I had the opportunity to chat with Matt from Violent Revolution, a metal band based out of Phoenix, Arizona. While I am a little biased having liked a band he was in locally around 2001, I find it more inspiring to be able to pick the brain of a musician I respect. Matt is well known in this area. A scene veteran if you will. With Violent Revolution he has teamed up with some other tight players and together they have unleashed a brand of metal that not only has listeners asking “how did they do that” but keeps the mosh pit rotating like a ceiling fan.
Your name and role in the band?
Matt Ward, Lead Guitar and Vocals
What motivated you to play/create music?
Honestly, a big part of it was growing up kinda poor. My friends and I never had money to do pretty much anything so in my juvenile brain I thought shooting for the occupation of “Rock Star” would bring some cash and travel into my life… oops. Not quite the case. But also there are allot of musicians in my family and it seems to just be genetic. My Grandad was a guitar player who worked in Vaudeville and taught guitar and even worked with Les Paul for a time. Sadly he died before I could meet him so I’ve always kinda wanted to pay tribute to his memory. That and Jimmy Page.
Who are your influences?
That answer changes every few years it seems. Early days it was Zeppelin, AC/DC, Iron Maiden… Twisted Sister was actually my first favorite rock band and they brought me into the whole cosmos of metal. Over the years I have been influenced by so many things a competent list would be all but impossible. But lately I am very into Meshuggah, Aesop Rock, Opeth, Maximum the Hormone, Belphegor… and of course… a constant stream of Tom Waits flowing! He’s my god!
Describe the sound of Violent Revolution for a new listener.
That would depend on whether you hear the new stuff or the old stuff. Our Debut disc “State of Unrest” is pretty straight up Thrash/Punk kind of stuff. There has been some line up changes since then and nowadays we are quite a bit more adventurous. Imagine Nuclear Assault meets Lamb of God and The Haunted… maybe… this question I always suck at haha.
What sets Violent Revolution apart?
Another hard question to answer. I guess that may ride in the hands of the listener. It’s hard to be objective about that answer from the inside. I don’t wanna sound braggadocious or off base.
What is the story behind the name Violent Revolution?
It’s from a Kreator song. That’s really the whole story haha. Nothing too deep behind it. Just fit music that is fast and angry and somewhat politically charged.
What is the most rewarding aspect of being in Violent Revolution?
I think as of now the most rewarding thing is the new line up. We are just in a good groove with each other and the writing is flying. We all get along and we all keep each other on our toes but most importantly we all agree on pretty much everything. No bitching and moaning at each other EVER! If anyone complains it’s always me but never about them haha. It’s just actually fun playing in this band. I have been in plenty that were very far from fun.
What’s next for Violent Revolution?
We are shooting for finishing up all the new writing that is underway and then getting an EP together so we can get this stuff out to everyone. I don’t think enough people have had a chance to check out the new direction. Plus we have a ton of merch to make! It’s gonna be a busy spring for us. But we will be coming out swinging by summer. It seems as though we are on track for a really good year! Let’s hope that is the case.
**Originally published Oct 22, 2016. Reposted with permission from the author.
Yesterday, the Dean Ween Group unleashed their debut album under the direction of founding member and frontman Dean Ween (Mickey Melchiondo). Formerly of the notorious American alternative rock band Ween (begun in 1984) – and still pulling inspiration from past work – Dean Ween has brought a new flare and energy to his catalogue with this new work. A rotating cast of incredible musicians finds their home with the musical project, various talents displayed on the recordings that were created in the incredible new(er) space that Dean Ween built from the ground up.
Shortly before the release of The Deaner Album, we got to sit down and speak with Dean Ween himself. Here’s a little bit from one of the most influential alternative musicians of our time.
Tell me about the studio you’re working from today.
Sure. I’ve ran it – and no exaggeration – over 25 buildings since when we started. It’s very hard to find a place where sound is not an issue, you know, privacy, security, neighbors, all that. So finally after being at this for 32 years, my friend’s father owns 200 acres and offered to work with me on my own spot. He’s a younger father, like only in his 50s. I’m 46 as of today. Yesterday was my birthday actually.
Oh wow, happy birthday!
Thank you. So, he said if you build a nice place you can have it. So I did, and sunk about $150,000 into it. Borrowed and built this beautiful place that I call my forever studio. It’s in the woods, I’m here all day everyday and all night every night. Every instrument, cable, amplifier I’ve ever owned is all here, it’s all set up. It’s very hard to force a studio into a vintage house. You know, we’ve had to do that – use the living room as a recording room, control room. So, I have everything perfect. It’s a gigantic live room for a band to play in, everything is mic’d up. Then there’s a giant control room with monitors, talk back, kitchens and showers and bathrooms. Musicians can stay here. You could blow up a bomb in here and you wouldn’t hear it outside since its soundproof.
We built it with being a studio in mind. We made it totally perfect and right. It’s so relaxing when you come here. It’s like a second home. We’re so respectful of it. I do not- a lot of time over the years, studios were too close to the bar, and the place turned into a hang, after hours. So it was very important to me that never happen here. So the couple years I’ve been here I respect it, and we keep it very clean. It’s very relaxing when you walk in. It’s all esthetically fun to look at and play with. I tell people don’t bring your junk here. I’ll put it outside if you do. I don’t want your broken amps or guitars. No I don’t want that poster. Take it with you when you leave.
Every time we move out of a place we end up throwing out half the shit- it’s like stuff that doesn’t work or will never get used. Some junk someone left while crashing there.
Well it’s cool to have your own space and establish your own rules.
Yeah. It’s really gorgeous.
Before all this happened, Ween, The Dean Ween Group… what’s the first album or song you remember listening to, and who introduced it to you?
Wow. That’s going back too far- I can remember pivotal things. Radio was a huge thing for me. Just seeing that radio isn’t as important as it used to be. That’s where you went. Even MTV doesn’t show videos anymore – it’s like reality shows. The local station would play the top 5 at 5 every night. The 5 most requested songs. So the fans were actually choosing them. I remember buying the 45s and taped the songs at 5, and would use my tape decks to edit out the announcer talking. Which was really hard.
I remember watching Teen Tot with my babysitter on Saturday Night Live – Steve Martin doing it – and she worked at like Gimbles the old department store. She bought it for me and the next time she babysat me she brought it and I was so happy. I listened to them and I still have it actually.
Musically, my babysitter had a bad brother. He was a bad kid, same age, and had his older brother’s record collection and A-tracks. I remember going over there and hearing Sleeper and Ziggy Stardust. The first *record* record I got on my own that I really coveted and wore out was the Beatles Red Album 1962 – 1966. Then they put out The Blue Record, 1966 – 1970. They had the lyrics with them. That was the thing that changed it with me. Reading the lyrics you know, “Yellow Matter Custard”, “Lucy in the Sky with Diamonds”, all that. Just the visuals that went along with the lyrics are just so freaking great. I wore that record out until the needle went out the other side of the record.
Was that around the time that you decided you were going to pursue music?
I didn’t really know that until later. My father owned a car lot. There was a music store across the street. And I’ve learned this as a father, I don’t want to buy expensive stuff if I think it’s going to be a passing thing. And I want to be there to support him, but want him to appreciate it. So, my father bought me this guitar, it was probably unplayable. But I made it playable, made it look cool with stickers, painted it. Kinda sounded like a chord when you belted all six strings. I would play it with myself. Which meant I couldn’t play minor chords or you know, too much with it, but I was off to a start.
Then I really wanted a drum set after that. I had two cassette decks, so I would record the drums first, the foundation, I was like 11. And then I’d put the guitar on it. Of course I needed a bass but it was all cheap stuff. And then my father realized that I was really, really into this. And I started taking lessons, and at Christmas one year, I was like 13, he got me a real guitar, a Fender, and I started taking lessons, learning how to play without just that one chord. I was recording every day, starting to see concerts. I wanted to be that guy really badly. Not a singer, but a guitar player.
Yeah, my drumming was really good, still is. I played drums on the Ween records, people don’t realize that. You know I remember an interview once where Kurt Cobain said he wanted to be as big as Sonic Youth. That was his goal. And that really stuck with me. Because, it was the same thing with us, except, we wanted to be the Butthole Surfers. As big as the Butthole Surfers. I mean, that was my goal. I thought if we could get to that point, then we were really famous and really good.
I didn’t think about what I was going to do after high school. I wasn’t going to college, I knew Aaron wasn’t going to college, we figured we were just going to work. We wanted to get an apartment together, so we did the day we graduated high school. We made music there pretty much 24/7. We had been doing that in my parent’s bedroom for like 6 years already. So we had a lot of experience recording ourselves. We got a multi-track recorder, a 4 track, instead of just dubbing two tapes back and forth. I knew we weren’t going to go to college, I didn’t know where Ween was going to go, but as it turns out, we had put all our energy in the right places, and we got signed that summer.
So there was never really any guesswork to it. So that was in 1989, and our debut record came in 1990. It was a double record. It was almost to me like a greatest hit, of like 7 years of Ween. We had that much experience. So we got that one out of the way, the second and third ones were almost done already. The second one came out and we got signed. Then we were on Warner Brothers all of the sudden. So I never really had to think about it much. Like I said, we put our energy in the right places. We worked really, really, really hard on being good.
You know, it seems like a whirlwind thing, but it’s not. When Ween started out, it was very experimental and noisy. And it sounded like two twelve year olds, you know. But within a few years, we were happening. We were writing really clean songs. Choruses that you could remember, that were catchy, my parents were hearing it, they loved it. You know, I was still doing the same exact thing, it’s incredible. Really nothing has changed on the front end. I still work exactly the same way I did back then, you know, but with better music.
I heard there was about a year after Ween where you didn’t work with your guitar, really?
It was more like 6 or 7 months, I don’t really think that much about that. I’ve suffered from anxiety my entire life. Depression is something that was never in my vocabulary. I’ve never been depressed but when Ween split up, I lost everything. All I’d ever done was that. I mean, I’ve told you how long I’ve been at it, I just knew I couldn’t get out of bed, eat, shower, go out. The guitar was just another thing that got ignored during that 8 months. I didn’t mow the lawn either. I just didn’t do anything, just ran up debt. Only battle with depression I ever had. I was stuck. I really empathize with people who have it now.
If it weren’t for my friends, my friends saved my life, they were like, “You have to start playing again. You have to force yourself, even if you’re not into it. Go out. You don’t realize how much you miss it.” So I started and it didn’t feel right. But it took, and they were right. I got a band together, called it the Dean Ween Group, said “fuck it I’m still Dean Ween.” And when does Johnny Ramone cease to be Johnny Ramone? He dies, that’s the answer. Even when the Ramones broke up he was still Johnny Ramone. And with Ween being a duo and all that, I didn’t know who I was. Hard to explain, I lost my confidence, my career, my identity, sense of worth. Love. Hobby. Passion. I’ll never make that mistake again.
You’ve been working on The Deaner Album for a hot second. Any fun anecdotes from the recording process?
Yeah, it took a while to make, and then it happened like a tornado. When I got it going I really got it going. Up until that point, I had like two songs from like a year before and then it just like caught. I ended up replacing those songs with newer ones, when I was like totally back, when the group was happening and touring. People were commenting and fans wouldn’t go away, and good stuff like that. So the anecdotes have more to do with building the studio, and watching it go up, and really just visualizing it. Fantasizing about how long I was going to be in the studio. I swore I would come here every day, and do a song a day. All day, every day, all night. And I have for a couple years now. So I have this enormous catalog, just ready to go. The second Dean Ween record is done. It’s ready to go. It’s better than the first one, and I can’t wait to get it out there.
But for the touring, we’re playing everything. I don’t have to play Ween songs unless I feel like it. Which, I do, they’re mine too.
“Exercise Man” is pretty witty. What inspired that song?
I sang it to my son when he was like 2 or 3 in the car every time we saw some idiot jogging or riding his bike in the snow at 6 am. i would make up lyrics to songs and we’d sing them. Ironically enough I’ve recorded a few of them, he’s 15 now, they were just funny ideas. A lotta people say ween makes children’s music and I guess that’s partially true. evidenced by how many kid’s shows we’ve been involved in—especially spongebob.
Do you have a favorite song off of this album, by chance?
YES. “Bundle of Joy” is my hands down favorite. It was one of the last songs I wrote for the album too.
You have a pretty extensive tour coming up.
Yeah, that’s the first leg of it. We’re going to be out all of next year. We might even go overseas.
What are you most looking forward to about getting out on the road?
The food. I eat much better on the road because normal people need to eat a few times a day. The restaurants where I live totally suck. Honestly, the music and the camaraderie, read the lyrics to Willie Nelson’s “On the Road again”, Willie has a way of summing things up perfectly and that song is about touring. traveling will always represent the epitome of the American dream, especially for a young man. Getting to meet people and play music for them, the road is where u get all the love back from the people you’re hoping to reach with your music.
You have a fishing charter business? HOW do you find time to do all of these things?
I am very busy, just leave at that. even having a few spare hours feels like a victory. I took some time off to go fishing two nights ago and I enjoyed every second of it.
Nina Lee is clearly not just your average 17 year old. The New Yorker is a talented singer/songwriter who belts out lyrics with so much soul that she belongs along the ranks of Amy Winehouse, Adele, et al. If you don’t trust us, take a listen to her latest, a five track EP titled Snapshots. Curiously enigmatic – though she does a really amazing job at explaining the intent and direction of the work -, the EP does nothing if not floor you with her incredible talent.
As someone who seems to have been born with music coming out of her, Nina Lee is an impressive, well-spoken, vibrant human being. And we know all of this because we got a moment to ask her a few questions leading up to the holidays. So here she is, unfiltered and incredible as ever.
What was the first album or song you remember ever listening to, and who introduced it to you?
Growing up I remember listening to Frankie Valli and the Four Seasons among others from that generation all the time in the car with my grandpa. My sister and I were the only little girls who knew every word to “Big Girls Don’t Cry”, and “Sherry”. Some of my fondest childhood memories are driving in the car with him and belting out “Oh What a Night”. I am the first grandchild, so the two of us have a very special bond, and he is such a huge supporter of my passion. Having such a strong family unit helped me to be the person that I am today. Music during my grandpa’s era seems like it was more authentic than what we now hear every day on the radio. There was just a voice and instruments, which made me appreciate it even more. That’s why in my own music I like to focus on having as much authenticity and rawness as I can.
Was there a moment that you realized you had the talent and the drive to pursue music?
I was always told from a young age that I was a very musical person, and I was not afraid of being in the spotlight . . . in fact, I thrived on the spotlight. My parents saw that performing was when I was my best self. When I used to get overwhelmed as a little girl the one thing that always calmed me down was the ocean. My mom would sometimes just pack the car up and drive to the beach when I needed it because the cold rush of water was exhilarating for me. When I was in the water I would float looking up at the sky, humming melodies and feeling peaceful. I knew that singing gave me that same adrenaline rush, but a million times better.
So, the way I think of it is that the ocean calmed me down, but the music drove me. My music has pushed me through every difficulty in my life because, like my family, it is a constant. I know it sounds like I am personifying music but really, even though it is intangible, it is something you feel all around you. As I have grown older, my hunger and drive has just increased. That’s how I know that it is what I am meant to do with my life.
Your voice is absolutely stunning. Did you have professional training at all?
Thank you! I guess I was born with a natural ability to sing, which I am so grateful for. But I’ve also worked really hard to condition it and make it even better. When I was younger, and even now, when I feel insecure or unsure of myself I know I have my secret weapon up my sleeve. No person sings exactly the same, so when I surprise people with my voice it makes me feel more confident of myself. Since I was a toddler, I had taken music classes and performance classes and started vocal lessons at the age of 5. I currently have a great music coach, Kate Baker, who helps me to use my voice in a healthy way, and maintain my sound. She was with me through the whole process of recording “Snapshots,” which was so beneficial for me. I just have a really strong support system that is encouraging me, which makes me even more excited for what’s to come.
Your latest EP “Snapshots” follows in the same footsteps of your previous releases, leading us on a narrative about your family members. What made you choose that theme for your EP? Was it a concerted effort?
Yes, “Snapshots” is a series of pieces of my life and my family history all entwined in an EP. I am beyond proud of this work of art and I had amazing people to work with to make my vision a reality. “Snapshots” stems from my incredibly strong bond with my family. I am so lucky to have parents who are always supporting what I do, and a little sister who could not be more reassuring and encouraging. My sister made the painting that is the cover of the EP. The single from the EP is called “Airborne”, which is about my late great grandfather and my great grandmother who is now 94. He was a paratrooper in WWII in the 101st Airborne, while she always held him up at home. When he passed away, I didn’t know how to convey my feelings to my great grandma, and how to tell her how much I admired her and how heroic she was. I think that from that idea of family and love, I was able to make all the songs have that sentiment within it. I had so much help from my vocal teacher, musicians, and my producer Steve Greenwell. It takes a village, and it really took a lot of people to create what you can listen to now. I am so grateful for everyone who has taken part in making “Snapshots” and everyone who has listened!
What is your writing process like? Do you start with a melody, start with concept, brain dump lyrics? Take us inside it all!
Writing is never the same for me. I don’t sit down at a set time and force myself to do it. It is really an organic thing, sometimes I have a melody with nonsense words that I will switch out later, and sometimes I have a chord progression I want to put lyrics to. Sometimes I work with co-writers and sometimes it’s all me. When I was younger, I would just make up melodies with words that did not fit together but it is just what came out, so I went with it. Now I am more precise on the message that I am trying to get across. Lyrics usually come with a melody or after the melody, not by itself because I like to have the idea in my head first. Also, it depends what instrument I am writing on because the baritone uke gives a different vibe then the tenor uke, and definitely gives a different vibe than the piano. The instrumentals usually start out pretty simple as a skeleton for me to expand on and get more intricate as the process moves forward. A lot of the time I will write part of a verse or the chorus and sit with it for a while to make sure that I really like it. I want each line to mean something and not overall just have a loose meaning, because it doesn’t sound as important to me. Everything in my life, I like to be planned out in advance, and I am not a fan of being spontaneous because the unknowns are scary, but with music I am the exact opposite. I tune into everything with no predetermined method, which allows me to make even better music when I don’t overthink it and question the process.
How did you choose which family members to write about?
It is all organic, because some songs don’t even start out about someone, but then I realize when it’s finished that it does represent someone in my family. For example, in “I Got This Light,” I wrote it not having any particular person in mind. When I sang it full through and was able to hear every word I realized that it was my interpretation of my mom. I subconsciously explained everything that my mom is to me; she is my rock, support, and go to person. I also write about friends and the way I feel about them. Sometimes people can be disappointments and not only positive which also makes for very good song ideas. I heard someone say once, “That you shouldn’t date a songwriter, because you know when you break up you will have a pretty bad song written about you.” I think that’s true! I have so many songs in progress about members of my family including my mom and dad and how they met, my sister, etc. I think that with family you never can run out of stories to write, so I have an unlimited supply.
What was studio life like for this one? Did you have go-to snacks, a strict schedule, brainstorming time? Immerse us in the experience!
I don’t eat right before I sing, so I eat breakfast and then sing until we are finished. When instrumentals are being done though my go-to is always sushi. I had an amazing studio experience with my producer Steve Greenwell and great musicians including Aaron Comess on drums, Nadia DiGiallonardo on piano, Richard Hammond on bass, and my dad on guitar. My favorite part was when we did the backup vocals because it was just me and Steve and we found a groove and went with it. For me, making music is the magic of it all so whatever way works is what I go with. Whenever I am recording, I always tend to have a cup of hot water and honey to coat my voice and try not to speak so much in between takes. I usually feel like I sound different at different times of the day so in the morning is when I hit the low notes, and throughout the afternoon I can get to the higher ones. It’s just something I love to do and it’s fun for me to be able to experience it in all different ways, with all different people.
How do you imagine people listening to this album?
I imagine people listening to my album in any way they want. Everyone can interpret this EP differently and that is the beauty of it. When I wrote each song, it connected with me in a specific way, but the connection someone else feels may be totally different than mine, which is what I was hoping for. I want people to connect to my songs on all different levels. I would love people to be able to jam out at the top of their lungs on a long road trip, or listen while decorating the house for the holidays with my songs playing in the background. I only imagine this because these are the times that are most memorable for me when I listen to music. The beauty of music and art is that everyone can see things differently, which is something that is really beautiful. If I can reach people through my music, however they listen to it will make me happy.
We get the impression that you might be more of an old soul, especially considering the grace with which you conduct yourself and the music you write. Would you agree with that?
Thank you, that’s so nice of you to say! I guess that’s true in the sense that I do not act like a normal 17 year old. I am not caught up in the petty things of high school even though they can be tough waters to navigate. I connect with people who are more mature and relate with them. A lot of people I’ve met have told me they think I’m an old soul because of the way I write my music and how I sing. It makes me think of this time when I was younger and my parents found an old Renoir painting that looked exactly like me. It was from the late 1800’s, and it was a dead ringer for me, so I can’t help wonder if I have had past experiences and past lives which make me an old soul! I like to connect with people not only on a surface level, but I invest a lot into making a strong relationship. That is why when I love, I love so deeply and fiercely and when I hurt I feel the pain so much more because of the love I once felt.
You sing about a lot of very strong women in your life. Why do you think it’s important that their stories, in particular, be told?
For me, I write about strong female role models that I believe have shaped me into the person that I am. My family has always been such a strong outlet for me, and my mom especially has played a very important role in my life. She is the person I always look up to, and my best friend. When I was little, I wanted to grow up to be my mom. Everyone in my opinion should have the opportunity to thrive and be their best self and no matter what have support to do it. My goal is to be that person for others who feel as if they don’t have that support, and through my music hopefully there can be some comfort for them.
Who is your favorite superhero? Substantiate your claim.
I don’t know if I have a favorite super hero but I definitely have a favorite Disney Princess. As a little girl, they were the superheroes that I watched on television. I connected most with Ariel. I love The Little Mermaid and knew it back to front. When I was little, I had bright red hair like Ariel and I loved that she sang all the time, just like me. I also to this day have always loved the ocean, and the idea of living in the ocean seemed magical to me. Whenever my sister and I dressed up as princesses I always insisted on being Ariel. Then, I saw it on Broadway and I was blown away. I thought all of the theatrics were amazing and I loved every part of it. I saw the set afterwards and I was in awe of how they made this movie come to life. I always thought I was a princess like Ariel and wanted to be a singing mermaid when I grew up. I guess I fulfilled the singing part, but I’m pretty sure I will never be a mermaid!
What is the best piece of advice you have ever gotten?
The best advice I have even gotten was from my mom. She always told me, “There is no need to push people down because they will fall down on their own.” That actually is a line in one of my upcoming songs. This advice allowed me to see that mean people will destroy themselves on their own. There is no need for me to point it out. Eventually what goes around comes around and it catches up with you. That’s why I always try to be nice to everyone so no one ever thinks of me in that way.
The holidays are coming up… any special traditions you’d like to share with us?
My mom is Jewish, and my dad is Italian Catholic so we celebrate both Hanukah and Christmas. Every year my grandma (my dad’s mom) sends us zucchini bread, which is a family recipe and something I always look forward. When I think of the holidays, that is one of the things that always comes up. Also, for as long as I can remember, my family has always gone on a horse and buggy rides through Central Park during the holidays. The whole city is full of lights and the holiday spirit is in the air.
Doing anything fun this year for the holidays?
This year will be spent with family. Wherever we go for the holidays my mom and dad always make sure that we have family close. That is one of the best lessons and values that I think a parent can instill in a child. Understanding and not taking for granted the family that you have no matter what the situation may be. I am lucky enough to spend it with a very loving and supportive bunch that I wouldn’t trade for anything.
If you could perform with any artist, who would you perform with and what would you perform?
Hands down Billy Joel. He is my favorite storyteller of all. All his songs resonate with me for one reason or another and singing with him would be singing with my idol. I would sing any song with him because I believe he makes each song so powerful. My family and I went to see him perform at Madison Square Garden and I turned to my mom and was like, “Imagine what it would be like to sing with him.” One of my favorite songs of his is “Scenes from an Italian Restaurant” so I think that would be a really fun song to sing with him because we could make some really cool harmonies!
What is your favorite word?
I like the word “humuhumunukunukuapua’a,” which is a type of reef triggerfish. I just think its fun to say and fun to spell. The name originates from Hawaii and I think that it sounds very tropical!
Anything else you’d like to add?
I am just so glad I was able to share this stuff with you guys, and hopefully I can come back soon and talk about more upcoming projects that are in the works. Thanks so much for taking the time to talk with me!
Though they started their respective musical endeavors on the same page – they began writing music together at the age of 11, only to pursue different paths beginning in high school – twin sisters Leila and Omnia Hegazy were on opposite ends of the spectrum as they explored music careers independently of each other. But after graduating college in 2012, they chose to combine Leila’s R&B influence and Omnia’s pop rock intensity to create a unique and wonderful sound in a collaborative effort. It was years later, in 2016 shortly after their father passed, that the project now known as Hegazy – their surname chosen in honor of their father – .was born.
Hegazy’s debut EP Young is due out in early 2018. In honor of that news, we fired some questions at the budding stars to get their thoughts on mindfulness, the writing process, and the upcoming release.
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What was the first album or song you remember ever listening to, and who introduced it to you?
Most likely Billy Joel, although we can’t remember which album/song we heard first because our Mom was a super fan and she played ALL of them. We also heard a lot of Oum Kalthoum growing up (renowned Egyptian singer) thanks to our Dad. He was Egyptian and played her music all the time. There’s a classic song called “Alf Leyla Wa Leyla” that every Egyptian knows.
Was there a moment that you realized you had the talent and the drive to pursue music? What is the origin story of Hegazy?
We were both super young when we started singing, probably around five. We were band and chorus geeks all throughout elementary school and beyond, playing clarinet in school band and then taking up instruments outside of school (Omnia learned violin and Leila learned piano). We were eleven when we started writing songs at our great-grandmother’s piano, singing gibberish until it sounded like something. We wrote our first songs together and when Omnia started playing guitar a year later, we started writing separately. Creating on our own made a lot more sense logistically as we got older because we went to different high schools and colleges and weren’t together as often. Leila studied jazz and got into R&B and soul music, while Omnia wrote angsty pop/rock songs on acoustic guitar and flirted with singing in Arabic here and there (our Dad was the language coach throughout that process). So needless to say, we became very different people as we grew up, in personality and musical style. When Leila moved back home from college after graduation, we became roommates again and continued to work separately until at some point our styles started to meet in the soul/pop realm. We started collaborating again, co-billing at shows and sometimes even playing together. After our Dad passed away in late 2015, we decided to officially become a duo under his last name, Hegazy.
We know you work together in homage to your father, and that’s such a beautiful and unique thing to offer. But we do wonder, as twins, is it difficult working together? Are there any quirks or rules to the relationship?
That’s a great question! Twin relationships are really intense, and probably even more intense than that of normal siblings. There are no secrets, and there’s no filter because you’re so comfortable with each other, so it requires a lot of mindfulness to express disagreement constructively, without being too blunt. And because each of us participated in differing musical genres before we became a duo, we definitely have artistic differences when we write songs together. So if one sister doesn’t like the other’s idea, the rule is to sleep on it before ruling it out. A lot of times, one of us will be so opposed to the other’s idea in the beginning, but after sitting with it, she’ll realize that the idea was actually pretty darn good, even if it’s not what she would have opted to do on her own. The power of the pause is real and compromise is so important in order to make any kind of partnership work! We’ll be real with you guys and admit that we are still working on this.
What is your writing process like? Take us inside it all!
Our songs almost always start with melody and chords first, with the understanding that everything is subject to change. Even though we’re a duo, we rarely start writing a song in the same room. We still work on our own, and after coming up with a song, one sister takes those ideas to the other for feedback. Very often, one of us starts a song, and the other finishes it. Sometimes finishing it means completely reimagining it and sometimes, it just means tweaking it, either lyrically or in terms of form. Both of us agonize over lyrics – it’s probably the one thing we argue about most. Regardless of ego, two heads are almost always better than one and we know our music is better for it.
Your debut EP is expected in early 2018. What have you been learning through the production process? Any fun memories or anecdotes?
We had so much fun recording this past summer with such a kickass band and producer. Our producer Jon Seale of Mason Jar Music in Brooklyn did an amazing job of taking our differing influences and bringing them to life in a way that represents both of us. We recorded most of our vocals the same way we practice: facing each other and watching each other’s mouths so that we could match each other with precision. We have of course learned, that everything does take longer than you think it’s going to. Creativity takes time and patience is key. Fun thing: While we were recording, our producer Jon had just gotten an adorable Australian Shepherd puppy. She wasn’t there most of the time because obviously puppies make noise, but seeing her always made our day.
What do you think is the most important advice you have ever gotten regarding your music?
Our Dad was the one who constantly suggested that we work together and like typical teenagers, we didn’t listen at the time. But he is the reason we are a duo today. We know he’s up in the clouds somewhere saying he told us so.
Anything else you’d like to add?
We released two singles with music videos this Fall called “Alive” and “Here to Stay” and we are so passionate about both of them. “Alive” was written about quitting a day-job to pursue music, and for the video we actually followed around 5 real people with a camera crew as they went about their jobs and their passions. We wanted to show that how people pay their bills isn’t necessarily who they are. This video is so New York, and so us.
Our recent single “Here to Stay” is political satire about xenophobia in America and the video features the most adorable child cast. As Arab-American women, we have a lot to say about what is going on in the US right now in terms of the Muslim Ban, the removal of DACA, and anti-immigrant sentiment in general. We felt a moral responsibility to speak up through our music, and couldn’t have made a record during these crazy times without acknowledging the hateful rhetoric that has been normalized in the past few years. But the song/video is actually really uplifting and playful, despite how serious this topic is. We had a small, but amazing film crew for both videos, and we need to shout out our director Steph Ching, who took our concepts and ran with them in the most beautiful way. These projects truly came from our hearts and we’re so proud of them.
Molly DeWolf is one of those outstanding artists that immediately leaves a positive impact wherever she goes. Not only is her debut single something of a stunner, but she also attended Harvard, where she was the director of the school’s oldest co-ed a cappella group. And that’s not it! She appeared on season 10 of American Idol and went on to build RYOT, which eventually sold to Huffington Post. After a brief hiatus from her own music during those times she was off being a genius, DeWolf has now found a seamless and unique approach to the industry that allows her to create from an authentic place.
Explains DeWolf of her debut single: “The idea behind ‘8 Seconds’ is knowing someone for years, being in and out of each others’ orbit, and then all of a sudden they become your person, which mirrors my own experience and current relationship. That’s a beautiful notion to me, that ‘lighting and timing’ are the primary factors dictating your life and who you end up with, as an ex lover used to say. I’m fascinated by the idea of fate vs coincidence.”
In honor of the release of “8 Seconds”, we took a few minutes to chat with DeWolf about inspiration, motivation, and, of course, the holidays.
What was the first album or song you remember ever listening to, and who introduced it to you?
I remember my nanny ChaCha introducing me to Bohemian Rhapsody when I was about 6 years old. I was obsessed with the song and wanted to listen to / sing it all the time. My 3 year old brother became a huge fan also, because he wanted to be me when he grew up, so when he wasn’t in Batman or Superman costumes he was wearing my dresses I’d grown out of. Obviously neither of us at the time appreciated the irony of that flamboyant anthem being our soundtrack, but if I remember correctly, there are some hilarious home video VHS tapes of us from that era.
You have one of the most interesting backstories we have ever heard, to be honest. Do you mind recapping it a bit for our readers?
Yeah… let’s see. Seattle to Harvard to White House to American Idol to Philanthropic Consulting to startup news organization that pivoted to documentary films and VR/AR, sold to HuffPost/AOL, to Venture Partner making tech investments and back to music again…
Without context, my resume probably seems like I’ve been like playing Pin The Tail On The Donkey: Career Edition. It’s such a random assortment. Truth be told, most of my decisions have been made based on who I want to spend my time with more than what I want to spend my time doing. When i meet someone who inspires me, my first instinct is to try and figure out ways of working with them. That inspiration has clearly not been limited to one industry, city or sector.
Your first track off your debut EP is titled “8 Seconds” and it is nothing short of stunning. What inspired this track, specifically?
Wow, thank you. I’m so humbled by people’s response to it.
I actually wrote it with the intention of performing / presenting the song as a gift at a dear friend’s wedding. The story behind their relationship, which I watched go from friends to soulmates in what seemed like a few moments, mirrored my own romantic situation somewhat, so I was able to write from the dual perspective of firsthand participant and active observer.
I’m fascinated by coincidence and the way we infuse meaning in hindsight. We are pattern seeking animals, and I think that’s at the root of how and why we believe what we believe, especially when it comes to love.
What was the writing process like for this song and the upcoming EP? Has it developed or changed since your first foray into the music world? You seem to be in a better place, destined to create music with more meaning and that has a purpose for you.
After Idol, I told myself I had no interest in participating in the music industry. For years, this was the internal logic preventing me from creating, even though I felt pangs of remorse just about every day that I wasn’t. The writing of the EP felt cathartic in a number of ways, not the least of which was in dismantling the years of self-doubt and textbook insecurities.
I have to give credit where it’s due to the BRÅVES boys, who became friends and then incredible collaborators. Johnny What in particular, turned five stark piano & vocal tracks into something entirely else. They are so talented.
What is the best piece of advice you have ever gotten?
Everything in moderation, even moderation.
Doing anything fun this year for the holidays?
For the first time ever, I think I’ll be in LA! Even though I’ve lived here for almost 7 years, I’ve been traveling every holiday season. Cuba last year, other years Mexico, China, home in Seattle, everywhere but my current, chosen home. I’ve also been on planes just about every week of 2017, so I’m actually really excited to just be here.
Just last month, Massachusetts-based indie pop/punk rock four piece Kindling released a particularly impressive and instrumentally heavy 10-track album titled Hush. Though the intro to a lot of the tracks starts in a different soundscape, eventually the meat of most of the songs hits with multiple guitars that create an almost cacophonous ambiance around the chorus of vocals. It’s quite the experience, and while we certainly suggest showing off your dance moves while enjoying the album, we also kind of hope you have access to a starry night sky, dope lawn chairs, and string lights to enjoy “Rain”.
We got the chance to catch up with vocalists/guitarists Stephen Pierce and Gretchen Williams shortly after the release of Hush.
What was the first album or song you remember ever listening to, and who introduced it to you?
Stephen Pierce: I don’t know exactly the record, but my parents were always listening to a lot of British Invasion stuff — Yardbirds, The Animals, The Kinks.. My dad liked the Stones and my mom liked The Beatles. There’s in particular this one tape my dad had of The Yardbirds’ BBC sessions that is seared into my consciousness, right down to the hammy BBC announcer’s voice.
Gretchen Williams: When I was about seven or so, I had a camp counselor that had my troop perform the Shangri-Las‘ “Leader of the Pack” in a talent show. Naturally, I was assigned to be part of the motorcycle gang and made a construction paper leather jacket to wear. I really loved the sound and doomed-love-story subject matter as a kid, and played my cassette of the recording a lot at home.
What is the Kindling origin story?
Gretchen: In the winter of 2014, Stephen and I formed Kindling after he asked me to contribute to a few songs he’d written. Initially, we didn’t really have a sense of where we might be headed; we just wanted to write a bunch of catchy songs quickly. Our demo was just the two of us, and we subsequently self-recorded a 7″ before recruiting others to the band.
How would you say you’ve developed your sound and your relationship with each other since your first EP?
Stephen: I think Hush is definitely bigger and more ambitious than the previous stuff, which was probably bigger than the stuff that preceded that… Each recording we’re one step closer to being a fucking prog band or something. But seriously, the more ya work at anything, I guess the more comfortable it’ll feel, and I feel pretty comfortable these days with the band, from our process to our songs to how I communicate with my bandmates – communication hasn’t always been an easy thing for me. But, like: You figure out what works best for everyone, and try to do things that way.
Gretchen: Despite a lot of the lyrical content of Hush focusing on uncertainty, I think we’ve found a little more confidence on this record. We reached for a bigger, more complex sound and integrated some new instruments (mellotron and sitar appear on a few tracks throughout the album).
What is your writing process like? Do you start with a melody, start with concept, brain dump lyrics? Take us inside it all!
Stephen: I usually sit with a guitar on the couch and just, like, watch tv and if something good appears, I’ll hit mute on the tv and record it on my phone, then revisit it at the practice space, or sometimes maybe just, like, loop it and vibe it out. Lyrics come afterwards, usually I’ll demo the instrumental stuff with Andy, our drummer, and spend a lot of time listening to the instrumentals while, like, riding my bike or something. Then Gretchen and I will work on vocal phrasing and words. Or we’ll have ideas and throw them back and forth between each other, usually what we come up with is pretty similar.
How do you imagine people listening to this album?
Gretchen: Late at night when you can’t sleep; or on a long bus trip; or walking through the woods; or just trying to get through the day — basically any time you might feel a little bit wistful and restless.
Stephen: I like the thought of Hush playing annoyingly loud while quitting yer shitty job, or something. Tell off the boss in a giant spectacle with the assistance of Hush.
Who is your favorite superhero? Substantiate your claim.
Gretchen: The only comic I ever read growing up was Archie, so I guess my favorite superhero is Jughead? He always seemed pretty impervious to the stresses of modern life in Riverdale–a trait I admire.
Stephen: Spider-Man, because he was such a loser and I find that highly relatable.
What is your favorite word?
Gretchen: Probably a toss up between “somnambulance” and “goblin.”
Stephen: Mine is “Goblinambulance”
Perfection. Anything else you’d like to add?
Stephen: Thanks so much!
___
Hush is available now. Keep up with Kindling here.
In August, New York based rock trio Upright Man – comprised of Aidan Dolan (guitar/vocals), Nick Katz (bass/vocals) and Max Yassky (drums / percussion / background vocals) – released their debut self-titled album. Packed to the brim with guitar-driven psychedelia and well-rounded, intense – yet somehow innately relaxing – vocals, the ten track album made a strong impact on its audience almost immediately. Exploring a wide soundscape with the prowess of a much more experienced band, we’re under the very strong impression that Upright Man is here to stay, and they’ve certainly left a mark.
We caught up with the guys briefly before the holidays to get a little insight into their process and more. Check it out below, and get your ears on Upright Man if you haven’t quite yet!
What is the first song or album you ever remember hearing, and who introduced it to you?
Max: It’s either “Only The Lonely” by Roy Orbison, or “Busted” by Ray Charles. Thanks Mom.
Aidan: Though I had heard music everywhere before I knew what it was, the first album as a whole that I became aware of was probably Jimi Hendrix’s “Are You Experienced?” It was in the CD player in our car that we took to and from school. The attitude and badassness was so obvious to me as a little kid and I still feel the same way.
Nick: Probably “With The Beatles” or “Help!” Though I discovered at 14 that I already knew all the words to “In My Hour of Darkness” by Gram Parsons even though I had no memory of listening to the record before. So I think I heard a lot of music before I was really making memories.
We know you met at NYU, but what is the Upright Man origin story like? Was it a meet-cute?
Max: I had to look up meet-cute. No it wasn’t anything like a romantic comedy, but we all did hit it off pretty quickly. We met and hung out as peers in school and then started making music for other people’s projects. We – all three – started making prog-jazz-classical music before we moved on to the space-rock music we’re making now.
Nick: Yeah, what Max said.
Your self-titled debut just released. What has that been like for you?
Max: Releasing an album feels like the most foreign part of making music to me. We play and write so much that sometimes I forget the end goal is for other people to hear it. I’m kind of stunned when I imagine strangers listening to it.
Aidan: It feels good to enter a new stage of development for the band. Now that we have a completed product, we have to get it out there and take the band on the road. Our passion is music and creating it, but as musicians and a band, we have to take responsibility for so many aspects of the business of being a band as well.
Nick: There’s inherent satisfaction in seeing things finished. Having people seem to like it is just a nice little bonus.
Do you have any fun anecdotes from the recording process?
Max: We had a fight with a very obstinate restaurateur. We ordered enough tortilla chips and guac to fuel a small force of underpaid interns, but got zilch. When we called up the restaurant, instead of your expected “Oh we’ll fix it”, we got put on hold while the owner checked the security tapes and assured us that all the chips left with the delivery fella. What do you do, right? Try and explain the laws of physics? Zero tortilla chips delivered to us = zero tortilla chips delivered to us. We each tried to explain this to the owner and finally our producer hung up dejectedly.
Aidan: While we were recording at Avatar Studios in NYC, we decided to use the physical reverb chambers, which are located somewhere in the stairwell of the building. We realized the mics in the reverb chambers were picking up this whole class of elementary school students playing outside, creating a really eerie far away sound of children screaming and laughing. We decided to record that and even took it a step further by running outside and asking them all to make as much noise as possible to be on our record! It sounded awesome, but we never found a place for it. Maybe next record..
Nick: It was awful and I hated every minute of it … I’m just kidding, I love being in the studio.
If your album were any Thanksgiving meal dish – an appetizer, main course, side dish, dessert, drink, whatever – what would it be and why?
Max: It’s the unidentifiable yet delicious troth of hot mash brought by that one obscure work friend of your cousin’s.
Aidan: Dat bomb gravy.
Nick: Guys, you’re really selling it short, it’s the whole turkey, stuffing, drippings and all.
We really love the composition and overall sound of “Ecstasy”. What inspired that song – if we may ask – specifically?
Max: Thanks. When we were writing it I remember thinking of this image I had in my head from a news clipping. Apparently some of the older folks in Gaza would sit on this one couch on the edge of the city, eat watermelon, smoke cigars, and watch the chaos as if it were a television program.
Aidan: It started off on guitar as the little intro chorus/riff. The lyrics sort of came from describing a feeling of pure resignation and disconnection from the world, while still being ironically blissful in its comfort. There is a moment of self realization and hopefulness in the song, but some things never last. The form has an interesting way of mirroring that emotion in a developmental way.
Nick: It was born of self restraint in a way.
Being a musical project located in NYC has its advantages and disadvantages, of course, just as any place else does. Have you been able to navigate the highly saturated music scene in NYC to find some of your favorite gems?
Max: That saturation is one of my favorite things about the city. It does make people cynical about exploring new music, but for studios, venues, stores and new people to meet, being here is a total boon. Of course you meet great people everywhere and there’s plenty of shit here too.
Aidan: The saturation is advantageous in the way that Max says, giving you so many options to experience many different types of music at a high level musicianship, but as a band in its nascent stage, you have a lot of other bands and forms of entertainment to compete with on any given night, so it’s hard to grow beyond the audience of your family, friends, and friends of friends. There is a very elusive sense of a scene and you have to really make a ruckus to get people to come to your show over something else.
What are you most excited about with your debut album?
Max: Having a copy.
Aidan: Seeing and hearing other people’s reaction to our music.
Nick: Getting to the next one.
___
The band will be playing a show in honor of an upcoming video release and Aidan’s birthday at Mercury Lounge. Tickets are available now. Keep up with Upright Man here.
We caught up with the highly revered Juliette Lewis on a freezing cold day working from home. There was a strange sense of excitement in the air for about an hour before the phone call, which may or may not be attributed to the holiday season. (Or our immense love for this woman and all of her talents. Could be that.) My nerves had gotten the best of me, as I explained to my father earlier in the day that Lewis recently released her first collection of songs in years – an incredible EP titled Future Deep – and that seeing her perform live this past summer had really increased my faith in her ridiculous amount of talent.
Check out the fun – but all too quick – conversation we had with Juliette below. We’ve included the EP for you to rock out to for the rest of the year and beyond.
How are you today?
I’m pretty good. Just a few more days until Christmas. I’m not sure. When is it? (laughing) Where are you based out of? I’m in Los Angeles right now.
I am actually in Kansas City, Missouri.
Wow, that’s neat.
So we’re snowed in right now. Is it OK out there? Heard it’s been raining.
Oh yeah. It’s raining and it’s freezing per L.A. weather, which is great. (laughing) It’s good. We needed rain so it’s all good.
Absolutely. Alright, let’s dig in! Your career is super expansive and amazing. Everything you touch turns to gold. So we were wondering, what keeps bringing you back to music?
That’s sweet. When I was a kid, I was always involved in music. So when I was a kid – before the art mediums were segregated to the extent that they are now – I took dance and sang in musicals and created characters and did storytelling. Then, I got successful doing one thing, which was mainly actin gin movies. When I turned around 30, I thought, “Holy shit, you’re 30 and you didn’t do that thing you wanted to do.” And that thing was to make music.
For me, it begins and ends with a live show and the live show experience. I always likened The Licks – my first band – to like, when you have a band out of high school. The music was really energy based, I wrote songs specifically to perform live. It’s not until now that I’m really enjoying the process of making the album. I got into the idea of making rock music as a collective, so I worked on this record [Future Deep] with Brad Schultz – who produced half of it and is a songwriter as well as a member of Cage the Elephant – and Isabella Summers – who is in Florence & The Machine, I did a few songs with her. For Future Deep, I wanted to work with people and write songs that I dug.
What keeps me coming back to music – and any art form – is necessity. I was touring for about five years and wasn’t making movies. What brought me back to acting was the thought that I wasn’t done and I still had more to say. In both mediums, I feel like I still have more to say. So it’s about navigation of those two streams – those two currants – and it’s proved challenging but exciting at the same time.
Fair enough! Your live performance – like you said – is crazy. I knew you made music and I had heard it before, but I didn’t get to see you until Riot Fest Denver this year and you KILLED IT. Your Evel Knievel outfit, your presence. What made you decide to go with that?
I don’t know! (laughing) I like showmanship. But at the same time, there’s no other way I can be on stage. I don’t know how to do a sedate show or a whatever show. Every show I do, it’s like my life depends on it. And it’s the people that bring it out in me because I want to move every single set of eyes I see in the crowd.
Music – for me – has been sort of spiritual in the sense that I used music to get over a lot of fears. I used to – believe it or not – have a fear of crowds that was happening when I lost my anonymity at around twenty. I never wanted to go to malls or concerts or any place where there could be crowds. The great irony is I formed a rock band and now there’s no crowd I can’t put myself in front of. I don’t throw myself in every crowd, but mostly it cured me of my fear of people. I like the idea of bringing danger and electricity and unpredictability to a live show experience. It’s an expression to me against the anesthetized, plastic part of our culture that’s been happening, especially with women in the arts where there’s this weird, unspoken way with which we deal with women in the arts.
I also feel like a superhero on stage. And Evel Knievel, he wore a badass suit. So I got one made. (laughing) I was inspired by David Lee Roth and others growing up, and he wore great outfits.
performing at riot fest denver 2016
I wish I could pull it off! You do everything right!
Well thank you, I’m glad you were there!
Very happy I got to experience it. So what do you do to prep for a live performance like that though?
It’s weird because when I started my band, I very much approached it – and I guess acting more and more as I go on – by trying to maintain energy. So before I go on, I stretch and love looking at a venue or a space before it’s filled. Every stage has an electricity or a vibe, which is one of the pleasures of touring. You have all that came before you in that space.
I am inspired a lot by my band this time around. I had a bass player named Juan Alderete (The Mars Volta) and his groove alone would excite me for a show. He’s one of my favorite bass players of all time. I was just really excited to play with the group of people I put together. I always know why I’m doing it. I love people and having them come into a space to form a collective and shed their fears and problems and get into a space where we all unite and celebrate life, love, and music.
One ritual I do have is when I’m putting makeup on my eyes. When I’m doing my eyes in the mirror, there’s a focus and I’m doing vocal warmups while I work on it. I always do my eyes, but everything else I sweat off.
So Future Deep makes you feel like a total badass when you listen to it. Are there any fun anecdotes that you have from creating it?
Each song has a whole life of its own. “Hello Hero” is a song Isabella and I created in London. I met with her, we talked about music. It’s so neat to talk about something, to play a song and to create a beat or melody and watch it all come to life. When Brad and I made all our songs, it was snowing. I went to Nashville and we bunked out at a studio there and it was so great because it was snowing outside so we didn’t want to go outside. We made “Any Way You Want” and “I Know Trouble” – which is very inspired by “I Put A Spell On You”.
A lot of the best songs will sort of write themselves. I usually work with musicians who will play something and it will unlock a whole story that is sitting there within me, or a melody. If you’re connected to your truth, you can then access it.
One time, they took me out to Bowling Green, KY. I basically kidnapped most of the members of Cage the Elephant and made my EP. Drummer Jared Champion, Matt, and then Brad Schultz took me out to a bar in Bowling Green. I have a rule where I don’t accept shots or drinks from strangers, but (laughing) I just missed that rule. It was their southern hospitality. I was wrecked in the studio for two days and they just made fun of me. So that was good, I was like a member of the band for a minute. I passed the test. (laughing)
The whole record was made in a couple weeks. It started because I knew Brad Schultz from ten years ago when we were both touring in London and then I heard a recent record of theirs, and I digged the sound a lot. New rock n’ roll doesn’t have a whole lot that’s carrying the torch of soul and groove in the music, but they do it. They do it right.
Do you have a favorite song from the EP at all?
Definitely. We played most of them live the past year, so I do. These songs live take on a life all their own. Like “Future Deep” takes on this dance tone, and people are super into it. “I Know Trouble” is definitely a favorite as far as just a soul-ripping blues song. I love “Any Way You Want” as an out of the gate rock track. And “Hello Hero” is one of my favorite things I’ve done of all time. It’s dancey with big beats and the grooviest bass line. I love “Hello Hero”.
I will have to say I do everything haphazard because I’m totally independent. Vinyl is coming in two weeks, I’m making all of this myself. There’s a lot of freedom in it. Then there is social media and things like this interview that are fun and very helpful.
Over the years, have you had anything interesting or fun on your rider list?
We have such a basic rider. One, we’re so punk rock and low budget. (laughing) There is NOTHING fun on our rider. We play little rock clubs where you’re lucky if you get half your rider. PLUS I always have a couple vegans in my crew, so we prioritize getting them fed. Especially in Europe. So there’s nothing fun ever. Socks? I’m not vegan, but ginger cookies. I like ginger. Nothing exciting. (laughing)
What would your advice to young girls chasing their dreams around the world be, especially with our current political climate?
My biggest advice is to find your truth. I learned how to sing from jazz music, and I realized imitation isn’t bad as long as you develop who you really are. To imitate Billie Holiday or Ella Fitzgerald – I used to sing like that. Then I got with Linda Perry and she helped me get more courageous. She asked me what I like and what it is I want to say and we just started playing. So I would just tell people to try. There is no perfection. Be willing to make mistakes in your art and keep doing it. Stop it with the pressure.
I think with social media, people like writing and directing their own bits online and putting themselves out there. Perhaps there’s less perfection. But then on the flip side, there are young girls who say, “I can’t take a bad picture.”
I’m really big into doing what you fear. Not in an unhealthy way, but to stand up and speak a poem you wrote that was meaningful to you. Say it in front of people. There are so many inspiring things that come from that and you’ll find that there are other people who hear and feel your truth. You’ll find who you’re meant to speak to and where you’re supposed to be.
Please break the mold and don’t get lost in beauty stereotypes. Nowhere in my art am I thinking about being safe or attractive. My deeper concern is expression and connection. That is the end all be all.
I got the privilege of touring with Chrissie Hynde of The Pretenders and it showed me that with certain artists, I don’t see any age. I don’t see anything but a one of a kind voice and a musical force with the most incredible songs. I got to tour with her and Cat Power f0r a month and it was such a phenomenal experience. Two completely different women and musicians. It was so liberating.
You do amazing things, woman.
Well thanks! I’m just open to opportunities and trying not to overthink. I try to leave it to chance. I don’t always feel prepared, but I’ll go for it and do my best in that moment, where I’m at. This record we just made is nothing I would have been able to write ten years ago. But ten years ago was what I could do at that time.
Do you have any big plans for the holidays?
Yes, I’m going to go to the snow. I grew up in California, the snow is like a miracle of life. “OH MY GOD! THERE’S SNOW!” I just want to be surrounded by it. I love that you’re surrounded by it and can’t drive right now. We’re going to Utah. I’m going with my guy and his kids and my sister and their kids for New Years. I’m really excited to play board games and to be stuck with each other and do things in the snow.
As far as Christmas, I’m just doing my thing with family. Should be relaxing.
Anything else you’d like to add?
Try and be active in the things you believe in and connect with other groups who are also active. Try to protect the vulnerable. That’s the main concern with our political climate is those people who have to be vulnerable by whatever things are about to be laid down. Right now is a very inspiring time. People are finding their voice and coming together. I’m going to that march on Washington for female rights at the end of January. We’re all coming together. It’s amazing.
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To get your own copy of Future Deep, head over to juliettelewis.com. Keep up with this unicorn of a human on Facebook.
In August, Los Angeles-based pop singer/songwriter JADE released her debut EP to critical acclaim. Featuring the beautiful singles “Find A Place” and “Wait For Me” alongside seven more incredibly produced tracks – including our personal favorite “Won’t The Rain Come Soon” – the made quite the impression, floating her ethereal vocals effortlessly over both acoustic and more electronically-driven tracks.
If you haven’t gotten a chance to listen to the flawless lines on PINK, check it out below and then read on for a fun little interview JADE did with us recently!
What is the first song or album you ever remember hearing, and who introduced it to you?
I think the first artists I had been introduced to were Bryan Adams and Michelle Branch. My dad would always play their music in the car or throughout the house.
Was there a moment that it struck you and you realized you were going to pursue music, or did it kind of slowly evolve?
It slowly evolved. I liked to play the “famous game” as kids with my friends; we were big time celebrities and we would try to write songs and preform them to each other. Eventually, I started doing it on my own. It went from being a game, to a hobby, to a lifestyle.
You have such a – dare we say it? – unique voice. It’s raspy and delicate at the same time, ethereal almost. Did that come naturally, were there vocal lessons involved?
Thank you! I did take voice lessons to help control my pitch and my breath. But my style of singing has evolved through listening to other artists and realizing certain words and phrases are easier to sing depending on how you pronounce them. A lot of muscle memory!
Your album PINK has been out for a minute, and it’s an absolute gem of a release. If you could sum it up for us and say your album is a Thanksgiving dish, which one would it be and why?
If my album were a Thanksgiving dish, it would be green bean casserole. People like it and it’s important, but there are bigger and better things to come!
“Wait For Me” was, of course, a beautiful single to release leading up to dropping PINK. But we are absolutely enamored by “Won’t The Rain Come Soon”. What specifically inspired it, if you don’t mind us asking?
Thank you, WTRCS is one of my favorites. It’s about the different struggles you go through in different periods of your life and wondering when you’re gonna get a fresh new start to something that can be better.
What was studio life like? Immerse us in the experience!
It can be very long days. Sometimes up to 13 hours. No snacks, but we usually order Uber Eats so we can stay on task! A lot of water and caffeine for everyone. Sometimes we’re all really pissed off because something isn’t working how we want it, so we’re all keeping to ourselves or feeling kinda low. But then two hours later we’re jumping up and down screaming along with the lyrics, talking about how we’re gonna take over the world. It’s a unique experience that I wish everyone could try it!
Do you have a favorite song or favorite song to perform, whether it is your own or someone else’s?
Off of PINK I think “Sorry” is my favorite! Off the next album we’re writing, there’s a lot of really fun songs that I can’t wait to preform. I also love to sing “Crazy” by Gnarls Barkley.
Anything else you’d like to add?
I can’t wait for this new album that I’m currently working on to come out! It’s emotional, fun to move to, has songs that will get stuck in your head, and is more mature sounding. Every song is a bop. 2018 will be a good year!
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PINK is out now. Keep an eye out for new music from JADE right here!
