alt-J have announced that their fourth album The Dream will be released on February 11 (via Canvasback/Infectious Music). They’ve previewed it with the single ‘U&ME’, which the band’s Gus Unger-Hamilton says is “about being at a festival with your best friends, having a good time, togetherness, and the feeling in life that nothing could be any better than it is right now.” Check out the Prosper Unger-Hamilton-directed video for ‘U&ME’ below, and scroll down for the LP’s cover art and tracklist.
alt-J’s most recent album, Relaxer, arrived in 2017.
The Dream Cover Artwork:
The Dream Tracklist:
1. Bane
2. U&ME
3. Hard Drive Gold
4. Happier When You’re Gone
5. The Actor
6. Get Better
7. Chicago
8. Philadelphia
9. Walk A Mile
10. Delta
11. Losing My Mind
12. Powders
Chicago-born composer, singer, and multi-instrumentalist Ben LaMar Gay has announced a new album. Open Arms to Open Us arrives November 19 (via International Anthem/Nonesuch), and it includes the new song ‘Sometimes I Forget How Summer Looks on You’, which features vocals from Ohmme’s Sima Cunningham and Macie Stewart. Check out its music video below.
In addition to Ohmme, Open Arms to Open Us features contributions from multi-disciplinary Rwandan artist Dorothée Munyaneza, poet A.Martinez, cellist Tomeka Reid, and vocalists Onye Ozuzu, Gira Dahnee, and Angel Bat Dawid. Gay recorded the album from March to June 2021 at International Anthem Studios in Chicago and produced it with Dave Vettraino.
“Open Arms to Open Us deals with rhythm as an inheritance of information—sort of like DNA or RNA,” Gay said in a statement. “Coping with the present-day bombardment of data and recycled ideologies from sources essentially fed by the creed “Destroy Them. Own the Earth,” often leaves me with only one thing to look forward to: Rhythm.”
Open Arms to Open Us Cover Artwork:
Open Arms to Open Us Tracklist:
1. Sometimes I Forget How Summer Looks on You [feat. Ohmme]
2. Hood Rich Happy
3. Band Melodically Bang
4. Aunt Lola and the Quail
5. Mestre Candeia’s Denim Hat
6. Oh Great Be the Lake
7. I Be Loving Me Some of You
8. Nyuzura [feat. Dorothée Munyaneza]
9. Slightly Before the Dawn
10. Lean Back. Try lgbo [feat. Onye Ozuzu]
11. Dress Me in New Love
12. Touch. Don’t Scroll [feat. Ayanna Woods]
13. I Once Carried a Blossom [feat. A.Martinez]
14. In Tongues and in Droves [feat. Tomeka Reid]
15. S’Phisticated Lady [feat. Gira Dahnee and Angel Bat Dawid]
16. We Gon Win
Have you ever wanted to write an excellent story plot? Do you have difficulty writing good stories? That guide, together with the tips on the story plot that I will give you below, will help you start writing and obtain a tale that will captivate everyone.
Now, let’s get to know what is the plot of a story!
What is a plot?
Sometimes, it can be unclear to understand the differences between a plot and a storyline. However, it is necessary to emphasize that they are different terms.
The plot could be defined as all the characters’ actions in chronological order without establishing relationships. Incidentally, these are the characteristics of an argumentative text.
Although they are different concepts, they go hand in hand. For the plot to become a great story, you have to structure it.
For the plot of a story to work, it must be composed of, basically, four important elements: characters (who are they?), their actions (what do they do?), their motivations (why do they do it?), and, finally, the setting (where and when do they do it?).
For these elements to be developed, it is essential to choose the type of narrator, the order of events, and the relationship that will be established between them.
Parts of the plot:
The plot of a story is usually made up of different parts, which have been established for many years.
The Greek philosopher Aristotle (382-322 BC) was the one who proposed a method for the composition of the plot, which was made up of three parts. This structure is the one that, to this day, continues to be followed in all stories.
Introduction
It is the initial part of the story. Here you will have to introduce the characters and contextualize the story (place, time). You have to make quite clear the elements with which the reader will interact later on. For example, the introduction of a story would be to talk about Floppy, a little dog who got lost a long time ago and lives in the street.
Development
In this part, you explain the conflict and guide the reader to the emotional peak of the story. Following the example of the plot of the previous story, the development of Floppy’s story would be the journey he has to go through to find his family again.
Dеnouement
It is the final part of the plot. In this part of the plot, you have to solve the conflict exposed in the development. It does not necessarily have to be a solution in favor of the protagonists. Finally, returning to the example of the plot of Floppy’s story, the denouement can be that she managed to find her family and was happy again.
Elements of the story’s plot
Likewise, just as there are parts of a classic story, certain elements are part of the plot of a story. They usually feature unnoticed features, but you can make significant progress in your writing career if you learn to identify them. The elements of the plot are:
Objective.
The protagonist’s objective in a story is that which drives him or her and fuels the story’s plot. If the protagonist’s objective changes, the plot of the story is sure to change.
Let’s take an example: Mike is a 15-year-old teenager who, throughout the story, wants to become the best soccer player in his school. If Juan’s goal were to get into the best university in the country instead of being the best soccer player, the plot would change completely.
Obstacles
Obstacles in the plot of a story refer to the inconveniences that the protagonist faces throughout the story. These are important since they allow changing the plot in different ways or, in any case, enriching it.
To exemplify this, we will continue to take the example of Mike, a 15-year-old teenager who wants to be the best soccer player in his school. An obstacle that may arise during his story could be an injury that prevents him from participating in an important game.
Advancements
On the other hand, we have the protagonist’s progress. Just as there will be obstacles in the story that modify the plot, the protagonist will have to face problems in different ways. It is what is called “progress.”
Following the previous example, after getting injured and being close to missing the most important game, Mike decides to talk to the coach to allow him to play the final minutes of the game.
Plot twists
Plot twists are those moments in the story in which the course of the story changes unexpectedly and abruptly. These twists should be well crafted to make an impact on readers and nurture the story.
For example, Mike realizes that the other finalist team is led by a boy who played with him when they were children. It will cause a substantial impact on the end of the story since Mike will feel more significant pressure.
Characters
The plot of a story is independent of the characters, as others can play them. However, certain levels require a specific profile for the character to function within the story’s context.
All these elements related to the plot of a story are essential to improve as writers, so try to practice with different levels and tales, identifying all the features you can.
Types of plots
In this case, plot types are mainly divided into six. In the following, we will delve into each of them:
Revelation plot: in this type of plot, the main feature is that the story comes to be resolved and ends for reasons that are above the protagonists. For example, when a war ends.
Resolution plot: this type is characterized by having an ending in which what was sought during the development is achieved or not. In simple words, it is when everything seen throughout the story reaches a concrete conclusion. It is usually one of the most used types of plots. For example, when a rival is defeated.
Parallel plot: this type of parallel plot is less common, but it is a great resource. It is used when two or more stories are told with a common connection resolved in the story. An example of this is when there are two main characters in a single story, and each experiences different things.
Argumentative plot: as its name suggests, this type of plot is based on the positions or opinions adopted in the story.
Narrative plot: this type of plot is composed of a recounting of events throughout the story.
Descriptive plot: here, the focus is on details such as the characteristics of the characters or settings.
In addition to all these types of plots that we have described for you, some are secondary. Like the previous ones, they meet the same parameters. However, the tone is more relaxed and about the main plot. This resource is usually used to give a greater degree of complexity to the story.
Here are some tips to make your story stand out from the crowd and captivate readers. Don’t miss it!
How to make the plot of a story interesting?
Okay, you have already decided to write, and you have mapped out the plot of your story. What to do now? You should read points below and take them into account when creating the plot of a story so that everyone will be excited to read your narration.
Think about the reader. You always have to be clear about who you are writing for. Even though you, as the author, could understand the whole story, you must keep in mind that not everyone has the grammatical knowledge that a writer could have. That is why, if your story is aimed at a children’s audience, make sure it has simple words and a plot that is easy to understand so that all children can enjoy it.
The simpler, the better. Don’t overcomplicate the plot of the story. It may cause the reader to lose interest. It does not mean that all your stories must be simple or with basic plots. You may read also paper help reviewto understand how to write simple and well. It is possible to make great stories being direct and clear in what you want to express. It is a matter of practice!
Keep the narrative structure. Establish the relationship between characters, space, time, and narrator. It will give coherence to your plot, and you won’t fall into unnecessary redundancies.
Interesting ending. The plot of a story usually has happy endings. However, it should not be typical, “and they lived happily ever after…”. Try to give a twist to the closing without forgetting the fluidity you maintained throughout the story. It will generate a significant impact on the reader, and your story will stand out.
Don’t explain everything. It is a common mistake when writing stories (especially those aimed at young children) to feel the need to explain every detail of the story. While it is true that children should use simple language, it does not mean that the entire narrative should be descriptive, as this will make your story boring.
We’ve reached the end of this article! We hope it has helped you a lot and that you put all your knowledge into action to create the best plot for a story.
Fashion is, by its very nature, pretty unpredictable. That’s sort of the whole point. Who saw the second coming of trilby hats and skinny jeans in the 2010s? And when might we be in store for a comeback of the nightmarish 1990’s double denim and dungarees look? We just don’t know (nor do we want to). But, by looking at the trends in technology, we can get an insight into the ways your fashion habits will change this decade.
Whether you’ll be getting the latest cuts from robotic tailors or checking AI algorithms for the hippest trends, it’s safe to say that 2030 will feel and look very different from today. The shopping of tomorrow should be more communal, virtual and ethical. But how, exactly?
Community-Based Shopping
In some ways, the internet – with the smartphones and selfie sticks it spawned – has made us more insular and individualistic. But it has also brought us together in innovative ways that no one could have predicted. As community-based shopping continues to grow, it’ll allow us to learn about fashion trends (and set them ourselves) online. You’ll be able to meet like-minded fashionistas, and even swap clothes and show off your collections. SoleSavy has established itself as a leader in this regard, providing a community-oriented outlet for the sneaker community. This kind of online exchange in the fashion community is only likely to grow, as we become more connected to both the internet – and one another – in the coming decade.
AI-Designs
Does great art need a human touch, or can robots be inspired? We’ll soon find out. Designers are already using AI to make all sorts of products, so it is only natural that fashion will follow. Google’s Project Muze system makes use of a neural network to create unique designs. As time goes by, it’s more and more likely you’ll be following the whims and artistic ambitions of R2-D2 or WALL-E rather than those of the trendsetting icons of the day. Take that, Cara Delevingne and Harry Styles.
Ethical Fashion
The morality behind some of the sources of the clothes we wear has long been a hot-button issue in the fashion biz. But things don’t have to be that way. With 430 million people believed to be working in garment and fabric production, it’s time to change the way we do things. Our Culture Mag is shedding light on the Fashion Revolution, which has a Fashion Transparency index reviewing some of the top brands based on their ethics. And many brands are producing recycled, upcycled and dead-stocked materials for their clothes.
Sustainable sourcing is on the rise, and you might find yourself sporting vegan clothes and looking at what else to consider before shopping around for sustainable fashion. After all, Forbes states 88% of consumers want fashion to be more sustainable. And the customer is always right.
From Digital to Virtual
It’s safe to say that we’ve been getting used to shopping online. Let’s face it: it’s easier than going to the shops. You don’t have to get out of bed, and it’s simpler than ever to send clothes back. The online world has made purchasing clothes and shoes easier than ever. Despite this, one major digital drawback lies in the inability to try anything on before buying it. That’s where virtual reality comes in. E-Marketer found two-thirds of internet users in the US are interested in VR as a device for shopping. Imagine walking through a virtual shopping center, talking to the virtual staff, and trying on clothes ‘til your heart’s content. It may be hard to imagine, but by 2030, this might just be the new normal.
Simple Minds
Gone are the days of leafing through fashion catalogues eight times per year. Today’s brands are releasing just two or three new catalogues annually. It makes things clearer and easier for the consumer. It’s a welcome contrast to the rest of our lives, which always seem to be becoming more and more cluttered and chaotic. And at the center of this brave new world of simplicity in fashion lies its most important feature: you; the customer.
New York City is world-famous for so many things. The Manhattan skyline, trendy Brooklyn, pizza by the slice, and unbelievable culture – the Big Apple has it all. Did you know you can take a cruise from NYC? Well, it’s famous for that too, with exotic cruise destinations aplenty and over 1 million people departing from Manhattan Cruise Terminal every year.
But if New York is most famous for one thing only, it is its style, and more specifically its high fashion.
The Coronavirus pandemic disrupted New York’s iconic Fashion Week for two full seasons, with shows taking place virtually over the last 18 months. But September 2021 marked the return of in-person shows, and NYC Fashion Week 2021 came back with a bang!
So to celebrate the return of one of the most important dates on the world’s fashion calendar, here’s a rundown of the long-awaited return of New York City’s Fashion Week 2021.
When was it?
New York Fashion Week ran from the 8th to the 12th of September, although some designers started showing early, on the 7th. The show kicked off on Tuesday with Sukeina, Collina Strada, and Christian Siriano, and launched officially on Wednesday with Alejandra Alonso Rojas, Callas Milano, and Marrisa Wilson. The show came to a close on Sunday with Tom Ford.
Where was it?
While the last two editions of NYC Fashion Week have been virtual, September 2021 was the first in-person show since February 2020. Designers presented their Spring/Summer 2022 collections across a variety of unique and iconic venues across the city, including The Empire State Building, Gotham Hall, Spring Studios, and Highline Stages. Given the current situation, some designers still chose to show virtually, so there was a large digital element to NYC Fashion Week 2021 as well.
How was it different this year?
Although the event was back in person for the first time since February 2020, due to the ongoing COVID-19 pandemic it did look rather different than in previous years. Designers such as Oscar de la Renta, Vivienne Hu, Barragan, and Kimberley Goldson chose to stay virtual for their shows, adding a digital twist to the week. The number of attendees at in-person shows and presentations was limited, and everyone involved had to show proof of full vaccination status, from guests to models and stylists, and all backstage staff. The CLEAR app allowed attendees to create a digital vaccine card to enable an easier and more streamlined way of demonstrating this. Mask use was strongly encouraged at all indoor events.
What were the highlights?
Natural themes were huge, with Jason Wu’s blossom-smudged cottons and Altuzzara’s scarf dresses the standouts. Americana was also in great supply, with Tory Burch, Brandon Maxwell, and Prabal Gurung going all retro and trad. One of the most significant trends of the whole show was the bra top, which made an appearance on almost every runway and at every show. From Maryam Nassir Zadeh to Michael Kors, this humble piece formed the basis of some of the Week’s biggest hits.
Which brands were on show?
All the big names from Ulla Johnson to Tom Ford attended, including designers like Tadashi Shoji, Rebecca Minkoff, Anna Sui, and Jonathan Simkhai amongst many others. One notable return was Jeremy Scott with Moschino.
Which celebrities attended?
As the week coincided with the Met Gala, it was a bumper year for celebrity attendees. Lea Michelle attended DUNCAN NY, Ciara went to Dundas, Katie Holmes attended Christian Siriano, and Camila Mendes was at Collina Strada.
The return of NYC Fashion Week is a huge moment for the fashion world, and we look forward to the exciting times and styles of 2022 with great excitement!
Reports state around 90% of people aren’t happy in their careers. Whatever the reason for lack of career satisfaction — whether it’s poor management, creative blocks, or lack of progression — there’s a resounding opinion that people want a career that means something. Photography is one of those careers. A loss of creative flair, battling for work, and harsh criticism results in a loss of passion for photography – below are a few simple ideas that will turn that around and reignite your love.
A New Approach
Rather than taking photos, spend some time creating a website (if you don’t have one already). Photographers websites showcase excellence beautifully, bringing together professionalism and photography into one. Free website templates make it easy to create a website that highlights your work and your unique style.
There are hundreds of templates to follow; the best ones go above and beyond the standard drop and click menus and stock photos. Draw inspiration from other photographers’ websites and use your creativity to produce a show stopping website.
An alternative approach brings a new focus. A lack of creative flair can stem from exhausting all ideas. There are only so many times you can take the same photo without running out of ideas on how to make them different. Take some time away to rejuvenate and work on something new – allowing your mind to explore new concepts.
Why is a website so important? Websites attract clients; they form a house for your personal portfolio and show you’re professional. Clients will want to see examples of your work, and a website is the most professional way of doing so.
Photography Events
Thousands of photography events happen year-round. They are a chance to find inspiration, discover trends, and meet like-minded photographers that may want to collaborate. Photography events will usually contain speeches by accredited photographers, freebies, and stands where you can purchase new equipment. Just walking around and taking in all the guidance and invaluable advice may be enough to give you a sense of direction again.
Interestingly, many photography events allow you to showcase your own work – with the potential of attracting new clients. Much like with marketing events, for example, you can hire a stand for the day and hand out leaflets, examples of your work, and hopefully gain a few clients. Some of these events are free, but a lot will come with a small admission fee – although it is worth it, even if it is for the experience of going.
Explore and Expand
The beauty of photography is you aren’t restricted to one photography niche. Much like other creative careers, such as art and content writing, there is always the possibility of expanding and adapting to a new style. That’s what makes them so great – and is one reason why studies have shown that artists and other creative people typically rate their job satisfaction higher than others. Need inspiration? Here are some of the most popular forms of photography:
Landscape
Portrait
Special events
Wildlife
Fashion
Sports
The list could go on forever. A lack of a creative flair for one style of photography doesn’t necessarily ring true for all. An easy way of finding a new style is to minimize the pressure and go with the flow. Take your camera everywhere with you and start shooting. Don’t race to find the perfect location, person, or style – walk around and shoot anything you think is worthy. Reducing the amount of pressure you put on yourself to find a new style will allow you to find one to be passionate about in a more natural way.
Start A Blog or Vlog
A blog or vlog is great for exploring another outlet that allows your creativity to flow. Separate from a professional website, a blog or a vlog is a safe place for you to discuss relevant topics, showcase your work without it editing, and meet like-minded people that might lead to a new avenue of income. Both are really easy to start. WIX provides free blog templates that structure the blog ready for you to fill it with content.
Vlogs are easier to set up. Your camera, microphone, and video editing software are all you need. Vlog about new ideas and concepts, any photography trips you take, or something completely irrelevant to photography. Although videography is distinctly different, they’re still from the same creative family, and there’s the potential for it to reignite your passion for photography.
Whatever your reason for a lack of passion for photography, it is not the be-all and end-all. A change in direction can renew your love once more. Don’t be afraid to take some time away and return with a fresh mindset and new ideas. The beauty of photography is there are many avenues to explore, new people to meet, and adventures to have – making it hard for passion to be absent for long.
Since releasing her second album with Artist Spotlight alumni Ohmme, which she formed with Sima Cunningham in 2014, in June of last year, Macie Stewart has been involved in an impressively wide range of projects. She contributed to the debut solo album by Liam Kazar, her bandmate in the hip-hop group Kids These Days and later Marrow, as well as claire rousay’s a softer focus, in which she played violin with her duo with cellist Lia Kohl. Before that, you might have heard their playing in records such as V.V. Lightbody’s Make a Shrine or Burn It, SZA’s CTRL, and Whitney’s Light Upon the Lake and Forever Turned Around. Between all their collaborations, the Chicago-based multi-instrumentalist took the time to record her debut solo album, Mouth Full of Glass, which arrives this Friday via Orindal. On its own but especially in the context of their collaborative work – Stewart also comprises one-third of the improvised act the Few and performs in Ken Vandermark’s ensemble Marker – the beautifully introspective LP feels like a quiet but necessary reckoning with the self: from the moment she embraces the act of truth-telling on opener ‘Finally’, she charts an effervescent path toward it through lush arrangements, vivid, dreamlike images, and evocative songwriting, weaving it all together in an attempt to cast out the darkness with each slow, tentative move.
We caught up with Macie Stewart for this edition of our Artist Spotlight interview series to talk about some of her earliest musical memories, the process of making Mouth Full of Glass, and more.
Has the past year felt especially busy for you, or not more so than usual?
It’s felt busy in a strange way. My typical level of busyness is like playing shows or going to sessions, but because that wasn’t possible, this past year was busy but more in a self-driven way, where I had a lot of recording projects but it was all in my house. So I wasn’t really leaving anywhere, I was just recording in my bedroom or in my office space that I have now. I was happy to be able to at least connect with people on a recording level like that since we weren’t able to actually see each other in person or see each other play. Music has always been my way of connecting with other people and feels like the easiest way that I can communicate with people, and so having this recording capability, even if I wasn’t in a room with someone, being able to hear their songs and contribute something to it felt very comforting to me in this last year. Because it was kind of a way of being close to people when you couldn’t really be close to them. And now that live shows are coming back in some capacity and there are some recording sessions again, I’m trying to wrap my head around that kind of busyness after I got used to this other kind.
During that time, did that also mean focusing on writing more as well as recording?
Yeah, definitely. And aside from just writing, doing other things that kind of helped my creativity, like trying to draw more or do more creative projects with my hands, rather than just writing music or practicing. I did a lot of drawing and tried to pick up embroidery and sculpting in the last year [laughs] – not very successfully, but I feel like all of it feeds on each other. You know, different creative pursuits kind of put your brain in a different place so that you can create more effectively in all of these different realms.
What appealed to you about taking up other activities like drawing?
Drawing – and cooking too, I feel similarly about cooking as a creative venture – I like that it’s just working with your hands. It’s something tangible, and you can feel what you’re making. [laughs] Sometimes when you’re writing, you’re not actively looking at what you’re creating or holding what you’re creating, so there’s a satisfaction in making something and being able to touch it with your hands. It’s kind of a similar feeling when you’re playing an instrument as well.
When I asked Liam about how he looks back on his time in Kids These Days, he told me that he doesn’t think of it so much in terms of the music that you made as the experience of learning how to be in a band and the excitement that came with that. Do you feel a similar way?
I think I do feel a similar way. I look back on that time as – it all feels like such a blur. [laughs] It was like straight out of high school, and kind of jumping into this – it was the first time I had deterred from my planned path, which was going to school for classical piano. And I think that that act of being like, “I’m actually not going to college, I’m going to do this thing,” I think that was a really big pivot point in my life, of just making a choice for my own life rather than the plans of people that were around me, or like my parents, teachers, things like that. And so yeah, I agree with Liam, because it definitely was an experience, working with that many people, collaborating with that many people, and being on the road 24/7 as a formative 18-year-old. I think it was a huge learning experience and I am definitely grateful for that, especially as my career now definitely involves touring to a large extent. I think I learned a lot from that band and a lot of things that are good to do and a lot of things that are really not that great to do while you’re on tour. [laughs] And I feel like that was such a necessary learning experience to have because it definitely feeds into how I move forward in life.
You said that it all kind of felt like a blur. Do you mind sharing some early musical memories, not necessarily attached to that project, that have stuck with you in a meaningful way?
Yeah, I was just thinking about one the other day. I used to play a lot of Irish music with this group called the Academy of Irish Music, and they were out of the Irish-American Heritage Centre in Chicago. And I went there from when I was probably like 11 to 15 or so and we would play a lot of gigs, and I was playing Irish fiddle in that group. But the person who was the mentor and the founder of the group, Noel Rice, who sadly passed away a couple of years ago, he would encourage us to write these pieces with all of these tunes that we were playing. And I didn’t realize that at the time, but I was just looking back at it now and thinking about how awesome it was to be given guidance and a safe space to compose in real time. Like, we were playing all of this music, and he was like, “As a group you all have to figure out how to move from this to this tune and they’re two completely different things, but let’s figure out a transition.” And so we were improvising and composing without even really realizing it, and now that’s a huge part of how I make music, of how I compose and write things, is kind of figuring it out in real time and thinking about those transitions and how it will work with someone else playing.
So that’s a musical memory that sticks really firmly in my brain because it was really foundational in a way that I had no idea until recently. And then a fun foundational memory is playing the Rock and Roll Hall of Fame with George Clinton and Parliament Funkadelic and getting a high five from George Clinton on stage. I think that was like the peak of my career. [laughter]
That’s amazing.
Yeah. They were just playing in Chicago and I think that’s why that memory came to mind.
How about the first memory, how did that come to mind?
I think because I’ve been doing a lot of improvised music in the last seven years of my life, and that’s become a huge part of my identity and a huge part of how I like to move throughout the world creatively. And I think in this last year when I’ve been doing a lot more string arranging and I’ve been doing a lot more composing – I composed music for a film with my friend Quinn Tsan this year as well – and I was thinking about my process because I never thought about it before; I just kind of acted intuitively but didn’t reflect on my process. And I was thinking about it a lot in quarantine because I was working on it a lot, and that was kind of how that memory came up, because I was like, “When did I first start writing instrumental music?” And it all came from improvising, both improvising with that Irish group and also, when I was younger I had to practice piano a lot and my mom would make me sit at the piano for two hours, whether or not I was doing what I was supposed to do. So I would just improvise pieces to get around practicing what I was supposed to be practicing.
How do you think being raised in a musical household has shaped you as an artist? You talked before about that being a pivotal point where you started forming more of your own musical identity, but did you feel an urge early on either to step away from music or to do your own thing within it?
I don’t think I ever had an urge to step away from music. When I was really little, I was just obsessed with making things. I loved playing, but I really loved making pieces – when I was like 11 I wrote a piece for my string orchestra that I was in [laughs], I started writing songs when I was like 12 or 13. And I think that growing up in a musical household was really helpful because my parents both listened to – I didn’t realize how lucky I was, but my parents both listened to really awesome music, so I was exposed to a lot of different things from a young age that a lot of my peers weren’t exposed to. And even though my parents were very strict with me and I didn’t really get to do a lot outside of music, I feel like I was able to see a life for myself in music because my mom’s a musician as well. And it just made it seem possible, I think, growing up in my household, and none of my creative pursuits were ever really looked down upon. My parents were maybe nervous because they knew what it was like to live as a musician, and how much work it really is, and how it’s not necessarily the most stable career path, but they were very supportive. Not a lot of people have that, and I’m grateful to my parents for that.
What kinds of music did you gravitate to at the time that didn’t come so much from your family?
When I got into high school, my friends started making me mix CDs and things like that, and I got really into David Bowie, so much so that I like Limewired his entire discography. [laughs] That, and listening to a lot more jazz stuff because I had a lot of friends who were really into jazz, and I didn’t really know very much about it, so I started getting into that in high school a little bit more, and some more electronic music. My parents weren’t listening to hip hop, but I definitely got into that in high school too.
You’ve talked a bit about why you like working with other musicians, but I was wondering when you find collaborating with others most enjoyable.
I think that I gravitate to working with other people all the time; it’s more about when I gravitate to working alone. Which, I think when I need to work alone, it’s because I’m overstimulated. I need to check back in with myself. I feel like the solo project that I just made is because I was a little bit overwhelmed and I needed to check in with myself to see how I was feeling. So I think it’s more my regular state to collaborate with people, and working alone comes when I need to go in, you know.
Communication and aloneness are themes on Mouth Full of Glass in a way, too. You alluded to starting work on the album about a year before the pandemic, but can you elaborate on why this felt like the right time to focus on your solo project?
I’d been on the road with Ohmme for like three years straight at that point – I mean, we had been touring for longer, but it was pretty much non-stop. And I had also been touring with other projects when I wasn’t on the road with Ohmme, so I basically was never home and I was floating a lot, doing a lot of projects with other people and just taking work without thinking about how much energy I had to spend on it. I think initially I started writing music that didn’t feel like Ohmme stuff, and it also felt like I needed to put my voice into a thing so that I could hear it, if that makes sense. And then Ohmme started working on our record and then we recorded our record, and then I kind of stopped working on my solo project because it just felt like there wasn’t time and I wasn’t in a headspace to finish it.
But when quarantine happened, I wrote a few more songs – I was spiraling into a not great place before the pandemic, and then the pandemic kind of solidified that for me. Maybe five months in, I was like, I should probably record some of these things because I finally got a recording interface at my house, which I’d never had one before, and just started working on these songs and finishing them up. And it felt like an extension of that headspace that I was in before, but flipped on its head. Whereas before when I started writing the project I was craving alone time, when I finished the record, I had gotten that space and gotten that alone time but it was not necessarily by choice. It was forced upon all of us and forced upon me, but it also felt necessary because it was something that I wanted, so I was trying to explore that. It felt like a natural conclusion to that songwriting and recording process.
You used the word “voice”, and I was wondering, during that process, was that something you thought about at all? Your voice in a musical sense, or what you wanted to say?
No, I didn’t really. [laughs] I think when I write, I’m just writing, and then when it’s done, I can look back and see what that was. The thing that I knew was that I wanted it to be instruments that I could play and things that I could do on my own – except for saxophone, I can’t play the saxophone, and I really wanted saxophone [‘Garter Snake’ features saxophone from Sen Morimoto]. [laughs] But that was my goal with the project, was like, “What tools do I have, and how can I best put them to practice in this project?”
I think it’s interesting that the record starts with ‘Finally’ because it does feel like a point of conclusion, thematically. Did that come after a period of reflection?
I think it was after a period of reflection and just realizing that I had not really been telling the truth to myself about how I was feeling in a lot of different situations. And yeah, it does feel like a conclusive song, but at the same time I really wanted to put it up top, because it’s about exploring what the truth actually is, what you’re actually feeling. For me, it was about these things that I might not be so proud of and trying to have grace with myself.
The next song on the album, ‘Garter Snake’, seems to come from that realization and explores those feelings more directly. I was wondering why you chose those three words in particular in the song – “new, alone, and awake” – to describe your headspace, and why you felt like the garter snake was a fitting metaphor for that.
I don’t know if other people feel this way, but I feel like I enter new periods of consciousness every few years or so. Sometimes I’m like, “I still feel the same as I did a year ago,” or, “Wow, two years ago, that was a completely different version of me.” I’m always fascinated with the idea of rebirth and shedding old layers of skin and trying to be better all the time. Trying to find new versions of yourself that serve you and the people around you better. And so the garter snake metaphor felt particularly apt for that because they shed their skin and kind of move on throughout their life.
But also, what I liked about that for that song – on the theme of truth-telling, I was definitely feeling like a liar to myself. And I think snakes often represent deception, but at the same time, the garter snake is like the sweetest, cutest one. [laughs] It’s harmless even though it’s really scary, and I liked that metaphor because even though I feel like the worst person in the world right now and I’m awful in all aspects, I know that it’s temporary and you move throughout it. And what seems so dark and menacing in this like [lifts hand in front of face] immediate future is not actually the larger picture. I also had just come out of two very intense relationships, one being an eight-year-long relationship, and so the “new, alone, and awake” part was very… I was trying to do better going forward. [laughs]
Why do you think you’re fascinated with the idea of rebirth?
I don’t know, I always want to be someone better… or someone else, sometimes. [laughs] I like myself, but I have always had a fascination with being someone else, or what would it feel like to embody all of these different things. I mean, even with the Ohmme record, that record’s called Fantasize Your Ghost – that line came from imagining all the different lives that you will have lived by the time you die. Who will you have been, and what things will stick, and what things won’t? And I think maybe it comes from – I did a lot of theatre when I was younger, and I played TheSims a lot, where, you know, you can live a bunch of different lives and you can enter the Rosebud cheat code and get millions of dollars. So it’s always just been fascinating, I love imagining those kinds of things. And sometimes that line gets a little blurred for me with reality and fantasy, of like, what can you actually achieve and what is maybe not possible.
Could you talk a bit about the significance of the album title in the context of the themes we’ve discussed?
The album title actually came from a dream that I had where I was trying to tell somebody something and shards of glass kept appearing in my mouth. [laughs] And like, falling on the floor, and it didn’t hurt, but I couldn’t get what I wanted to say out to the person, and it felt really urgent. It was very vivid, and I don’t often have vivid dreams, but this one struck me particularly because I could picture all of it and I could feel all of it, even though it wasn’t physically painful. It’s like embedded in there. I ended up kind of improvising [the title track], that was one of the last ones that I wrote for the record, and it was kind of written about that dream and about the feeling of not being able to explain exactly what you’re feeling to someone. Being afraid that they won’t understand if you do, and also the feeling of kind of breaking your own heart. [laughs] I mean, it seems kind of dark, but also it isn’t, because there’s always an element of, you know, when you’re not able to do this one thing, there’s always another way. And I think that’s why at the end of the song, it builds into something a little more warm and inviting and bright, because it’s not all dark. It feels dark sometimes, but there is always an element of light that can come through.
Where do you think that light comes from?
It’s probably different for everyone, but I know for me it was realizing I could still create things; I still had family and friends that love me and that I love. There’s always love to be found somewhere, and there’s always creativity to be found somewhere.
This interview has been edited and condensed for clarity and length.
Connecticut band Ovlov have announced their next album: Buds drops on November 19 via Exploding in Sound. Today’s announcement comes with the release of the new single ‘Land of Steve-O’, which features backing vocals from Jordyn Blakely, who recently released her debut project as Smile Machine and also plays in Ovlov singer Steve Harlett’s band Stove. Check it out below.
Harlett said of ‘Land of Steve-O’ in a statement:
I wrote this song after I got in some stupid argument with my father in the car, and once we got home I decided to go for a walk but ended up walking for about 2 hours and stopping to sit on a bench at the police station in the center of Newtown, Ct, where my parents raised me and still live today. I texted my friend Steve-O who I had been hanging out with a lot at the time. Basically anytime I was feeling like I wanted to hang out with someone, whether I was in need of someone to confide in or just wanted to chill, Steve-O was always down. He’s been an extremely important and close friend of mine since we met in the 6th grade when basically we both wrote down that Papa Roach was our favorite band on a personality questionnaire our teacher wrote for us in order to more easily make friends with the weirdos from all the other elementary school. The song is basically just about how good a guy I think Steve-O is.
In addition to Jordyn Blakely, Ovlov’s new LP features contributions from Dig Nitty’s Erin McGrath and Ringo Deathstarr’s Alex Gehring. It will follow the band’s 2018 record TRU.
Buds Cover Artwork:
Buds Tracklist:
1. Baby Shea
2. Eat More
3. Land of Steve-O
4. The Wishing Well
5. Strokes
6. Cheer Up, Chihiro!
7. Moron Pt. 2
8. Feel The Pain
Hana Vu has released a new single, ‘Keeper’, taken from her upcoming debut album Public Storage. The track arrives with a corresponding video directed by Maegen Houang and choreographed by Jas Lin. Check it out below.
“Shooting ‘Keeper’ was really an intense experience,” Vu said in a statement. “We had a few choreography rehearsals leading in, and then on shoot day we rehearsed for about 9 hours and only shot in the last hour.”
Houang added: “When I listened to ‘Keeper,’ I thought about how we’re all trapped by different societal expectations — whether it’s from work, family, friends or the devil inside ourselves. I wanted to make a video that expressed the feeling of not being seen when all you really want to do is explode. By shooting the video in a single take we never let the audience off the hook. Just like Hana, we’re trapped in a cycle of being constantly ignored. I set the film in a family environment because as viewers we usually associate families with a sense of security and safety. The family environment created a contrast to Hana’s bursting performance and underscored the pain of not being visible, even sometimes by your own relatives.”
“Charlie is an amazing musician; we just hit it off,” John said in a press release. “He’s become a friend and a friend of the family. Our children love him and he loves them. Everyone we’ve worked with on The Lockdown Sessions I’ve really gotten closer to them, it’s quite amazing. With ‘After All’ Charlie and I were in the studio, just the two of us. He’s got a little home set up with his keyboards, synths, and Pro Tools. I played electric piano and actually wrote the song all the way through and then Charlie wrote the lyrics pretty quickly. He’s incredibly quick, Charlie. We just had an amazing chemistry in the studio.”
Puth added: “As a songwriter, I have admired and looked up to Elton John my entire life. It is truly incredible how the melodies and chords seem to come to him instantly whenever he sits down at the piano. I got to witness that firsthand when we wrote this song together. He is world class and the true definition of a musical genius. Being a part of his musical journey is a dream come true. ’”
The Lockdown Sessions arrives October 22 via Interscope. In addition to Charlie Puth, it features collaborations with Young Thug and Nicki Minaj, Eddie Vedder, Stevie Nicks, Stevie Wonder, and Brandi Carlile, as well as the previously released ‘Cold Heart (Pnau Remix)’ with Dua Lipa, ‘Chosen Family’ with Rina Sawayama, ‘The Pink Phantom’ with Gorillaz, and ‘ONE OF ME’ with Lil Nas X.
