Tilla On the Making Of “Keep Your Head Up (I'm A Mermaid)”
What was the creative process like for this particular "Keep Your Head Up (I'm A Mermaid)?"
Maybe you know the Stoic saying, “hard decisions, easy life - easy decisions, hard life”. Maybe it was like that for “Keep Your Head Up.” I started with this song in 2020. It was a House demo at the time and I was not at all satisfied with what it sounded like. So I put it away for three years and listened back to it last month and it still sounded like crap. After that I deleted everything, I made a hard decision. I deleted everything but a sample of the piano and part of the lyrics and started to redo the song. And at once it got so much easier, I went into a paralyzed flow state and after 16 hours I had the whole creative work done, including mastering and artwork, which was really unexpected.
Can you talk about the recording and production process for "Keep Your Head Up (I'm A Mermaid)?"
It took like 10 hours to finish the recordings, mix and master. I started based on the structure of the old song version, verse, and chorus. With that I started looking for a drum sound. So I took an old, crappy Telefunken mic from the 60s that was used with old voice recorders and put it between snare and kick, compressed it heavily, processed it a little further in the box and I had my drum sound. I built everything else around that energy. The bass is a Moog that is not sequenced, but played. I distorted that one heavily and it worked. For the vocals, I had this epic vision of a siren that is just sitting on a rock in the sea and singing their heart out. I just really went after what my ears told me without taking in regard the technical stuff I learned over the time. It was really freeing to do that.
How does this track fit into your overall artistic vision?
Vision is a big word, a big topic. I believe, with this, my solo project, I want to be free of expectations, even if this means I’m genreless, which is a major problem. If you listen to my solo discography, which is pretty small at the moment, but will be filled up during the next year, you can hear many different influences, ranging from Massive Attack over Mark Ronson to Kyuss. I had a long break between releases. I released three songs in 2020, Mermaid is only the second song that was released in 2023. I was able to get back to releasing songs because I decided to let it go. I just decided to let it go and do my thing and see how I feel about it and so far I feel pretty good.
Can you tell us more about you as an artist?
I'm one of these guys who have been into music for all their lives. I think music saved me, literally. Music always helped me through bad times, made it possible to express emotions I couldn't express otherwise and I believe that shows, I hope that shows, musically speaking, to be a vehicle for people who have a feeling of being lost or not knowing their way or feeling trapped in their lives to get that easy way out for a moment.
Where do you find inspiration for your songs or musical ideas
Honestly, as long as I grab a guitar or sit at the piano, ideas start to take shape within me. I believe it’s a combination of two main influences. One, being able to listen to all the great music that is out there, inhaling that, and two, the feelings inside me that are looking for a way out.
Austin Carr On the Making Of “Tame Me?”
What was the creative process like for this particular "Tame Me?"
For a while, I wasn’t sure if I would ever record this song myself, because I tend to make pretty introspective sad boy music. Coming out with a higher-energy, flirty song where I repeatedly belt the words “tame me” over and over felt extremely out of character, but I wanted to lean into the silliness and take myself less seriously as a songwriter.
This song is ultimately about a power struggle in a relationship. I wanted to write a story about someone trying to “fix” or “save” their partner using the metaphor of a person trying to rescue a wild animal by putting them in captivity. There’s a cat-and-mouse fight for control throughout the song, loaded with tongue-in-cheek double entendres that were very fun to write. In the end, it’s up in the air about who is taming who.
Can you talk about the recording and production process for "Tame Me?"
I worked with the producer for my EP, Alyssa Wilkens, to develop an 80s-inspired country pop track that captures the feeling of being at a sexy desert dance party. We tried a few different bass lines, instrumentation, and even tempo before we finally found our footing and settled on a vibe that felt right for the song. I’m very excited about where we landed.
Are there any future plans or projects related to "Tame Me?" that you're excited about?
There are! “Tame Me?” is the first single from my upcoming EP “Saturn Attacks” which is coming out in the spring of 2024. The EP tells the story of a fairly chaotic late-20s Saturn Return through a series of uptempo retro pop songs and slower country ballads, influenced by iconic artists like Bruce Springsteen and Phil Collins. I’ll be releasing more singles in the coming months and I’m excited for people to see how all of the pieces fit together into one cohesive project.
Can you tell us more about you as an artist?
I’d sure love to. I’m a gay boy singer-songwriter currently based in Los Angeles, California. I grew up in a religious Southern community in Florida, so my music is both filled with trauma and inspired by classic folk and country songwriters. I think it’s very exciting to blend the genres of folk and pop together and see what concoctions you can come up with, so I’ve always looked up to artists like Kacey Musgraves and Taylor Swift. I think there’s something inherently subversive about making country and folk music that tells queer stories, since it’s a genre with a fanbase that hasn’t always looked fondly on sexual minorities.
Jojo Engelbert On the Making Of “Not A Real Blond”
Can you tell us about the inspiration behind "Not A Real Blond" and the story it tells?
Some songs have very deep stories with important meanings. This song is not one of them. Really, it’s just a song about a girl who has a crush on a boy with fake blond hair. The music video gave the boy a wig. Not quite sure that was what I envisioned when writing the song. But, I think it worked.
Were there any memorable or standout moments during the recording sessions for "Not A Real Blond?"
I loved how the backing tracks turned out. I felt they really captured the vibe. I wanted the song to be reminiscent of Avril Lavigne, Paramore, and Olivia Rodrigo.
What has been one of your favorite memories along the path to making "Not A Real Blond?"
The process of making the music video was something special. I was not just holding a microphone singing the song; I had a chance to act and develop a story. I remember how horrified the director was when he saw the two wigs that were ordered. They were really awful. But somehow, we were able to make them work.
Can you share a bit about your musical background and the journey that led you to where you are today?
I come from a family of musicians. I have grown up with it. When I was much younger, I performed on my older siblings’ television show, Ariel & Zoey & Eli, Too. I then went on to musical theatre where I had roles in productions of Fun Home and Secret Garden. But this is the type of music I enjoy most. Although I do prefer a darker sound - more similar to Lana Del Rey.
What role do you feel emotions play in your music, and how do you channel them into your performances?
I love acting. I prefer dramatic roles. Same with music. I prefer a track and lyrics that allow me to express emotions that are meaningful. Don’t get me wrong, I had a lot of fun with this track and this video. And I think I was able to dial in the fun and lightheartedness.
Jack the Owl On the Making Of “Club Bored”
What was the initial spark or idea that led to the creation of "Club Bored?"
The initial idea for the song “Club Bored” came from a night out with friends at an electronic dance club. It was a long and fun night and we also ended up watching live concerts at home.
Were there any memorable or standout moments during the recording sessions for "Club Bored?"
A big part of the song was recorded fully at night, I started with the vocals around 5 in the morning haha.
What do you like the best about "Club Bored?"
The feeling of freedom and joy. Everything in the song came very naturally. I like how the different melodies work together and how the hierarchy changes. In the end, it evolves into something rough and heavy.
Can you share a bit about your musical background and the journey that led you to where you are today?
I started out as a bass player when I was 11. I still play a lot of bass in different bands. After playing in a pop/rock/punk for several years I got interested in producing music. So I learned how to play guitar and a little bit of keys. My first 2/3 songs were instrumental and the band I was playing in I just helped with the instruments. After a while I started journaling and started using those subjects for songs. I also started recording for other people and doing live sound. All those things together inspire me now to write and come up with different parts. After punk, I got more interested in indie/psychedelic music and the complexity of that. I still like to remain some heavy guitars though!
How do you continuously grow and evolve as an artist?
I try to challenge myself to make new styles of music and try different mixing techniques/plugins etc. I study music production now in The Netherlands and at the study I get challenged a lot to try different styles even world music. I try to apply as much as possible and soak in the environments that I come across. Doing different disciplines within the music industry keeps things fresh for me :)
ettie On the Making Of “Marty McFly”
What was the creative process like for this particular "Marty McFly?"
The inspiration for this song happened when I was sitting in the sun in the park I grew up by (my creative process is near-exclusively in public, it’s very annoying). I was just reminiscing on my adolescence and how so many different versions of me had walked through this park, and how most of those versions weren’t living authentically. I went home kind of sad about not being able to get my formative years back since I spent so long denying my sexuality, and I thought of how cool it would be if I had a time machine and could go back in time and tell myself that it’s alright. And we haven’t mastered time travel in this world yet, but they did in ‘Back to the Future’…
Can you talk about the recording and production process for "Marty McFly?"
I connected with Alex from Spit Recordings about making some new music, and I played him the selection of songs I had been working on and he absolutely loved “Marty McFly.” I went into his studio and the song came to us super fast. We have the same punk-rock influences, so we just spent time having fun getting some cool riffs in and then adding some fun synth effects. Working with him is a whole vibe!
What do you like the best about "Marty McFly?"
When I wrote it it felt special. I know that sounds kind of lame but sometimes I write something and it makes me feel all warm and fuzzy. Creating this song really felt like home.
Can you tell us a bit about yourself and how you got started in music?
I’ve always been writing stories, ever since I was really young and had nothing to write about so I would just make things up. As I got a bit older and started getting into pop-punk music I realised that my love for writing stories could also be put into song.
What are some of the biggest challenges you have faced as a musician, and how did you overcome them?
The music industry is changing so frequently at such a velocity that it is so easy to feel stuck sometimes. It’s taken me a while to realise that success isn’t stream or follower counts, it’s the people who listen to your music every day and can sing the words and come to your gigs and get to know you. It’s so easy to get lost, but I try to hold onto that.
Aisle Five On the Making Of “Evil Eye”
What was the creative process like for this particular "Evil Eye?"
Our guitarists initially came up with the beginning melody you hear throughout the song. They wanted to write something dreamier than our usual sound. The first title for “Evil Eye” was “Twinkle Song” because of the twinkling guitar in the intro. The name stuck around for a while until we finished writing the lyrics to the chorus, which felt like a perfect fit.
Was there any challenge that you encountered while making "Evil Eye?"
The entire vocal melody for both verses and pre-choruses went through several alterations before its final form. If you listen back to earlier versions, it sounds like a completely different song. This was the biggest challenge in completing “Evil Eye.” We just kept pushing to create a melody that clicked with the arrangement.
What has been one of your favorite memories along the path to making this track?
“Evil Eye” was the first song we recorded in a “real” studio. All five of us saved and split the cost of renting a studio for a day to record all of our upcoming releases. Everyone was so excited to be working at such a cool recording studio that would capture our music at such a high quality. We spent over 12 hours recording and perfecting the songs that day.
Where do you find inspiration for your songs or musical ideas?
Each of us comes from a fairly different musical background, so it is difficult to give just one answer. As it comes with the territory, we are all very big music lovers and draw from a wide range of styles and artists. However, we continue to inspire each other and play off of each other's ideas constantly. Our true inspiration comes from our very strong collaboration and bond as a band.
Are there any specific venues or festivals that you dream of performing at?
We would all really love to play Metro in Chicago again someday. We have been lucky to perform there for a battle of the bands event multiple times, but coming back to headline a show would be incredible for each of us. Aside, we all got to attend Lollapalooza this year and have dreamt of playing at festivals like that.