Writing inspirational songs that encourage you while leaving you feeling empowered at the same time, singer-songwriter Somaya writes music that inspires others. Somaya, who released her debut album “Stand Up” last June is on the rise in music. Full of emotion and powerful lyrics, the young singer makes her mark in music by not only helping herself but others through her lyrics. We caught up with Somaya recently to talk about “Stand Up” and what is next for her in music.
Check out what she has to say below!
The meaning behind “Stand Up” is powerful, what exactly inspired you to create that song?
Sexual assault is an issue that has, unfortunately, affected a lot of people in my life, and I was frustrated with how little support survivors receive. Knowing how powerful music can be, I decided to write “Stand Up” to try and raise awareness on the issue, and to encourage others to use their voice as well.
Who are some of your musical inspirations?
I look up to Halsey and Tove Lo for their production style and for the rawness in their music. I also look up to the lyricism of more stripped back artists like Hozier and Mumford and Sons.
What advice would you give people that want to get into music?
Don’t let comparison get in the way of you achieving your goals.
Your album is named after your song “Stand Up”, what was the whole creative process like for the album?
It was really cool! “Stand Up” is my debut album, so a large part of the process was new territory for me. I’ve been writing songs since I was 11, so to be able to record my songs with a producer as amazing as Matt Bronleewe was truly incredible.
Your song “Stand Up” is garnering a lot of attention, what it is like seeing that people love your song?
It’s unreal. Like I said, I’ve been writing songs since I was 11, and for years most of those songs didn’t go beyond the ears of my family and close friends, so to receive such a positive response from so many people, especially on a song I wrote about sexual assault, feels so rewarding.
Is there anything music wise that we can expect from you in the near future?
I’m always writing new music, so look out on my social media (@somayamusic) for updates!
What is your favorite thing about making music?
Being able to express myself and be completely honest in my lyrics feels really freeing. And having people tell me that they relate to those lyrics makes it even better.
Expectations for the upcoming single, “Bridestep” from Brooklyn-based indie/R&B dynamic duo Moonheart are rising as each day prior to the release are mounting exponentially. Not only does the group have a sound unlike any other, they also have a message in their music of longing and endless romanticism that is haunting and beautiful. This track is the first to be release from their forthcoming debut full-length album Feel it Out. Although they are busy getting ready for the release, Moonheart was able to say a few words about who they are and what fans can expect within the next few months.
What would you consider to be your greatest success on and off of the stage?
Onstage, I’m really happy to feel very connected to my voice and what it sounds like. For a long time I was singing mostly jazz, and imitating all of my favorite singers when I learned the music. Doing that taught me so much about music in general, and about phrasing, rhythm and expression, but for awhile I was worried that I was without my own point of view. I definitely felt closer to my authentic voice and self when I started writing my own songs, and it feels good to be communicating that onstage.
Although you must be busy writing, producing and performing your music, when you do have free time, is there something that you like to do that may be out of the ordinary in order to destress and prepare for upcoming events and gigs?
I think this is probably pretty common, but I’ve found that for sure the most essential thing for me to get in the right headspace to play is lots of space and quiet. I live in Brooklyn and space and silence can feel sparse, but there are magic pockets of it everywhere. I’m lucky to live very near two of them, the botanical garden and the park. This is probably gonna sound so corny, but being in awe of nature’s design in the form of a flower or a tree or whatever it is is so humbling and I try to be surrounded by that stuff as much as I can. I recently learned about this Japanese healing practice called “forest bathing,” where you basically practice mindfulness and hyper-awareness of all of your sensory experiences while taking a walk in nature, and I guess this is kind of what I’m doing, or attempting to do. It feels really good when you can carry that open feeling with you on stage; your ego’s out of the way and the bad nerves that come from wondering what people are thinking or worrying that you look silly or whatever evaporate, leaving just the good butterflies to work through you.
As you continue to work towards your dream, do you have defined goals for Moonheart, or are you just enjoying the ride that your love of music has brought you on?
I wish I was cool enough to say that I’m not hella Capricorn and have notebooks and spreadsheets full of plans and goals but I do. The most immediate goal at the moment is to put out Feel It Out, our first full-length, in a way that we’re proud of. We’d also really like to start touring in a more serious and extensive way, so there’s lots of planning around that. Trying our best to enjoy the ride even in the planning stages, though 🙂
What news do you have for friends and family that are anxiously awaiting new music, tours and performances?
It’s coming! We’re releasing Feel It Out very soon, and we hope to be playing lots of shows to support that. Until then, anyone in or around NYC can come see our “Bridestep” single release show on Wednesday, April 4th at C’mon Everybody in Brooklyn.
As you have worked so hard to obtain something that, at one point, seemed so unobtainable, have you ever faced opposition that you thought that you wouldn’t succeed in overcoming?
My mental health is sometimes my biggest hater, so I’m unfortunately my biggest opposition, ha. Now I take good care of it and treat it like a baby, but I didn’t always have the ability to do that. When I didn’t, there were times I didn’t think I could turn my brain on or get out of a hole long enough to keep making music, but I’m grateful not to have been in that place for a long time.
What is the writing process like? Is it easy to sit down and write, or is it a spur of the moment occurrence?
The act of sitting down to write is actually the hardest part about writing in my experience- giving myself the space and time, sticking to the routine, and quieting the voices that would rather I procrastinate or do something else instead, those are the first hills to get over. Once there, though, the process depends on where I’m at that day. On the magic days it just flows, and those are songs I can’t really take credit for- some songs are already there and just need you to show up and be a vessel for them to come out. On days where nothing’s coming, I’ll try to do a writing exercise or read something beautiful and copy down phrases that are inspiring or words that feel good. The physical act of writing something pretty down on paper can sometimes wake up something dormant. Once I have a skeleton of a song, I’ll play it for Michael or send him a rough demo, and I don’t often give him much direction for the first attempt at building the world around the song. We have a lot of creative trust and a really open, intuitive channel between each other, and the majority of the time he just knows what I’m going for. He’ll usually work alone until things are in their place, and then we’ll iron everything out and edit together until we both feel the song is done.
After performing, is there a specific activity or tradition that you have to celebrate a “job well done?”
If we feel bad about it, we try not to let it feel too heavy and make sure to listen to the voice memo recording we always make of shows and take notes on how to make it better next time. If we feel good it about it, same thing 🙂
On Friday, March 16th, we met up with the incredibly talented Whitney Fenimore (That’s right – the one from The Voice.) to talk all things SXSW in the middle of 6th St. at SXSW. Her bubbly personality overtook the interview, and we fast found ourselves yearning to be her best friend.
But alas, not all pipe dreams come true. One thing is for sure… she is one to really look out for. We feel some big things coming.
On a balmy 88 degree day, with direct sunlight beating down on us, the ever-extraordinary Elle Exxe sat down to do a quick interview and portrait session with us. You can check out the interview and a few of our favorite shots from that day below!
DC-based quartet BRNDA is hitting the ground running, almost literally. While the band is on tour, they’re also set to release their new full-length – a collection titled Thanks For Playing – on March 30th. The preorder includes an instant download of two already available tracks – “House Show” and “Five Dollar Shake” – which just so happen to be perfect for this warmup our country is (hopefully) starting to experience for spring.
Despite the madness in their lives currently with the new release, the band sat down to chat briefly about the album, displaying their dry humor along the way for our eager ears. Check out our words below!
Each of you are important assets to the band. How did each of you get into music?
Actually, we’re not that into music. What we like is podcasts.
Fair response. Thanks for Playing is your third release. What makes this album different from the previous ones?
We haven’t released a record since 2015. This is our first time releasing a record in 2018. This is our first third release. This is the first time Christian has ever played bass on a BRNDA record – he is our bassist. This is the first record featuring a song where Leah sings lead. This is the first record we partially recorded at Alex’s house in Mt. Rainier. This is the first record featuring Dave soloing with guitar feedback. This is the shortest record we’ve ever made. We also worked with a different group of people this time, they are mentioned later in the interview so we won’t mention them just now.
What has been the biggest accomplishment that has come from Thanks for Playing?
Our greatest accomplishment of this record has been the collaboration with other cool people. Thomas William Rossi (Reyna Valencia) recorded it at lurch studios in DC; Justin Wm. Moyer (of so many of our favorite bands… Edie Sedgwick, Light Beams, Puff Pieces, Antelope, etc etc) mixed the record; TJ Lipple of Inner Ear mastered it. Christian’s sister Hadley Whittle painted the piece that is the cover art. Adam and Blake from Banana Tapes are putting it out. The National Film Board of Canadian Industry provided the footage for our recent music video for House Show. You’re writing about it. You’re reading about it. We’re collaborating.
What was the best part about developing the album?
Probably downloading the Adobe Creative Suite 10-day trial multiple times on multiple computers in order to create the album art j-card. We’re grateful for their love and support and collaboration.
We feel that! (Currently working on a trial of Lightroom.) You are out on tour right now. What sort of different experiences have you all had since being on the road?
Being on the road has a way of expanding your family. We kicked it with some truly wonderful people on this tour. We’ve been touring with Poppies, our forever buds from new York. We played the Community Records 10th anniversary celebration in New Orleans, a very special night in a very special town. We also played Mammal Gallery’s temporary location in this gorgeous former department store and shared the bill with 3 Great Bands (Breathers, Sad Fish, True Blossom). Touring around SXSW is like jumping into a giant vortex of favorite bands and friends that converges on Austin. We played three wonderful showcases. Dave saw Shopping and had a religious experience. All in all very good things and times.
What plans do you have after you wrap the tour?
Do laundry, vacuum the van, celebrate Torrey’s birthday, play our tape release show on March 29th, attend the melted mag release show at bathtub republic on March 31st, and then collaborate on some new songs.
Where do you see yourself as a band in the next 5 years?
Probably on tour.
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Preorder your copy of Thanks For Playinghere and Keep up with BRNDA here.
Having just released their brand new album Strange Times this morning, Los Angeles-based psych pop trio Hollow FortyFives – comprised of Lucas Renberg, Brett Incardone, and Travis Corsaut – is revving up to play their album release party tonight at The Troubadour. Which means they have absolutely no time to bask in the glow of their work and treasure the audience response, as they’re focused on what’s to come with the entirety of the week still to unfold.
Luckily, we got a hot minute to catch up with them to find out the inspiration behind their work as a whole, the album you’re probably about to listen to on repeat, as well as to poke and prod them with silly little questions that give us peace of mind. Check out our words below!
What was your first musical memory? Did it have any bearing on how you respond to or create music now?
Lucas: Listening to a Beatles cassette that my Uncle had made for me. Then seeing some footage of The Who play live, after that i knew i had to play music.
Brett: Driving in my dad’s car and asking him who the band was on the radio. Also, asking my brother which instrument was playing and him teaching me the different sounds.
Travis: Being taught to play the guitar by my uncle. I quickly gave up and when I got a drum set 5 years later was forced into lessons. I really grew to love it.
Where do you believe you pull the most inspiration from for your work?
Lucas: A big chuck of it comes from the music I listen to and care about, My two favorite songwriters are John Lennon and Bob Dylan. The rest i would have to say come from the way I see the world. Anything can spark a song.
Brett: My biggest inspiration for lyrics would be the people I’m surrounded by whether it be friends, family, or even strangers. For music, simply, it can be bands I like, a riff I hear, or something that just grabs my attention.
Travis: I’d have to say that Lucas and Brett are my biggest inspirations in writing.
What inspired the track “Return Ticket” specifically?
Lucas: “Return Ticket” came about from the feeling of wanting to leave and get away. I live in this paradise that is California, but it’s a huge world out there. Always nice to take a look around, and no need to fear when you have a return ticket back home.
Your album is finally coming out, and we are so excited about it. What was the process for creating this album like for you guys?
Lucas: It was great writing the album and giving these songs the treatment they deserve. As a band it was our first time not recording ourselves, which was a whole new experience itself. We didn’t have to worry about mic placement or levels, we could focus on just playing the songs. And that really helped us grow as a band.
Brett: The process was very fun and smooth. The creative process was an absolute blast to be a part of and recording the album was a lot how I had hoped it would be: lots of late nights, laughs with my band mates, and excitement for being in a professional setting.
Travis: It was eye opening creating this album. The most important part for me was seeing how the songs had grown into something we’re all really proud to show you.
How do you imagine people listening to this release in its entirety?
Lucas: In a smokey room, either laying on a carpet floor or dancing away as the music flows out the speakers.
Brett: Driving in a car on a nice, sunny day, windows down with a cigarette in your hand.
Travis: When you listen to this song, I want you driving to Joshua tree in the rain with one hand out the window. If your friends are awake belt it with them and if they’re asleep wake them up by belting it. Noise is for the boys.
If you could be any superhero, who would you be and why?
Lucas: As a kid i was obsessed with Robin. So it would have to be Robin! He’s got the bat bike and is the only one I know who can question Batman.
Brett: Spiderman because he’s been my favorite since I was a kid, I’ve always loved Spiderman stories, and no matter how tough his life gets he always finds a way to overcome his struggles. Besides, who wouldn’t want to swing from skyscrapers?
Travis: Captain Planet, let’s strive to always improve this world guys.
If you could collaborate with any artist on any medium, who would you choose and what would you make?
Lucas: I’d love to be able to do a split single with my favorite current musician Tim Presley of White Fence.
Brett: Co-writing an album with Jeff Tweedy at the Wilco loft. It would be the craziest thing ever.
Travis: I want to do covers of the Barenaked Ladies with the ghost of Buddy Holly.
Cats or dogs? Substantiate your claim.
Lucas: Dogs who act like cats and cats who act like dogs. Best of both worlds.
Brett: Dogs. I had a cat once when I was a child, but she was a demon. Now I’m not saying all cats are evil, but I have a dog now and he is an absolute angel.
Travis: Cats AND dogs, lil cuties are a damn blessing.
Anything else you’d like to add?
Lucas: Keep living life between the headphones.
Brett: Tip your bartender.
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Strange Times is out today and will be available here. Be sure to catch them at their album release show TONIGHT and keep up with the band here.
We’ve been inundated with a little too much fluff lately. And, while we’re all about being happy and upbeat and feeling free, sometimes you need to slow it down and enjoy a good song for what it is: emotional, dark, intense, and equally as freeing. This is the feeling you get from the first chords of Nathaniel Bellows‘ new track “To Wait”, which finds its exclusive streaming premiere right here, right now. As the song progresses, a dark and beautiful love affair brims within its lines for those who happen upon it.
If nothing else, this track reminds you that patience – even when you’re waiting for dissonance in instrumentals and the next line of a brand new song – is a damn virtue.
We caught up with Nathaniel himself briefly before the release of this new track to talk shop. Check out our words below!
How is your new LP, Swan and Wolf, different from your previous album?
With Swan and Wolf, I left the city and went up to Maine to record all the vocals and guitar tracks by myself. Being in that secluded environment, I was able to spend more time organizing, layering, and experimenting with how the background vocals interacted with the main vocal, which ultimately—hopefully—gives the songs greater emotional texture and depth. Another main difference is that, with Swan and Wolf, I worked closely with a mixer, Brian Losch, who really understood the mood and tone I was looking for, and which resulted in a more cohesive, consistent overall sound.
While The Old Illusions featured two of my drawings as part of the CD booklet, Swan and Wolf incorporates more of my visual art: I created ten illustrations that correspond to each of the ten songs on the record, which are available to view on the album’s website, and in a limited edition hardcover book that I produced as a companion to the music.
How would you describe the sound of Swan and Wolf?
As with The Old Illusions, I was looking for a very direct, spare, open-room sound, but this time, with a more polished, professional sheen. There aren’t that many elements in these songs, but I was eager to have each component sit within the mix in an organic, but ordered way. Overall, I wanted the sound to be clean and immediate, with a slight tinge of rawness, and the distinct presence of human imperfection.
Where do you find the inspiration to write?
I grew up in rural environments, so I’ve always been very inspired by the natural world. I live in New York City now and have written most of my music here, so maybe there’s something to the urban landscape that particularly inspires this work—perhaps the pervasive, invisible rhythms of the city? I’m not sure, but it’s definitely given me a lot to write/sing about (much to the dismay of my neighbors, I think!).
You are a poet, a novelist, a visual artist, and a musician. What got you into doing music?
Playing and studying music has always run alongside the other disciplines that I work in. I took piano lessons for 11 years when I was young, and I picked up the guitar when I went to college. I started writing songs around the time I finished college and went to graduate school as a way to explore a different approach to poetry, which I was mainly writing at the time. Ever since then, songwriting has slotted in among my other artistic pursuits in a pretty seamless and satisfying way.
How do you differentiate yourself from your music and your writing?
There is a definite overlap in my music and my writing. But with the songs, I tend to include more vernacular language than I would in a poem—the rhyming is more forceful and structured, and there’s a more deliberate symmetry in a song’s verses and choruses, which are choices I don’t employ so overtly in my poetry. Sometimes I use quotations in the songs in a way I might when writing fiction, but the songs tend to be blurry, abstract meditations on emotion, memories, events or images, so I don’t feel any need to crystalize these spoken scraps into something more narratively realized, the way I do when writing a short story or a novel. In all my work, I aim for clarity, specificity, and vividness, but with songwriting, I like to explore the tension between exactitude and ambiguity.
What was the inspiration behind your first single, “Keep in Mind”?
It takes me a long time to write songs, because they evolve as a slow accrual of ideas, generated in fits and starts, over months and sometimes years. I’m also unable to write lyrics in the absence of the guitar—the lyrics and music tend to evolve in tandem. I practice a lot and record drafts of the songs on my phone, and walk around listening to them to try to figure out what the music is attempting to evoke and express. It can take a while. Given all of this, it’s a little hard to pinpoint what the inspiration is for any one song, except that they usually begin with a central image or phrase, around which the song slowly congeals. In the case of “Keep in Mind,” I think it was the image of the seabirds mentioned in the second verse—the idea that they have an innate sense of where they are headed, how they are meant to live, all in their own mysterious and unknowable ways.
What is next for your career?
I am looking forward to playing these songs live in the upcoming months, after the release. I have also been working on a new novel—a contemporary ghost story set on a small island off the coast of Maine—and I’m in the process of finishing my second collection of poetry.
I frequently collaborate with the composer Sarah Kirkland Snider—our first record, Unremembered, a song cycle for 7 voices, chamber orchestra, and electronics, based on 13 of my poems and illustrations—came out in 2015. We are now working on a Mass for Trinity Wall Street, about endangered animals and the environment, which premieres this spring, and we’ve also begun work on an opera.
Los Angeles-based alternative indie band BADTALKERS is at it again, their new track “No Pity” slaking any thirst for high energy summer beats by seducing its audience with easy-going, feel good vibes. Simultaneously, the lyrics themselves are incredibly serious and topical.
“‘No Pity’ touches on the gun violence and drug epidemic in the United States,” drummer Christian Edusada explains. “We wanted to reflect on our daily experiences living in urban communities, as well as current events involving police brutality, protests, and acts of terrorism within the country.”
We caught up with the guys, and here’s what they had to say:
How did you all meet?
We met through mutual bands and mutual friends, a few years back and decided to partner up to do something different.
At what point did you know that this is what you wanted to make a career out of?
We realized at a young age that music is what we’d love to make a living doing. We understand how far of a reach it can be in this oversaturated market, but we’ll see how far we can go.
Who influences you musically and non musically?
Musically, we have a wide range of influences from NWA to The Smiths. Non musically, Anthony Bourdain.
“No Pity” touches on personal experiences…was it difficult for you to share that in a public sense such as a song?
It wasn’t very difficult to share, as it’s something we’ve become used to. We understand how difficult it can be for certain listeners that have been affected personally, and can heavily relate.
As a young person in America do you feel it’s harder to be taken seriously on stances such as current events and national issues?
It’s always going to be tough, because everyone is different. Some people are open to having a conversation, while others will believe what they want to believe. Whether people take BADTALKERS seriously or not, we’re just utilizing the opportunity and platform we have to voice what we experience daily.
Your music has a political point; Do you believe it’s easier to create a dialogue through art such as your music?
It’s much easier for us, since music and writing is what we we’re best at.
What impact do you want to make for your listeners as an artist?
We want to prove, as minorities, that we can grow and be successful in a market that’s overpowered by artists fabricated with attraction and conventional music. We hope this inspires others to work hard towards their goals, and not let others decide for them, whether they can make it or not.
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.
