Marlene Larsen On the Making Of ‘Galore’

Punk Head 9/22/23 Punk Head 9/22/23

Rob: Earth-One On the Making Of “GOIN’ CRAZY”

What was the creative process like for this particular song, "GOIN’ CRAZY?"

The creative process for “GOIN’ CRAZY” wasn’t unlike the process for most of my other songs. I was going through some beats by the producer, Jesse Shirts, and came across the beat for “GOIN’ CRAZY.” I immediately knew that was the one. I listen to a lot of indie rock and have been looking for something in that realm. When I heard the instrumental, I kinda instantly knew what I wanted to write about.

Were there any challenges or breakthrough moments during the songwriting process for "GOIN’ CRAZY?"

I didn’t really have any challenges when writing the song; it all just sort of happened naturally. I did have a breakthrough moment when listening back to the demo recording. I felt really proud that I had made something this good. It is easily one of the best songs I have ever written/made. I’d like to take a second to once again shout out the incredible Jesse Shirts, who produced “GOIN’ CRAZY.”

Can you share any memorable experiences or stories from performing "GOIN’ CRAZY" live?

One memorable experience from performing this song live happened in Wilmington, North Carolina. This was maybe two months before I officially released the single. I introduced the song to the crowd, halfway through my set and told them a little bit about it. By the end of the song, people were singing along and dancing to it. That’s when I knew I had something really special with this one.

Can you tell us a bit about yourself and how you got started in music?

I have been a musician since the age of 11. My first instrument was the trumpet, then I moved to the piano/keyboard at 13 and then taught myself guitar at age 19. I’ve been writing raps as long as I’ve been playing instruments, but I didn’t really start taking it seriously and recording until about age 16 or 17. Around that time was when rapping and being a vocalist became my primary area of focus, as an artist. I still play the piano and guitar, very often.

Are there any specific venues or festivals that you dream of performing at?

Besides the obvious, like Coachella, Bonnaroo & Lollapalooza, I really want to play Hopscotch, which is probably North Carolina’s biggest music festival. The lineups are always very impressive and I feel like I’d fit right in at that festival. I’ve been wanting to play that one for years! I’d also LOVE to play The Governors Ball in NYC! I’m from Brooklyn, so that would definitely be a bucket list type of thing for me. I’d be very, very happy to make that happen at some point.

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Punk Head 9/19/23 Punk Head 9/19/23

Para Lia On the Making Of ‘In Clash With The Zeitgeist’

What was the creative process like for this particular album 'In Clash With The Zeitgeist?'

Cindy: Actually I cannot say that much about it. René is the soul and heart of Para Lia. He creates everything. He say’s am his muse, so maybe this is the only part I do in this case. J

René: The inspiration came a while ago when we found a place in Greece called ‚Nagual‘. It’s a beach bar, run by a musician from Athens. A place much different from normal beach bars beside the Greek sea. The music is special here – a lot of dream pop, and psychedelic, music throughout the decades – and special are the people who join this microcosm of alternative life. It was and is a fine enclave of free ghosts and open-minded people – and this is what we felt even more in times of Corona. With the song ‚Nagual‘ which i wrote about 2 years ago it started and from here the ‚red line‘ of the album grew.

Can you talk about the recording and production process for 'In Clash With The Zeitgeist?'

Cindy: Recording for me means, the song is almost ready. All the instruments and the voice of René are recorded. René gives me his ideas, on how my voice should be included in the song. Without notes or anything. He says:” Let us try it like this and he sings my part one octave deeper. And then I try to make it. So far we are happy with the results. J It’s an easy way for us, because in the meantime I know very well, how he wants me to intone.

René: The Para Lia recording process is an intimate thing. All the stuff is recorded at home. Without modern techniques but with passion, time, and a lot of old-school equipment. The second part is the mixing and mastering and this we did in Berlin in the studio with Thommy Hein. A great guy with tons of experience and a guy who loved the Para Lia stuff when he listened to the demo versions. So in Berlin, we worked together and we got the sound we wanted for the album.

Which song from the album do you like the best and why?

Cindy: I adore all of them. Really. The most special is “Mr. Perry” because I love the Opera part. It’s something special and it was a big wish of mine to combine classic music with Indie Rock. I am very happy with the result.

Also “Yellow Rose” reaches my heart. It´s a deep song with a lot of strong feelings and a great arrangement with guitars, piano, and the good old mellotron.

René: I do not have a favourite one. Or better to say, I have 11 favourites - the whole album as a “big round thing” and I really love the way it came out as a unit.

What are some of the biggest challenges you have faced as musicians, and how did you overcome them?

Cindy: I am in front of my biggest challenges. Next year we want to go out with our live performance. I’m looking forward and I am really excited because I am the only one in our band with no experience on stage.

René: In the song ‘Mr. Perry’ we sing about what it means to be an indie rock band without a big budget, without songs for mainstream radio and stuff like this. To get an album like this done – not only the recording but all the stuff around till you get it out - besides having a main job is a hard task. The main challenge right now is to complete our metamorphosis from an indie rock duo to a band with six members. We work hard on a live set and the plan is to go out on stage with Para Lia next year.

How did your band members initially come together?

Cindy: We met each other in 2014 and it was immediately love. Since 2017 we are even married. We have a great relationship and I love it to be a part of Rene’s life. When we came together, René played a lot of Neil Young songs with his white guitar. Ramada Inn and Cortez the killer. I can remember this very well. I loved it. Step by step he restarts with songwriting. (He did this when he was studying.) Once he asked me to sing some “huhuhuuuus” in his microphone for another song he wrote. Soap bubble dreams. This was the beginning and a few songs later Para Lia was born and Rene gave my voice more and more space in the songs, even songs only for my voice. I am very happy about this.

René: We met, we fell in love, I found out that she was like a muse to me, so i started to write songs again (after a pause of many years), and then - because i love her voice – i asked her to sing on a freshly recorded track. It worked so well, her contribution indeed was the cherry on the cake. So the Para Lia thing started. All in all a very logical process, isn‘t it?

Punk Head 9/18/23 Punk Head 9/18/23

My Life Story On the Making of “I'm A God”

How does "I'm A God" reflect your musical journey and growth as a band?

In some ways, it’s a good example of the hybrid nature in which we now work. It starts off entirely electronic and then finishes with Les Paul guitars, real bass and drums, and a string section.

Could you discuss the lyrical themes or messages conveyed in "I'm A God?”

The title is obviously provocative and the lyrics are meant to challenge our preconceptions of what a ‘god’ is. To so many people a god is still a divine comfort blanket, a concept for living a righteous life. To many others, it’s a footballer or a daytime TV celebrity.

I wondered how many complaints about blasphemy I would get on social media - I’ve had 1 so far. Which is an interesting exercise in itself. Obviously, it’s not (blasphemous) It’s a statement about our culture, by juxtaposing a real god next to a false idol it creates a collage of lyrical contrasts.

How does "I'm A God" fit into your overall artistic vision?

I’ve always loved ‘listing songs’ one of our best-known tunes is 12 Reasons Why I Love Her (1996) which is just a shopping list of love.
So in some ways, it’s very traditionally My Life Story.

What has been one of the most significant moments of your musical journey so far?

Recording Adele when she was just 11 years old ended up being significant when it wasn’t initially.

What do you enjoy most about performing live and connecting with your audience?

A sense of completeness. It’s the final act of all the hard work... writing, recording, and producing is the groundwork. Performing live is like going into labour!

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Punk Head 9/15/23 Punk Head 9/15/23

P.M.Tiger Releases “Mr. Big Shot”

Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?

This song honed in on our Indie Rock and Indie Pop style. It is the most P.M.Tiger song out on the market to date!

Can you briefly describe what the song/each song is about?

What do you get when you mix Kanye West and the 1975 together. No Clue... but both of these artists are wrote the book on big egos. Mr. Big Shot is about self-reflection and catching yourself when your ego has led you astray.

Where was the single/EP/album recorded and who was involved in its production?

We recorded Mr. Big Shot with our good buddy Austin Coupe in Lakeland, FL. He's the most gifted producer that we know, so we wouldn't have chosen anyone else.

How and where did you get together?

The three original members (John, Jordan, and Josh) got together about 7 years ago. It all started in Josh and Jordan's parent's FROG (front room over the garage) when Jordan wrote a few songs. Josh had never played any instruments, so he just learned to the keys so he could play too. John would drive up to GA from Clearwater, FL just to practice with us.

Are there any other interesting or amusing happenings – no matter how small – that the band have been involved with that would be of interest to those who like your music?

We are just genuine dudes. We really feel that this shows in our music and on camera. So, if you check out our music videos, you will see some weird stuff.

Punk Head 9/8/23 Punk Head 9/8/23

nasmore On the Making Of "When It Feels So Fake"

Can you share any interesting or unique musical elements or production techniques used in "When It Feels So Fake?"

Absolutely! Producing "When It Feels So Fake" was a wonderful journey of experimentation and sonic exploration. There are several elements and techniques that stand out.

For example, to create a raw emotional connection between the two parts of the song, there is a moment of stark minimalism juxtaposed against a richly layered crescendo. This dynamic movement helps convey the emotional peaks and valleys of feeling out of touch with one's reality.

Also, throughout the song, there's a deliberate play with panning and space. Instruments and sounds frequently move from left to right, immersing listeners into a 3D sound environment. This mirrors the song's theme of navigating through the blurry lines of reality and fiction.
To make the track resonate more with the theme, I sampled and layered sounds from everyday life but manipulated them in a way that they sound slightly 'off' or 'distorted.' This subtle twist further plays into the song's narrative of things feeling 'fake' or 'distant.'
In essence, my aim with "When It Feels So Fake" was not just to craft a song, but a soundscape that evokes the uncertainty and unease of not being able to distinguish between what's real and what isn't."

How did you approach the arrangement and composition of the music for "When It Feels So Fake?"

Arranging and composing “When It Feels So Fake” was both an intuitive and intentional process. Here's a closer look at my approach:
Before diving into the technicalities, I wanted the song to have a narrative arc that corresponds to its theme. It begins with a sense of confusion, dives into moments of introspection, and culminates in a resolve or acceptance of the 'fakeness' of it all. The arrangement was designed to echo this journey.

I started the song with a sparse arrangement — very punchy but haunting kick drum to immediately capture the listener's attention and hint at the forthcoming exploration. As the song moves into its verses, the music gradually builds in complexity.

The chorus is where the arrangement is fullest. It's the emotional climax of the track, with all elements coming together to underscore the main theme. However, instead of making it overpoweringly dense, I ensured there's still space in the mix for each element to breathe, mirroring the clarity one seeks amidst the chaos.

Then there is a bridge after the second chorus. It breaks away from the established patterns, offering a sonic palette cleanse. It’s a bit experimental, reflecting moments of self-questioning and doubt. It then builds back into the third verse with renewed energy.
Compositionally, I wanted a balance between predictability and surprise. It was important to me that the musical choices served the emotional and narrative intent of the song, ensuring that the listener is not just hearing, but feeling the message."

What did you enjoy most about making this track?

Creating “When It Feels So Fake” was a truly enriching experience for me. What I enjoyed the most was the process of discovery. I ventured outside of my typical boundaries, experimenting with unfamiliar instruments and techniques, which made every studio session feel like a new adventure.

Also, the song's theme resonated deeply with my personal observations. Being able to channel those emotions into music was cathartic. I found joy in the small moments, like when a particular sound texture perfectly captured a sentiment, or when a lyrical phrase encapsulated a complex emotion.

Lastly, witnessing the song evolve from its initial idea to the final mix was profoundly satisfying. It's like watching a story unfold, and with each layer added to production, the narrative becomes richer and more vivid.

Where do you find inspiration for your songs or musical ideas?

Finding inspiration is a continual journey, and it comes from many different sources. Personal experiences, whether they're joyous, heartbreaking, or introspective, offer a lot of song ideas. A simple walk in the park, a deep conversation with a friend, or even a moment of introspection can all be catalysts. Reading a compelling book, visiting an art gallery, or watching a thought-provoking movie can evoke powerful emotions and ideas in me. Occasionally, I wake up with a melody or lyrical idea in my head. The subconscious mind is a mysterious and wonderful thing, and I often find that my most unique ideas come from dreams or daydreams.

How do you approach collaborations with other musicians and maintain creative synergy?

Collaborating with other musicians is one of the most rewarding aspects of my musical journey. It's like merging different worlds to create something new and unique. Every artist brings a unique flavor to the table. I believe, it's essential to respect and value each other's perspectives and ideas.

I also believe that listening is just as important as contributing. By actively hearing out my collaborator's ideas and understanding their thought process, I can respond more effectively, and together, we can craft something that represents both of us. We all know that not every idea will align perfectly. There are times when compromise is necessary.

Ultimately, the key to successful collaboration lies in mutual respect, open communication, and a shared passion for the music. When these elements come together, the resulting synergy can lead to something truly extraordinary. Even though I collaborate a lot, I still learn how to do it better.

Soundcloud

Punk Head 9/6/23 Punk Head 9/6/23

LONG/LAST On the Making Of “Therapy”

What was the creative process like for this particular "Therapy?"

We wanted to write a song similar to some of the dirty, bedroom-produced pop stuff that's become so popular in the last couple of years. We collaborated with a few different writers and came up with the chorus guitar riff, and from there we wrote the song in the studio over the course of a few days.

What was the initial spark or idea that led to the creation of "Therapy?"

We were really into an artist called Boon at the time, so we decided to try and write something similar to some of his songs sonically. It didn't really end up sounding much like a Boon song, but we're still super happy with how it turned out!

What did you enjoy most about making this track?

We really went out of our comfort zone with the guitar work. None of us knew what we were doing and we just goofed around until we came up with a riff we thought was cool, and it really ended up shaping a lot of the record. It was a lot of fun coming up with a new way to approach writing guitar parts.

Where do you find inspiration for your songs or musical ideas?

We really tried to draw a lot of inspiration from top 40 pop and stuff like that for this last batch of songs. We wanted to try and write pop songs with heavy guitars.

What do you enjoy most about performing live and connecting with your audience?

It's always a ton of fun working with the crowd and giving them their own parts to sing and participate in. It's also always such a great feeling when enough people in the crowd know the words to your songs that you can hear them singing it back to you. There's nothing like it.

Punk Head 9/5/23 Punk Head 9/5/23

Päter On the Making Of “Something // Way”

What was the creative process like for this particular "Something // Way (Something in the Way)?"

I wrote S//W when I was feeling super blocked creatively and in my life. I was getting really frustrated and I felt like I couldn’t form a coherent thought. That’s where that intro came from, just pure ethos into the guitar. The rest of the song happened pretty quickly as this kind of protest against this thing inside me that was holding me back. When I got to the final chorus, I realized I had to end it on a hopeful note because I wasn’t ready to give up on myself and what I was doing.

Were there any challenges or breakthrough moments during the songwriting process for "Something // Way?"

The biggest challenge was just getting started. Bashing on that minor chord was the most honest thing I could have done in that moment haha. Then having the chorus shift to the major of the same chord really helped add some levity to the song where it’s needed. I hadn’t used that move before and I was very happy with how those pieces fit together.

Were there any memorable or standout moments during the recording sessions for "Something // Way?"

The vocal session for this was a particularly smooth one. I was working on a batch of songs together with my co-producer Howard [Redekopp] and some of them took a lot of finessing to get the vocal performance right. But with this, I remember feeling pretty relaxed going into it (contrary to the mood of the song) and I think it helped get the right nuances in there.

Another funny thing that happened was that we had borrowed this gorgeous, expensive telecaster to record the rhythm guitar on but we just could not get it to sound right. Something about how I was playing or how it was set up was making the tuning sound so off from chord to chord. In the end, I recorded the part on a $600 Gretsch guitar I had at my apartment through a Scarlett Solo interface, which is like some seriously basic tools (which work great). That ended up being a key layer in the sound of the song. Just goes to show how the right tools for something aren’t always the fancy ones.

What inspired you to pursue a career in music?

Music was my favorite company to keep growing up. I was a bit of a loner in my pre-teens, my family had just immigrated to Canada from Iran and the culture shift was pretty isolating for a while. I spent a lot of time in my room listening to my favorite bands and it didn’t take long for me to start writing my own songs and fantasizing about playing on stage. When I did finally start to play, it seemed to reach people in a way that I otherwise couldn’t. There’s a give and take in performing that’s so essential to me now. When you can see that you’ve gotten through to a room of strangers and made them feel connected to each other and to you, it’s the best feeling. Plus, I just love creating a world with visuals and letting that weird, imaginative kid in me go wild. That’s the stuff that’s kept me at it.

Can you share a memorable experience from a collaboration that enriched your music?

In the early days of perusing the Toronto music scene, I happened upon a guitarist named Alex Purcell who’s become one of my dearest collaborators and friends. We met at an open mic, he was a jazz school kid and I was a totally self-taught, scrappy songwriter and I think we were both really inspired by each other. He’s played in my band for many years and added a lot to the songs, including playing the lead guitar on Something // Way! Alex’s belief and investment in the project right from the start has been invaluable to me. He’s an incredible producer now - we co-produced Earth in Revolt together which is still one of my favorite tracks.

Punk Head 9/1/23 Punk Head 9/1/23

RobinAugust On the Making Of “Boy Obsessed”

How does "Boy Obsessed" reflect your musical journey and growth as an artist?

Rediscovering Boy Obsessed after years of refining my style reminded me that I’ve always had a love for music with attitude. My interest in riot grrrl started at a very young age and continues to make itself present in the music I write now. Something that I have always admired about this style of writing is that it creates a theatrical environment to perform as a caricature of myself.

Can you share any memorable experiences or stories from performing "Boy Obsessed" live?

I performed Boy Obsessed for the first time this last Saturday at The Blue Room with my co-writer and childhood best friend, Mercy Capellino. It was so surreal getting to perform the song we wrote at 8 years old on a stage with people singing along. We had always imagined ourselves being backed by a band in a real venue. A few hours prior to performing together, Boy Obsessed was also played on the radio station, WNXP Nashville 91.1. The whole day was very emotional for us.

What did you enjoy most about making "Boy Obsessed?"

My favorite part about making Boy Obsessed was turning something I was insecure about into something that empowered me. As a kid, I was constantly told that I was too dramatic or “too much” for people. Instead of pretending I wasn’t, I created a character that allowed me to be as girly and dramatic as possible while simultaneously feeling indestructible.

What inspired you to pursue a career in music?

I’ve never questioned what I’ve wanted to do with my life. My earliest memories are performing a mixtape of songs sung by women (a cd made for drag queens) in front of my stuffed animals. It became clear to me that this dream was possible after seeing Joan Jett live and learning about her teenage band “The Runaways”. A week following the show I formed a Runaways tribute band called “Queens of Noise” which helped introduce me into the Nashville music scene. We recently stopped playing together after seven years of being active.

Are there any specific artists or musicians you dream of collaborating with?

If I could choose anyone to collaborate with right nowit’d be Haley Williams. The trajectory of her career perfectly aligns with the visions I have for my own . If not collaborating, I’d love to pick her brain over a coffee.

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Punk Head 8/22/23 Punk Head 8/22/23

Fake Dad Releases “So Dramatic!”

"So Dramatic!" exemplifies a minimalist alt-pop approach, characterized by a distorted, bass-dependent arrangement. The track displays eccentric spoken-word bilingual lyrics, confidently delivered with an unbothered tone, and conveys a message that embraces shamelessness, cavalier spirit, and unabashed imperfection.

LOS ANGELES, CA – Indie-pop duo Fake Dad has experienced a remarkably prolific year, and their upward trajectory continues unabated as they prepare to release their new single "So Dramatic!" available on all major streaming platforms. The single serves as the final prelude to their forthcoming EP, Yerba Mala, set to release in October. The track, characterized by its bratty bravado and sardonic delivery, serves as an anthem for those who celebrate and take pride in experiencing their emotions deeply. As a first-generation Cuban American and fluent in Spanish as her first language, lead vocalist Andrea de Varona infuses the track with Miami Spanglish. The lyricism and production masterfully portray a paradox: while its message revolves around personal melodrama, its musical demeanor remains peculiarly nonchalant. The track exudes a delightful playfulness and a tongue-in-cheek charm that creates an almost flirtatious and enticing atmosphere. As the track unfolds, it personifies the unfettered liberty and directionless spirit of young adulthood. Fans can expect sounds reminiscent of artists such as Wet Leg, LCD Soundsystem, and The Marías on Fake Dad’s new single.

Punk Head 8/21/23 Punk Head 8/21/23

Deer Park Avenue Releases “Cave”

Deer Park Avenue’s Ambient Grunge Reverberates in New Music Video “Cave”

The sister duo brings a fresh vibe of melodic rock across Europe this summer with their atmospheric track produced by GRAMMY-winning producer Reto Peter.

The music video was directed and produced by Martin Stonard of the Film Creative. “Cave” opens on a quick succession of violet-hued scenes, panning across the “cave” of downtown Munich’s underground gem, the Milla Club. The video shows the rock sisters jamming together in their natural habitat, with the raw energy that has come to signify their live shows.

Cave is a song about making a change and doing something fresh and bold, which is exactly what the sisters have done with this track. With an expert command of dynamics, the song creates a dramatic and inspirational mood, building up to the explosive chorus: “They say just fake it until you make it—don’t want to take it anymore.” Sarah’s vocals shift between ethereal whispers and gritty intensity, demonstrating her vocal range and control, while Steph’s masterful drumming drives the song with intuitive Bonhamesque dexterity, telling a story in the most rhythmic way.Steph says, “‘Cave’ is about leaving the cave of doubt, stepping out of the shadows and letting your light shine. It’s about being comfortable in your own skin and having the determination not to cave to pressures around you. This is us at our realest.”

Punk Head 8/17/23 Punk Head 8/17/23

Allie Jean On the Making Of “Gasoline on Fire”

What was the creative process like for this particular "Gasoline On Fire?"

It’s a bit of a long story as to how Gasoline on Fire came about. It was actually the very last song written for the album. I’d been writing the album with my guitarist and songwriting partner for about 2 years. We pretty much ended up writing about two albums worth of material. We knew the songs were getting better the more the process continued. At that point, we knew what we wanted to say with the album, and how we wanted things to sound. We rented a house up on the NSW coast for about a month and just set it up as a rehearsal space. Jase (guitarist) was just sitting on the floor messing around with this really blue grass kind of guitar part. He was half singing bits and pieces of lyrics but nothing was really working. We started working on it a bit more intently over the next few days and it just started to fall into place.

What has been one of your most favorite memories along the path to making "Gasoline On Fire?"

There are a few -actually recording the album was really amazing. Probably the first time we heard the playback of ‘Gasoline’ whilst we were recording with Matt Fell (producer) in his studio in Tasmania. We had a daily schedule where we’d work until lunchtime, then Matt would kick us out and we’d go get lunch in town whilst he would do some mixes. When we came back to keep recording Matt had been mixing, and playing us the breakdown-
the instrumental section of the song and we just all looked at each other with this shared moment of ‘yep-this is gonna be great!

What role do you feel emotions play in your music, and how do you channel them into your performances?

Emotions are probably the most important part of why I perform, but particularly regarding songwriting. Some of the songs originally intended for the album didn't end up being included because they just didn’t ring true, and because of that I couldn’t connect to them when we played them. That’s why everything on the
album-absolutely everything is real and it reflects who I am as a person and as a singer. I try and write about stuff that actually means something, so that when you perform it, no matter what you’re feeling at the time, you can connect with the emotion of a song.

baseball hat · "who cares for good intentions?"

Punk Head 8/11/23 Punk Head 8/11/23

baseball hat Releases ‘who cares for good intentions?’

Can you briefly describe what the song/each song is about? If you are releasing an album then either describe the thinking behind the project or choose a couple of lead tracks to focus on.

We didn't really know what to do with the noise of the constant barrage of information, misinformation, forward motion, regression, fear, and hope that contemporary America society is smashing you with constantly. That noise is a big character literally and metaphorically on the record. Explicitly it's in things like "UTube Girls" and "Mona Lisa", which both contain references to an event where the two of us went to an Anti Gun protest in DC and ended up having to run away because of an active shooter scare. In other ways it's cheekier like referencing Juuling instead of smoking cigs on "Holy Ghost" the song on the record that has the most classic American rock and roll feel.

Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?

It's a response and a reaction to just how overstimulated we both felt living inside the continued fall out of everything that has happened in the US since 2016. We didn't want to write a pandemic album and we didn't want to write another breakup album- so we both sort of asked each other the question of "what is it like to live in this social moment?" and everything sparked from there. I think we landed right where we wanted- an exploration of the crushing everyday existence and the choice to keep moving through.

Who are the band members and what do they play?

baseball hat is a band composed of multi instrumentalist/producer duo Harrison Smith and John Sygar. Both play and record a variety of instruments on each song with Sygar's indie guitar riffs and Smith's soundscapes serving as the launchpads for many songs.

What are the band's main influences?

Centrally, we will always be rooted in pop music and indie rock. It's what we both grew up on and what is the constant in both of our tastes. While we were recording this album, we were listening to everything from City Pop to Brazilian disco to Stephen Sondheim to Alvvays.

Please provide a one or two-line personal quote that can be attributed to a band member, about either the band themselves or the release. Obviously the more eye-catching this is the better.

"We are a duo not afraid to experiment with style. This is an album that is aimed at giving the listener a cathartic, hopeful, and exciting journey. A musical exploration of the crushing everyday existence"- John Sygar. "I'm proud to be part of a collection of songs that are there for you to crank in equal measure on your best days and your worst at the end of the world"-Harrison Smith