Kiwi Jr. have announced their third album: Chopper lands on August 12 via Sub Pop. The follow-up to 2021’s Cooler Returns was produced by Dan Boeckner (Wolf Parade, Handsome Furs, Operators). To mark the announcement, the Toronto band has shared a new song called ‘Night Vision’, which is accompanied by a video from director Laura-Lynn Petrick. Check it out below.
“Before ‘Night Vision’ was 100% written, just the basic idea of it existing as a Kiwi Jr. song inspired us and set the tone for the record,” frontman Jeremy Gaudet said in a statement. “A lot of the images in the lyrics are of teenagers driving around, trying to make plans, sharing the aux, putting their parents’ car in the ditch, etc. But the idea at the center of the song is that of working up the nerve to make a big decision. Like a boxer getting pumped up before a fight.”
Chopper Cover Artwork:
Chopper Tracklist:
1. Unspeakable Things
2. Parasite II
3. Clerical Sleep
4. Night Vision
5. The Extra Sees the Film
6. Contract Killers
7. The Sound of Music
8. Downtown Area Blues
9. Kennedy Curse
10. The Masked Singer
Charlie Hickey is a 21-year-old singer-songwriter from South Pasadena, California. Raised in a musical household, as a child he would watch videos of his parents on tour, obsessing over lyrics that he couldn’t yet understand. Growing up in the same neighbourhood as Phoebe Bridgers, Hickey was around the age of thirteen when he covered a song by her – then an up-and-coming artist – and the two quickly became friends and collaborators. In fact, Bridgers is now technically Hickey’s boss, having signed him to her label Saddest Factory Records, which will release his debut LP, Nervous at Night, on Friday. Following last year’s promising Count the Stars EP, the album was produced by Marshall Vore and features contributions from fellow LA musicians like Harrison Whitford and Christian Lee Hutson. Much like his collaborators, Hickey has a knack for diaristic, vulnerable songwriting, but his debut also displays a keen pop sensibility and playful self-awareness. Careening from understated guitars and subtle vocals to driving hooks, it tells a vivid coming-of-age story in which nothing stays the same and nothing really changes, especially the weight of teenage emotions. “I could stay here forever if I didn’t know better,” he sings on ‘Planet With Water’.
We caught up with Charlie Hickey for this edition of our Artist Spotlight interview series to talk about his upbringing, his debut album, working with Marshall Vore and Phoebe Bridgers, and more.
Your bio mentions that you started taking music more seriously after moving to college, but you put out your first EP when you were 14. What role did music play in your life at the time?
I’ve been writing songs my entire life in some shape or form. I think the time when I started really writing songs intentionally was when I was 13 or 14 and I just kind of had a group of songs that I had been working on. I got a family friend that had a studio to produce it, so we just put it out totally independently. I sent a bunch of emails – I was like my own publicist and sent essentially like a press release out myself, this 14-year-old kid that’s just like, “Hey, Pitchfork…” But yeah, I went to college for one year, and it was during that time that I think this current batch of songs started being written. Like ‘Two Haunted Houses’, which is on my EP, I wrote when I was at school and we recorded that song while I was still at school. So that was the beginning of this chapter, and the first song where I felt like Marshall, my collaborator, we kind of felt like, “Okay, we’re onto something here. Let’s lean into this.”
When you look back on when you first started making music, does it feel like a more innocent time?
Yeah, I mean, it’s funny, I feel like it actually doesn’t feel all that different. I’ve always felt the same in relation to whatever success or failure or anything that I’m having – it just sort of happens on different scales throughout my life. When I was like 15 and I played for a room of like 30 people that were mostly my friends and my parents’ friends, you know, I felt like the biggest rock star in the world. [laughs] So I don’t think the feeling changes all that much, just the scale of it changes.
I thought it was funny that in the song ‘Thirteen’, someone describes your music taste at the time as whiny.
Right, yeah. [laughs] Lots of Bright Eyes and stuff.
What’s your relationship with the music that grew up with?
I’ve actually been returning to a lot of music that I grew up with and listened to in middle school. I listened to a lot of rock music in middle school, stuff with a little more darkness or angst because that’s how I was feeling at that time. I don’t know, maybe Nirvana was like my first real favourite band. And it’s probably not an influence you can hear in my music. I was listening to a lot of like nu metal, like Incubus and System of a Down and stuff. My first favorite mellow singer-songwriter was Elliott Smith – my guitar teacher showed me Elliott Smith when I was 13 or something, and I just kind of flipped out. I felt like it was sort of a bridge between the more folky and the darker rock I was listening to, because it was mellow but it had the same teeth to it that a band like Nirvana did. It felt like it had the same ethos, so I was attracted to that.
Even though they exist in that mellower realm, I get why you’ve described your songs as pop music. As vulnerable and intimate as the lyrics are when it comes to the theme of growing up, for example, in ‘Thirteen’ you also sing about having succeeded at that better than the other person. It’s tongue-in-cheek, but there’s a confidence there that’s more in line with pop music than some of the artists we’ve mentioned.
Yeah. I was discussing this with a friend recently, one of my favorite things in songs is when people will say things that are sort of shocking – not to get a rise out of people, because obviously people do that, but when people don’t hesitate to paint themselves as a flawed or even bad person sometimes in songs, not leave out the ugliness. I feel like ‘Thirteen’, you can interpret it a lot of different ways: you can interpret it like, “Oh, this guy is an asshole, actually.” I feel like both characters in that song are equally as sad and insecure. I also like songs and stories in general where there’s no real villain, it’s really up for interpretation.
What’s your perspective on the song now that you have some distance from it?
I think the narrative arc is reflective of, like, my changing view on it. As you get space from something, it’s harder to remain angry. And sometimes you sort of want to cling to anger because it’s in some ways a very comfortable emotion. But it’s just hard to stay and at some point, if you are, it’s like, maybe you should work on it. [laughs] I like angry songs, but I feel like my favourite angry songs also kind of have this acute awareness that like, actually, anger is kind of silly, but they’re sort of indulging in it anyway.
I feel like that acute awareness might get distorted against a heavier rock sound, but if you’re working with a sparse musical backdrop, it comes through more easily. This is more of a funny observation, but the album starts with ‘Dandelions’, where you sing about “Saying sorry to my sister/ For taking up too much space with my little worries.” The song ends with a line about trying not to apologize, and then I believe your sister is the third person you thank in the credits.
Yeah, that’s funny. She pops up a lot on an album, actually, in different songs as a character. She’s right in the next room.
It kind of comes full circle, the fact that you express gratitude – obviously, you wouldn’t apologize in the credits, but…
It would be funny if in the credits I was like, “I’d like to say sorry to…”
What was her reaction to the songs when you first showed them to her?
Oh, I think she loves being in songs. [laughs] I don’t think it makes her uncomfortable or anything. I have had experiences where people have been in my songs and they’ve been uncomfortable with it, but for the most part, I feel like people don’t mind it or they even think it’s fun.
Was that something that you were concerned about with this album, given personal nature of the lyrics and the fact that they often reflect on the past? Did you feel the need to reach out to people before releasing them?
On a few occasions I actually did, but it was kind of after it was too late. Luckily, I didn’t have any problems with anyone or anything. But that is something I’ve always thought about because it is something that I’ve ran into trouble with before. And I know with a lot of writers, it’s kind of just part of the deal. I know some people have a very “fuck it” mentality about it. They’re just like, you just can’t worry about what anybody else is going to think. And I think that’s true, but I also I don’t want to hurt people. And if I am hurting people with things I make, I don’t think that’s a good thing. That’s sort of an interesting question, like: What is the place of morality in writing songs? How much is it just to serve you, and how do you think about how it’s benefiting others?
The first two people that you thank are your parents, who are also musicians, and you’ve talked about growing up watching videos of them playing together in their band Uma. Were you directly inspired by that, or did you feel like you wanted to do something different at any point?
I always wanted to do music. When I was watching those videos of them, I just thought it was the coolest thing ever. And it made it feel a lot more tangible, too, something I could do. It didn’t feel so far away. I was definitely really fascinated by it. Even before I really was any good at making at all, I was really fascinated by, I guess like the lifestyle. I don’t know, I was just drawn to it, even based on really nothing, being three years old or whatever.
As you became more serious about making music, did you feel the need to have conversations with them about that lifestyle or what it’s like to live as a musician? Or was it too late for that and you’d kind of already started figuring that out on your own?
Well, there was never any moment where it was like, “Mom, Dad, I think I’m gonna do this.” It became clear very early on. I was just obsessed for my whole life, basically. I think they kind of always knew, so there was never really a moment where I decided, really. But I have talked to them a lot about in terms of their wisdom and stuff. They’ve experienced it too, so they have a lot of empathy for the things I might be going through or the challenges. Luckily, they understand what it’s like to be largely an unknown artist that is trying to have a career in music. I feel like it’s a rare thing for your parents to truly understand what that’s like.
Did you feel comfortable reaching out to them, or were you more likely to talk to your peers about these sorts of things?
I think both things have happened. I’ve definitely turned to them a lot. But then also, I’ve probably had a little thing of rebelling a little bit and being like, “Well, I can figure it out, I don’t need you guys.” [laughs] I’ve been through both phases. And I hope I find the right balance at some point.
There’s a line on ‘Mid-Air’ about being “born to a family of neurotic musicians.” When you sing about that dynamic being the other side of the same coin in the chorus, did you have something specific in mind?
Yeah, that’s also another song about my sister and family, and that line is sort of about being different from someone, but being so fundamentally the same.
A lot of the album revolves around feeling small – you use phrases like “little feelings” and “little worries,” even if, at the same time, it can feel like they’re taking up too much space. I wonder if music helps you reconnect with your younger self in the way that you experience the world.
I think that’s a great observation about the big and small theme. Because I think a theme that pops up in my music is exactly what you said, like, feelings that are disproportionately large to what they’re actually about or what’s actually happening. Which is having anxiety or depression – you often feel feelings that are bigger than what’s actually happening. And I think something that’s happening in these songs is trying to hold space for these big feelings, but also being aware that they’re not necessarily the truth. But yeah, growing up, I struggled a lot with these sings, so I guess it is interesting to reflect on them and have a little more wisdom about certain things.
Have you found that music is therapeutic for you, or is it more about just laying down those feelings?
Therapeutic is never a word I would really use. I know a lot of people say it, and that’s just never how I thought about it, I don’t know. I guess sometimes music can be a really good release, to write about something. But I feel like when I’m really experiencing something or going through it currently, I never want to write about it, just ‘cause it’s too raw. I want to turn away from it. I usually write about things with a certain amount of space from them, I find it a lot easier. Songwriting is not necessarily the most therapeutic thing for me.
It’s interesting, how that varies with songwriters, even when their music is similar in terms of its vulnerability.
I think it’s funny the different ways people relate to music, whether it’s writing music or listening to music. Like, I know people that, when they’re going through a breakup, they like to listen to Taylor Swift and cry. And I’m just like, I would never do that. When I’m sad, I want to not consume anything that has anything to do with my emotions, you know what I mean? [laughs]
You mentioned Marshall Vore, who produced the album, and there are also contributions from Phoebe Bridgers, Harrison Whitford, and Christian Lee Hutson. What was the dynamic like, working with people that you grew up admiring and grew up around?
It was awesome. It felt like a real privilege to be able to be surrounded by that community while I was making the album. Marshall is someone I’ve always really looked up to and trusted as a songwriter, and we’ve been working together since I was like fifteen. Obviously, Phoebe is another person I’ve looked up to for a while, and Christian and Harrison, all of them. It both feels very comfortable and we’re all peers, but then I also will always look up to all those people. And it can be inspiring and force you to be better to be surrounded by those people, but it doesn’t feel like being an imposter.
Do you see them more as mentors or peers, particularly in the context of Nervous at Night?
I think of it as Marshall and I’s project in a lot of ways, just because he’s been so invested in it and did a lot of co-writing with me. So I think in some ways, he kind of cares about it as much as I do. We’ll talk about it in terms of stuff beyond just the music – we’ll have ideas of what would be cool visuals for this. I think in general he’s just a person that I just trust his artistic vision and we often see eye to eye and are able to bounce off each other. He’s just a really smart guy. Same with Phoebe, obviously she is in a literal sense involved on the business side, but her role also extends beyond that. She was listening to the early demos from the beginning, and she helped us decide which songs to put on the album and had a lot of great feedback about production and stuff. It’s just good to have lots of different types of voices in the mix that make you think of things that you otherwise might not.
Beyond things like production, did you learn anything from your collaborators during the making of the album that changed the way you think about songwriting?
Yeah, I mean, now I’m just blowing smoke up their asses, but Marshall and Phoebe – Marshall, I think the ethos that he has that I’ve kind of adopted is that things being good is just not good enough. Which kind of sounds harsh, but like all my favourite songs, they just have that special sauce. Something being good doesn’t make you want to play it over and over again. Marshall’s good at like, I’ll play him a song and he’ll be like, “This is awesome, but it could be better.” And I think I’ve started to just do that myself now: not as easily thinking something is done just because it works.
This interview has been edited and condensed for clarity and length.
Santigold has returned with a new song called ‘High Priestess’, which marks her first new solo release since 2018’s I Don’t Want: The Gold Fire Sessions. Santigold worked on the track with Berlin-based producer Boys Noize, along with a host of collaborators including Ray Brady, Psymun, and Ryan Olson. Check out a short video for ‘High Priestess’ and listen to the full track below.
Santigold shared the following statement about the song:
I had started working on this beat and I didn’t have anything in mind for a topic, I just knew I wanted to do a sort of rap punk song (as dangerous as that sounds). My buddy Ray Brady and I started working on something, trying to add in all the elements that made sense, kicks, subs, new wave synths. Boys Noize ended up bringing something super cool that really built the song and made me get even more excited about it. It was coming along quickly, until it wasn’t. The punk rock energy, the angst, that I wanted to come across wasn’t quite there. I tried adding guitar and a live drum kit, and that was a big red buzzer ‘’X”. I ended up tagging in Psymun (Simon Christensen) who brought in Ryan Olson, and they brought the final missing element. The energy I was looking for couldn’t be the old version of punk rock, it had to be the future sound of punk rock. They brought the angst, the push and pull that was missing, but it was very fresh sounding and totally unexpected. It all came together in a way I could never have imagined when we started, but it was exactly what I set out to make. I want to make music that sounds like the past and the future all in one; music that makes you feel safe enough to jump in, but then takes us on a journey to where we needed to go but have never even heard of. I want my music to be the bridge.
I love working in this way, a communal effort, a meeting of minds and hearts to make something that is a true collaboration, more than any of the single parts themselves. For me, music is about community, it’s a way to connect, both in the making of it and in the listening to it. I made this song over the past two years during the pandemic, and was desperate for this type of connection. I started working on it in my studio with Ray a few weeks before the first lock down in 2020, but after that, I was completely by myself in a room. Part of the time, I was in a room in a cabin in the middle of the woods in Canada, completely isolated. Technology was amazing though, because I felt like I was hanging out with these guys the whole time. My engineer recorded me on my computer in my studio from afar. Boys Noize and I hung out everyday on Zoom and talked and laughed more than we’d had a chance to in years. I worked with Simon for the first time in this way, over Zoom with us in different countries, and immediately figured out what I love about him as a producer. It was like teleporting a vibe into the studio, being able to sit for hours face to face working on songs together.
I had also been in just Mom mode for months, and it was like finding gold to have found a cabin to escape to during the days, to run away and be with music and friends after having not had the opportunity to do that for months on end. It literally saved my spirit. And that brings us to the name of the song. I called this song High Priestess because this song was about my greatness. I needed to be a witness to myself at that point, calling out my own power, my own fortitude, my own wisdom, because I felt like I had become disconnected from it, having been stripped out of the rhythm of life that I had cultivated for myself, and thrust into this smaller, one dimensional version of myself, grounded and isolated for too long. The lyrics are fun though, rap lyrics in general, boastful, cocky, but that’s what I was talking about underneath it all.
Rina Sawayama has announced her sophomore album. The follow-up to SAWAYAMA is called Hold the Girl, and it’s out September 2 via Dirty Hit. Check out lead single ‘This Hell’, and scroll down for the album’s cover artwork (by Thurstan Redding).
‘This Hell’ was co-written by Sawyama, Paul Epworth, and Lauren Aquilina and co-produced by Epworth and Clarence Clarity. In a statement about the track, Sawayama said:
I had so much fun writing ‘This Hell’. The past couple of years I’ve been listening to lots of female country singers and wanted to write a euphoric and tongue-in-cheek country-pop song. Country music at its core to me represents comfort, brilliant storytelling and authentic expression of the writer’s reality. I’ve been dreaming of working with Paul Epworth my entire career so I knew it was meant to be when we finished this song in a day. I put in as many iconic pop culture moments as I can, but the song is more than that.
It’s an important song for me given the human rights that are being taken away from minorities at a rapid rate in the name of traditional religious beliefs, more specifically I was thinking about the rights being taken away from the LGBTQ community when I wrote this song. When the world tells us we don’t deserve love and protection, we have no choice but to give love and protection to each other. This Hell is better with you.
Sawayama will perform ‘This Hell’ on The Tonight Show Starring Jimmy Fallon on May 19.
Sudan Archives has dropped a new song, ‘Selfish Soul’, alongside an accompanying video. The track, which follows March’s ‘Home Maker’, was co-written with Dexter Story and Ben Dickey. Check out the Trey Lyons–directed visual below.
According to Sudan Archives, ‘Selfish Soul’ is “about women and the celebration of hair. It’s about representation of different hair textures and embracing all colors and textures of it.” She continued: “I feel like there’s an American standard of what beautiful hair is, and I wanted to show in this video that’s not what all beauty is; to showcase different hairstyles and different types of women and their hair. I was inspired by India.Arie’s “I Am Not My Hair,” one of the first songs I heard about this subject. She talks about extensions and weaves and natural hair and nappy hair, and that she’s not her hair; she won’t conform to the comparisons that would come up if you had a weave or sew-in or natural hair or Afro—that doesn’t represent her.”
Based on the short story by Annie Proulx, the film adaptation of Brokeback Mountain premiered in 2005 in a vastly different sociopolitical landscape. Nevertheless, this queer romance won two Academy Awards – Best Adapted Screenplay (Larry McMurtry and Diana Ossana) and Best Director (Ang Lee). Audiences continue to resonate with the film almost two decades later, thanks to a powerful script (and original story by Proulx), and incredible performances by Heath Ledger and Jake Gyllenhaal. They play two shepherds in the isolated wilderness of Wyoming, where they allow their oppressed sexual desires to slowly simmer to the surface. The setting in itself acts almost like a character, influencing the characters’ decisions and affecting their moods and behaviors.
Given the story’s setting in the 60s-80s American West, this gay relationship isn’t allowed to prosper in public. Both Ennis (Ledger) and Jack (Gyllenhaal) are in long-term relationships with women, and they alternately feel jealous and resentful as these relationships progress over the years. Cinematographer Rodrigo Prieto effectively captures the ebb and flow of Jack and Ennis’s bond and sets it against the landscape surrounding them – the barren, desolate plains at the bottom of Brokeback Mountain, or the dense forest and jagged surface near its peaks.
This sprawling German drama from Florian Henckel von Donnersmarck begins in the immediate aftermath of World War II and follows the first few decades of Kurt Barnert’s life in Nazi Germany. As a child, Kurt (Cai Cohrs) spends a lot of time with his young aunt Elisabeth (Saskia Rosendahl), who encourages him to pursue his interest in art. However, early in Kurt’s life, she’s diagnosed with schizophrenia and sent to Professor Carl Seeband (Sebastian Koch), who deems her unfit to live a functional life. She is executed as part of the Nazi euthanasia program. This continues to affect Kurt well into his adulthood.
As a young adult, Kurt (now played by Tom Schilling) studies art at university, where he meets and falls in love with Ellie (Paula Beer). At first, Kurt doesn’t realize that Ellie is Carl Seeband’s daughter; nor does Seeband realize Kurt’s relation to Elisabeth, whose death still haunts him. Kurt feels judged by Seeband, who disparages his artistic pursuits and seemingly unfulfilled potential. Seeband’s constant surveillance and suspicion strain Kurt and Ellie’s relationship.
Kurt tries to follow Elisabeth’s advice, which was to “never look away” in his search for the truth, but he struggles to find truth in his own artistic perspective. The film itself teems with artistry, with a beautiful score by Max Richter, and affecting cinematography by Caleb Deschanel. Every aspect of this film is steeped in authenticity, from Schilling’s laidback Kurt to shots that center the characters in sharp focus, and Elisabeth’s understanding of the Nazi regime. Even Kurt’s journey is inspired by the true story of German painter Gerhard Richter.
Here are some of the most compelling stills from Never Look Away.
One of the vital structures of online casino gambling is constructing a bonus system. It is common for all casino providers to provide interesting and fun bonuses to acquire new players.
Bonuses are not used to intensify the popularity of a casino site but also to give you an exciting gambling process. You can tell that a reward is one of the biggest factors distinguishing an online casino.
Nobody will play on your online casino platform without bonuses, and it is not the same as the land-based casino, where it’s okay to play without an extra free spin.
Business owners need to give complimentary rewards, especially to their newcomers, to get their trust and loyalty. Not all online casinos get loyal players successfully.
Also, casino bonuses allow players to try and test out different casino games without charge. Although casino bonuses are very common tactics in this industry, their content will be important to stand out from the other casino competitors.
It is why casino providers keep on creating and renewing their casino bonuses to keep the attraction of their platform alive. With so many casino industries today, you can withstand them without making a new casino bonuses system. Let’s go beyond why casino owners strive to upgrade their bonuses today.
Why Do Casinos Need To Upgrade Their Bonuses?
In online casino game it’s fun to play it for free.It is a type of game mechanism that many individuals are looking for.
It is why casino owners provide different bonuses to attract customers easily. The casino bonus is free money or a free spin compensated by the casino provider.
Although it becomes costly to the side of owners, still this type of advertisement is very catchy to players. Mostly it is more attractive to those players with tight budgets.
The idea of casino bonuses is a risky investment, but if successfully advertised, the casino will gain a lot of profit. However, sometimes these bonuses do not seem effective in helping you increase your chance of winning; you will be obliged to deposit money if you want to play again.s
Moreover, with all of these benefits from bonuses, there remains a tiny factor associated with the word bonus. The term makes you feel lucky to have one, and ignoring it means that you missed a good opportunity in the game.
Benefits Of Upgrading Casino Bonuses
The urge of casino providers to increase their players is high. So here are the benefits they can get when they upgrade their casino bonuses today.
Increase Players Number
Of course, the number one reason they need to upgrade their casino bonuses today is that they want to have many players on their platform.
In top casino bonuses, you will experience valuable rewards that can help you increase your earnings.
Increase Profit
The higher the number of players in a casino platform, the more money will come in. Attracting clients to play is very difficult, especially today there is a lot to compete with.
Every business whether it’s online or landbase they want to have more clients.It is why thinking of more interesting and mind-blowing bonuses is very important.
Long-Term Success
If a casino provider successfully initiates its desired casino bonuses to its visitors. The impact of this will give the company a long- term success.
It isn’t easy to be on top of the best online casino games on social platforms, especially if many casino businesses have great factors like yours.
Creating an impact on new customers should start first with your loyal players. Satisfying them will help you to spread the news about the casino site.
Why Is Casino Particular On Providing Bonuses?
Today, almost every casino platform is required to provide bonuses. Players have been used to these strategies, which is why there are lots of new players looking for the promotion of online casino bonuses.
Most bonuses have specific conditions to comply with before you can use them. Every casino site imposes different wagering requirements. Whether strict or not, you can’t play a free game without complying.
Furthermore, customers are given a free game test so that in their next game, they have something to look forward to and keep playing.
Conclusion
You should know how to market your platform whether your business is online or landbase. In online casinos, to have an effective advertisement, their bonuses should have an upgrade.
Upgrading creates more impact on possible clients, and the more influence you gain, the more clients you can reach. Also, if you want to expand your company abroad, you should know how to distribute the information about your casino to the people.
Lastly, upgrading casino bonuses is a huge burden to the casinos. However, if you are a casino owner out there, you need to make a move; use every social media for advertising your casino.
Camp Trash have released a new song, ‘Pursuit’, lifted from their forthcoming debut LP The Long Way, The Slow Way. It follows the previously shared tracks ‘Weird Florida’ and ‘Let It Ride’, the latter of which made our Best New Songs list. Check out ‘Pursuit’ below.
Florence and the Machine has released the deluxe edition of her new album Dance Fever. It features four acoustic renditions of songs from the LP – ‘Cassandra’, ‘Free’, ‘Morning Elvis’, and ‘My Love’ – as well as a cover the Stooges’ ‘Search and Destroy’, taken from their 1973 album Raw Power. Take a listen below.
In a recent interview with Apple Music’s Zane Lowe, Florence Welch talked about drawing inspiration from Iggy Pop. “I was thinking about Nick Cave, I was thinking about Leonard Cohen,” she said. “I was thinking about how, in some ways, although everyone undergoes huge changes, their physical bodies – especially moving through touring – have been allowed to remain unchanged and they can commit their body entirely to the stage,” she said. “In the singing, I’m trying to still embody them. In the lower baritones, I’m trying to do a Leonard or a Nick or an Iggy Pop.”
