’s the first time I’ve taken Lowpines into a studio environment and worked with other people on the recordings. I’ve been very lucky so far that my lo-fi home-record Eps have picked up fans around the world and appeared in TV shows and films, which was beyond any expectation I had when I was recording them. Lowpines has always been a selfish place for me to do my own thing in my own way. I used to do it alongside other bands I was in and now I’m doing it full time. So long as it continues to feel like something I can do well and enjoy I imagine I’ll there’ll always be something I’m working on. Right now I’m just looking ahead to a new EP I’m finishing to follow up on the album.
Where do you find inspiration to write lyrics that have constantly been marked as honest, unique, and deep?
It’s always different places I think. I tend to write lyrics in bursts, sitting down with a million rough voice memos and writing down whatever sounds and half-words I hear in there until I think I have something. I think that way of working kind of taps into your state of mind at the time – perhaps your subconscious makes you hear what you want to hear, or need to hear. So when I start to flesh them out I start to see themes emerge and explore them further. Sometimes I realise I’m getting too close to something I haven’t really dealt with, and that can be unnerving. So I have to finish the song to see if it helps me come to any kind of conclusion. Then I have to decide if it’s any good.
I try to read as much as possible, and whatever I’m reading at the time of writing will probably influence some of the imagery. My last record was full of scenes from Raymond Carver stories as I’d imagined them while I read, but relocated to whatever narrative my song was taking. I’d been re-reading a lot of his short stories on tour so my head was full of these dark, charged situations and beautiful, nuanced imagery. So I’d try and take myself to those places while I wrote.
For this record, I actually wrote most of the lyrics very early in the morning, straight out of bed. I’d be half asleep and my brain still churning over whatever dumb shit I’d been dreaming about and start writing long streams of consciousness. Once I had the music coming together, I mined those streams to find things that fit and went together. Some, like the song ‘Chambers In The Canopy’ came out pretty much fully formed and fit straight into the song. I’ve never been good at setting out to write a song specifically ‘about’ something, I always enjoyed the discovery of figuring out the subject as I write it. So I guess that method leans toward a lot of personal experiences being woven into the words.
When your followers and fans listen to your music, what would you like them to feel? How would you like your music to influence their lives?
If someone listens to my music it’s enough for me that they’re listening. I don’t try and create a certain mood or specific influence, but it’s always interesting, and at times very moving, when people write to me and tell me how a song of mine has helped them in some way, or is of importance to them. Whatever it means to the listener is so much more valuable to me than any intention I had in making it.
If you were to associate a mood with the songs that you have produced thus far, what would it be?
It’s funny, I always played in noisy indie-rock bands. So in my mind I still do. But from the beginning Lowpines was always wilfully quiet and intimate. I tell myself I’m still in a rock band, but it’s the quietest rock band in the world.
So I guess the mood that most people associate with Lowpines would be one of quiet, stillness, calm. For some that seems to be a melancholy, reflective place. For others it’s a just a chill, relaxing music. Someone wrote to me once that their dog always jumps around to music, but that when Lowpines comes on he just lays down in the middle of the kitchen floor and won’t get up. That sounds perfect to me.
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Keep up with Lowpines here.
