Interview with Sean Tobin

By Deaglan Howlett | Posted Sunday, May 22, 2022

Sean Tobin has been writing invigorating Irish folk rock for the past few years and is back with a new full-length June 10th titled Ghost of The Arcade. Following up 2020’s East Coast Artifacts, Tobin’s latest singles showcase his shore town storytelling with his solid backing band. Sean’s music fits in Asbury Park bars just as well as pubs in Galway. Combining traditional Irish instruments with punk ferocity, his music remains exciting and at times nostalgic. I reached out to Sean to talk about his band and their upcoming album just a few weeks away. Thanks again, Sean!

When did you first start releasing your own music?

I released my first single in the winter of 2018, “Winter (In an Ocean Town).” That was one of the first songs I thought might be worthy of putting out into the universe. The other was “This Midnight”, which was the title track to my first album that came out later that same year. Safe to say, production quality and base-knowledge of songwriting has grown since then, but I still put many of those songs into my setlists.

Who is in your current lineup? How do these players influence your sound compared to when you first started?

Drums - David Patiño

Bass - Jack Breslin/Backing Vox

Lead Guitar/Mandolin/Accordion - Jake Garbe

Fiddle (When We Can Lock him Down!) - Sean-David Cunningham

These guys were a hodge-podge of connections that I'd made over the years.

Dave grounds us in the punk-rock beat that I always gravitate toward, but has no problem holding back when the song calls for it. He's also the gear guy. Thank god for that.

Jack is arguably the most "professional" musician we have in the group. He's classically trained and incredibly talented as a jazz bassist. He has his own jazz trio and plays in a bunch of other ensembles around NJ and beyond. He and I do a few duo/trio sets here and there, so we have great chemistry when it comes to banter on the mic and performing live.

Jake is the most recent addition to the group. I tapped him when we were putting out “St. Patrick's Day Forever”, as I'd heard he could play a ton of different instruments. I heard correctly. His diversity instrumentally helps flesh out each song in whatever way it needs, from mandolin to accordion to ripping leads on electric. Jake even learned each guitar solo from before he was in the band note for note overnight. Kid's an animal. He also helps add that Celtic, Americana twang to tracks in a way that I've been searching for for a while.

Sean-David Cunningham is one of the most (if not the most) sought after violinist in New Jersey. Classically trained like Jack, he started playing in rock and folk bands a while back and hasn't stopped since. He's one of those guys that only needs to hear the key of the song to play along.

Basically, I surrounded myself with musicians far more talented than me. I think it's working.

Your latest two singles “Memorial Drive” and “On the Corner of Sunset” are real rockers. How did these songs come together? What is your songwriting process like?

These two were serendipitous. I wrote “Memorial Drive” sitting on my VOX in my old Asbury apartment, trying not to wake the neighbors after a night out. Lucky for them, I wrote the song in under an hour. The best ones always happen that way. I'd already written “Sunset” months prior, but I never really put the two together till much later.

When I was tracking out the album, I wanted to make it flow in a way that all my favorite records do. I love the way one song blends into the next in records like American Idiot, Abbey Road, Kick by Spanish Love Songs... When I was going through the track listing, I paired tracks up by the chord they ended on, and when “Memorial Drive” and “Sunset” matched up, it made too much sense.

I love the Irish influence in your music. Who are some of your favorite Irish artists? What is unique about Irish music to you?

First off, thank you! I grew up on The Wolfe Tones. My mom's family is from Northern Ireland, so rebel music was always on repeat at parties. I joke that my dad had three CDs in his car growing up: Let the People Sing, Born to Run, and Beach House on the Moon. 

RIght now, though, I've gotten into a bunch of up-and-coming Irish rock acts. The Scratch is my favorite at the moment. Palpable high-energy acoustic punk, check them out when you can. I also steer toward Dubliners, Pogues, Clancy Brothers and the rest depending on my mood. But right now, The Scratch, Junior Brother, New Pagans, the list goes on...

The lyricism of Irish music has always resonated with me, as even the most serious of songs often have a few quips inside. I love the Irish sense of humor. Dry as hell. I try to add that to my songs whenever I can.

Your full-length Ghost of The Arcade comes out 6/10. Who did you work with for this album? What can fans and first-time listeners expect?

We worked with Rob Freeman up at Audio Pilot Studio for this one. Rob is a veteran producer, as well as a well-known pop-punk musician of Hidden in Plain View. His studio is decked out with tons of state-of-the-art equipment, instruments, and even analog gear. Most importantly for me, though, it has an apartment upstairs, a fire pit outside the listening room, and tons of acreage to explore. We stayed up there for a week and fully engulfed ourselves in the process. It was a dream.

Do you have a favorite track off the new record? What makes this one special?

The album is so diverse, it's too hard to pick just one. I'd also be lying if I said I had a favorite, but there are a few that have yet to be released that I'm very excited about. "I'll Be Alright," for one, is an absolute foot tapper, and the piano on the track drives the album home. "Unfinished Business" is a love song, one that I sang to my wife on our wedding day, so it'll always have a special spot in my heart. "Eugene" is a song for my grandfather.. that importance goes without saying. So do I have a favorite song? No, but I can absolutely say that this is the best, most enjoyable record I've worked on to date. 

We've got shows coming up to support this album at the end of June.

6/24 in New Hope, PA at John & Peter's

6/25 in Asbury Park, NJ at The Saint

6/26 in Jersey City, NJ at JC American Festival

and a late-summer tour to be announced!

~

You can keep up with all things Sean here and make sure you see him and the band this summer!

Interview with Bobby Mahoney (New EP, "We Go On")

By Deaglan Howlett | Posted Friday, April 15, 2022

Bobby Mahoney and the Seventh Son are no strangers here on Jersey Indie, and we are always anticipating their next release. Their work ethic is unmatched and their appetite for songs with big choruses and hooks just seems to grow more and more with each new single. Bobby and his band had been hard at work for their newest release, “We Go On” (which premiered on 4/8), and we can now hear what they have been working on these past few years. To help celebrate this momentous release, they hosted a two-day Release Weekend at The Saint in Asbury Park with a handful of talent from up and down the East Coast. I caught up with Bobby to take a closer look at their latest singles “Moth to the Flame” and “Lay It On Me”, as well as what’s next for the band. Thanks, Bobby!

When did you start writing for your newest release, “We Go On”?

We started writing these songs in fragments in the later half of 2019. They have definitely been a slow-burn. There are other ideas that have been around longer, but I felt strongly about these as they came together, so they got to cut the line a bit. 

How did writing for this record differ from past Seventh Son records? How have you grown as a songwriter? 

This record was collaborative with all four of us, James McIntosh, Andrew Saul, Jon Chang-Soon, and I writing together. I would come up with skeletons/outlines/hooks in acoustic demo form, then I brought them to the others for us to flesh out as a group. The actual pre-production was done remotely, or in-person but masked and socially distanced due to the pandemic. James and I jammed through songs on his electric drum kit, Andrew and I made home pre-production Logic demos, and Jon and I discussed overall “vibe”, soundscape, structure, and arrangement at length ahead of recording as well. We didn’t know if it was going to be an EP, or the first half of a full length, but we felt the five songs we chose really stood on their own, and were a dense, impactful twenty minutes of music. 

“Moth to the Flame” is a rocker, the song also seems autobiographical. What remains to be your favorite thing about playing live shows?

”Moth to the Flame” is extremely autobiographical! It is about our need to create, despite all the factors that try to deter us from doing so. My favorite thing about playing live is when all the hours of practice and prep come together so I don’t have to think, I can feel. Which sounds silly, but I think there is a Keith Richards quote about something like that. When the four of us lock in, we can ride the energy, follow gut/instinct, and do what we know we can do. There are so many hours of things that are NOT playing the guitar that go into being a musician, so when we get to actually do what we signed up for for 20-60 minutes, and connect with people who care about what we do, it makes it all worth it. 

You’ve been playing shows for quite some time. How do you feel shows have changed if at all since the pandemic? 

I think it would have been a nice change to come back to shows with people being a bit more respectful of other audience members and the performers, but I don’t necessarily think that has happened. I think if anything, we are all now less likely to take it all for granted, at least I would really hope so. Before the pandemic, I caught myself taking live music for granted, and after losing it for over a year, I am extremely thankful for any chance I have to go see a performance or to perform myself. In a lot of ways, nothing has changed, yet everything has changed. We are still in weird times, but things are healing.

Who did you record “We Go On” with? Did you and the group do anything differently from previous recordings that you’re excited about?

We recorded “We Go On” with our good pal Joe Pomarico in his parents' basement in Holmdel, NJ. Aside from home demos and some pre-production phone meetings, we actually only rehearsed these songs a handful of times as a unit before we began tracking in Fall 2020. I wanted the songs to feel fresh, live, real, and given the circumstances, I wanted to capture the basic sound of people playing music in a room together. We tracked drums, bass, and rhythm guitars live over one weekend, and then spent a year overdubbing when we were able to get together, and doing Zoom editing/mixing/production meetings remotely! It was a weird way to make a record, but for this record — these songs, at this moment in time — it worked and I am very proud of what we were able to create.

The songs are “classic Seventh Son” — catchy with loud guitars and drums — but they have a new spin with this current line-up working together that led to some of the most exciting and unique songs we have ever recorded. We definitely wanted to push ourselves in every aspect to put out an EP that we felt represented what we do, and where we would like to go. 

What were you influenced by for your latest single “Lay It On Me”? How did that song come together?

I started taking notes for what became “Lay It On Me” while visiting Paris in August 2019. In the lobby of a hotel, they had old American Western movie posters on the wall, and I wrote some titles and taglines down. Many of our favorite songs were inspired from cinema, and many of the best songs are movies in themselves. Incident at Phantom Hill was too good not to note, and Fistful of Dollars is a classic. The irony of going all the way to France to be inspired by the American “West that never was” isn’t lost on me.

“Flower power and violence” is directly about the protests we saw in 2020 for the murder of George Floyd, the fights many Americans have had to wage on our own soil in order to secure their own rights/freedom in our history — painfully recent history — and present. Who the fuck is anyone to deny another human being the same rights they themselves desire and demand? “Will we find redemption?/Tune in next week.”

The song ultimately is about recognizing our own boundaries, and how much each of us can take on at once without being burnt out, burned, or burnt alive.

Musically, I wanted to focus on dynamics- starting very quiet and then gradually getting louder and louder, until it becomes one of the heavier moments on the EP. 

Thanks to everyone who has supported myself and this project over the years. We are excited to share with you all, and excited to see what the future holds! 

~

You can keep up with Bobby Mahoney and the Seventh Son here. 

Interview with Teen Idle

By Deaglan Howlett | Posted Thursday, September 30, 2021

Teen Idle is the moniker under which Sara Abdelbarry writes, records and performs her own music. Since the release of her first EP in June of 2020, she has released a handful of singles, and even performed her first show this past August. When I saw Teen Idle, I was enthralled by the atmospheric guitar playing and mood she set with just her vocals and a guitar. Since her recordings include some more studio work, I recently asked Sara about her project, her recording and songwriting process. Thanks again, Sara! 

When did you first start writing your own music?

I’m pretty sure I wrote my first song when I was 15. At the time, I was taking lessons at Lakehouse Music Academy in Asbury and being introduced to and surrounded by so much music. Plus, most of my teachers were in touring bands of their own, so being in such a creative musical environment like that definitely sparked my interest in songwriting. I also owe a lot to the show American Idol, which I used to watch all the time with my family and cousins, for introducing to me a lot of classic ‘70s and ‘80s artists which piqued my interest in songwriting.

Who were your influences when you first started and how have they changed?

My biggest influence was and will always be Fleetwood Mac. All three songwriters in that band are impeccable, the production is intricate and smart, and the songs are super emotional in the best way. I know people who listen to my music might not hear Fleetwood Mac as an obvious influence, given my music sounds quite different from theirs, but I think each member of that band influenced my approach to writing music in a big way: Stevie’s lyricism, Lindsey’s production, and Christine’s melodies and affinity for jazz chords. Sometimes I’ll write something and feel later on that band was a subconscious influence, even if just for the groove and feel of a song. I find myself drawn to the dancy nature of many of their songs in my recent songwriting.

If we’re talking direct sonic influences for my releases as Teen Idle, that’s all over the place just like my music taste. For my first EP and most of the stuff I was writing at that time (2018-2019), there’s a heavy shoegaze and almost slowcore-ish influence. At the time I was really into bands like Beach House, Alvvays, and Slowdive, so the music bears a slight sonic resemblance. That kind of reverb-drenched, dreamy sound with shrouded vocals suited the subject matter I was writing about at the time, like heartbreak, so that just happened naturally. Now, though, I don’t really have an interest in that particular shoegaze sound anymore and want to focus more on lyricism and letting vocals shine. The new stuff definitely still has a ‘90s type influence and dreamy guitars, but I’d say recently I’ve been influenced by artists like Mitski, SASAMI, Japanese Breakfast, and Sharon Van Etten. 

How did last year's lockdown affect your songwriting if at all?

In the beginning, around March, I was super productive and even managed to curate this pandemic compilation with the intention of donating the money to COVID-relief efforts. I ended up getting artists from I think 10 countries on it, made some new international music friends, and contributed a song I wrote at that time, called “When Yr Gone”. That was probably my favorite stretch of the lockdown, if one had to choose. But towards November, I stopped writing songs entirely or even listening to new music really, which wasn’t intentional but just happened. I’m usually always writing and interacting with music, so it was a super weird and depressing time for me. 

Like a lot of us were, I was feeling very down about the fact that I couldn’t be out in the world anymore. I like to be out and about, I like to travel and explore, and I’m a pretty social person who loves to meet new people and go out, so I feel like that part of my life was stolen away, making it hard to feel inspired. My writing typically comes from real life experiences, encounters, or other people’s stories I hear, so in a way I didn’t feel I had anything to write about. I was also more focused on maintaining my mental health than songwriting at that point. It was difficult to get myself out of that place mentally because I felt like I was in a hole for so long. I’m so glad that stuff is all over, and that my mental health is back to being as good as it used to be now that normal life has basically resumed. I did end up writing one or two songs I’m very proud of last winter, so I do cherish those.

What is your songwriting and recording process like?

This will probably be a long-winded answer — usually I’ll start a song with guitar or piano. I’ll usually be noodling around on either instrument, or on rare occasions the bass too, sometimes with the intention of writing a song if I’m feeling a certain way, other times just fiddling around. Then I arrive at a progression I really like and make sure to record it on my voice memos. Once I have that basis, I’ll keep building on the progression. When I feel that I have something there, I’ll start singing random words over the instrument to figure out where I want the melody to go. I’ll work on the melody for each part of the song, sometimes starting with the bridge, sometimes starting with the verse. It also varies because sometimes I’ll have an idea for a bridge that I want to write with strings in it or something and then build the song from there. 

As for lyrics, a lot of the time I’ll keep some of the random words I was singing while figuring out the melody, or just use words that rhyme because they match syllabically. Then once I know exactly what I want the song to be about, I’ll chip away at the lyrics, usually writing them all at once or over a span of a few days. I usually will refine the lyrics until I feel like they get the message across exactly how I intended. 

For production, that doesn’t happen typically until I have a finished demo of a song on guitar or piano on Voice Memos. I have the structure of the song laid out in a demo, I’ll start building it in Logic from the ground up. I like to start with the bare bones: drums, demo vocals, and then guitar and bass. From that point, it happens rather serendipitously and without explanation. I address each part of the song — verse, chorus, bridge, very likely cinematic outro — separately, working to make each part flow into the other and match the emotions the song conveys. I play and record all the live instruments at home myself, except drums which I let a very talented friend do in a separate studio, and use analog sounds with a combo of virtual instruments, synths, and weird Logic presets and effects to get the sound I want. Songwriting is more calculated, whereas in production I feel like it’s more divine intervention, where I let myself go wherever the song takes me. Sometimes I come across sounds I never expected by making mistakes or putting effects in a chain that engineers would scoff at. Then I do a rough mix and send the songs off to a mixing engineer because they do that better. 

What does your project name mean to you?

Teen Idle is a name I had in my back pocket since freshman or sophomore year of high school, I think, after I saw a Marina and the Diamonds song with the same name. I never even listened to the song, but I remember thinking it was an amazing pairing of words, so I never forgot it. I always kind of knew I wanted that to be my band name if I had one in the future. But now that I think about it, I was kind of an idle teenager; not by design, but I didn’t go out of my way to get good grades in high school, never studied, and never really went out either because I was super shy at the time. So the name for me reflects how I was a late bloomer in life, basically blossoming in and after college and coming into my own then.

What is your favorite song you've written? Why?

This is hard to answer, so I won’t answer directly. I think out of the stuff I’ve released, I’m pretty proud of “Dreaming” because it was the first song I ever released. And it was written rather randomly after jazz practice in college one day, but I’m proud of the lyrics and how the song builds based on the same chord progression. I am also really proud of “In the Morning” because I think it’s the most different from the songs on the EP, and “Sometimes” for the build up to the outro at the end.

Plans for the future?

I’m hoping to keep playing gigs in the area and NYC, building my audience locally, and just continuing to release albums I’m proud of and show my growth in my craft.

I just also started producing for other artists, so I‘d like to keep doing that as well as write for more artists I believe in, maybe even producing full albums for artists. In the long term I’d definitely love to write the score for a movie soundtrack, or have a song be in a TV show or movie. I also have some future plans to start a record label.

You can keep up with all things Teen Idle here and listen on Spotify here ! 

The DT's - "You With Me" (MUSIC VIDEO PREMIERE)

By Deaglan Howlett | Posted Friday, August 20, 2021

The DT’s are a power pop group hailing from central New Jersey. Having released their first single, “You With Me” in June, the group is now back to share their music video for the catchy single. Since the release, The DT’s played their first full band show at House of Independents in Asbury Park, NJ, and have been hard at work at new content for their fans. I recently spoke with Dave and Tom about their past year, playing shows again and their new music video. Thank you Dave and Tom!

The DT’s live at House of Independents

How was your first full band show at House of Independents? 

Tom: Our first show was really special and was really a magical night! It meant the world to be on that stage especially after such a long time and just battling a lot of adversity over the past 18 months. Both of us hadn't played in a full band setting live for quite some time and to debut at one of our favorite venues was a great experience. It almost felt like a Twilight Zone episode, like was this actually happening? It went really well and our buddies Lou Panico (Natalie Farrell Band, Levy & The Oaks, Solo) & Frank Lettieri (The Paper Jets, Dust Of Days) really did such an excellent job. They are true professionals! 

Dave: It was such an exciting experience. We were very happy when Bobby Mahoney reached out to us, and asked us if we wanted to play. It had been so long since we played in a full band setting, and it felt so good to be back out there on stage. Our talented friends Frank Lettieri (The Paper Jets, Dust Of Days) and Lou Panico (Natalie Farrell Band, Levy & The Oaks, Solo) helped us out that night, and they were extremely professional. We only practiced the four of us collectively one time, but I think that made the show more fun and lively! We were able to hang out with some friends that we have not seen since the start of the pandemic, have fun with the crowd, and play some new originals at an awesome venue. 

What can fans expect at a DT’s concert now that shows are coming back around?

Tom: In this new project, we really like to keep it fun, loose, engaging and entertaining with the audience. We work very hard at our craft but we also really like to keep the audience involved in a variety of settings. I also enjoy having freedom in this project where we are an acoustic duo some nights, other times full band electric, all while mixing in different instruments we play. At the end of the day, we just want to make sure the crowd is having fun and that we are spreading some joy. I think we all could use some after the past year.

Dave: Anyone that comes to one of our shows can expect a good time! We are always trying to have fun at our shows by throwing in some covers, getting the crowd involved, and telling some jokes on stage. We just like to have fun while providing a high energy rock and roll experience!

This video accompanies your latest single “You With Me.” What does this song mean to you as a group?

Tom: This was a really special song for Dave and I as it was one that came really quickly and naturally for us. Our emotions and feelings really lined up at the time and the song both structurally and lyrically came together in one night. We really didn't try and over think many parts and allowed ourselves to explore while keeping the song refined into a pop format. It was really neat sharing parts from our own songs and mashing them together melodically. 

Dave: To me the song means a lot. Lyrically, it references some personal/emotional setbacks we have experienced in the past few years. It was the first song that Tom and I wrote collaboratively from scratch. We started with a drum idea, and then layered on top of that. We both brought different elements to the song that we were able to blend cohesively, which gave it a unique sound. I am extremely proud of us for making this track because we also produced everything in Tom’s basement. We were then lucky enough to have our friend Frank Lettieri record drums and Joe Pomarico (Telegraph Hill Records) Mix/Master the final track.

Who did you work with for this music video?

Tom: We worked with Tom Garrigan, an old friend who is a photographer/videographer from our hometown. Tom is nationally known for his photography work shooting abandoned settings, and he really did an excellent job getting the footage for this shoot. He really had a lot of our visions behind the song come to life in a really simplistic way. All the editing work was done by Frank Lettieri who also plays drums for us live! 

Dave: We worked with our good friend Tom Garrigan. Tom Garrigan is a very talented photographer who has gained a following on Instagram under the handle “moldy_lungs” taking photographs of abandoned places. You have to check his page out!  So it was interesting to work with him because he is normally a photographer, not a videographer. So he himself was a little reluctant of how the final product would be, but we all think it came out great. Frank Lettieri then took all of the videos that we got with Tom G and made it a cohesive piece. Working with these talented two individuals was extremely easy, and we could not have been happier with how it came out.

What’s next for the DT’s?

Tom: We are truly having a blast doing this, and the past 3 months have been a huge reaffirment for us. We have many more singles lined up and some really awesome shows on the docket. Recording has also really turned into a passion for us, so more writing and experimentation in the fall will be happening for sure. It's been such a great year connecting with new artists, old friends and just letting our passions in this project flow. It's been such a great vehicle for expression for us and I'm so grateful for my friendship with Dave. 

Dave: Not stopping! The only things that are next for us include more music, more shows, more merch and more content. I am also so grateful for my friendship with Tom, and we would like to thank everyone who has supported us so far!

Interview with Grander

By Sonia Schnee | Posted Friday, April 30, 2021

When the pandemic hit and NJ went into quarantine, Hoboken experimental indie collective Grander used the time to self-produce and engineer their newest single, "Just Beneath the Surf", out of their apartment. They also produced and released an accompanying lyric video, while working on a (soon-to-be-released) EP entitled "If Found, Cherish.” Check out our interview with the guys, below, to learn more about how Grander came to be, what their creative process is like, and their plans for 2021.

What are your names, where are you from, and what do you do?

The core of Grander consists of Matt Cugine, Chase Montani and Aaron Vigliotti. We are based out of the Hoboken/Jersey City area and work boring desk jobs when we're not making music together lol.

The greater Grander community consists of several other collaborators, including Angie Cuzzola, Jesse Henshaw, Darien Henshaw, Josh Flores-Vitti and Greg Anastasio. We'd like to think of this band as a collective - with many different contributors. We're lucky to have a wide net of friends who are a blast to work with.

For first-time listeners, how would you describe your sound?

Our sound really is an amalgamation of our collective influences. We like to push the boundaries of indie rock by bringing in influence from hip hop, electronic music and classic rock, which we think makes for a unique listening experience. Our forthcoming project features seven tracks, each with their own distinctive feel - yet as a whole, it sounds undoubtedly like Grander.

Who are your musical influences?

Our biggest musical influences are Radiohead, Bon Iver, Toro y Moi and Mac Miller. Matt comes from a background of playing classic rock and blues, while Aaron and Chase came up together in the emo scene - so those influences bleed into our music as well.

Congrats on the release of your latest single, "Just Beneath the Surf"! Where did you record? Who produced it?

Thanks so much! We recorded and produced the track ourselves in Matt and Chase's Hoboken apartment. The song was mixed by Justin Krass and mastered by Sam Stauff, both members of the post-rock bands Wess Meets West and Wide Waters. They have been awesome to work with throughout this process and helped bring our apartment recordings to life.

This song was one of the first ideas that Matt and Chase started toying around with early in quarantine. We all found ourselves with a lot of time on our hands, and started engaging in experimental songwriting exercises - one of which included setting a timer for 10 minutes and trying to come up with the skeleton of a song with loops. The main "hook" of “Just Beneath the Surf” came together in these sessions, and we worked on the song pretty meticulously for about eight months (!) to get the final product you hear today. It went through many different iterations, and I think we were able to mess with it just enough to get it perfect. Or as perfect as it could be...

What's the inspiration behind the song?

The lyrics are about the complexities of contradiction, and the role that contradictory decisions play on our subconscious. Matt really went deep into this concept after coming up with the words "just beneath the surf." While the song does have a "surfy" vibe to it - there is a feeling of uncertainty to the music, and the lyrics play off of that. We love to use juxtaposition between the music and the lyrics in our songs.

What is your songwriting process like?

It really varies for each song. Matt and Chase handle most of the songwriting, usually independently, as far as the core of a track goes. For our forthcoming project, Matt wrote four of the tracks and Chase penned three, but we all worked together once the core ideas were developed. It's not like Matt or Chase writes a whole song and that's it - the three of us really build off of each other's ideas. Some of Aaron's contributions have completely changed the feel of these tracks, and it's been so exciting to see that come to life.

One constant in our songwriting process is that the music always comes first. We think the music really is our strong suit, and are still working on being poignant and effective songwriters. That said, this batch of music we are releasing soon is much more polished than what we've done in the past, and we're so excited to share it with the world.

Are your songs largely based on personal experiences? Fictional characters? Inspired by movies/TV?

Again, our songs come from different places each time. Matt and Chase both pull from personal experience and fictional/historical characters. Matt takes a lot of inspiration from movies/TV - and will sometimes try to watch certain films to get lyrical ideas flowing. It's an awesome practice that he engages in. Sometimes the inspiration that we pull from films is even related to the movie's score - as is the case with one of the instrumental songs on our new project, inspired by Jonny Greenwood's original music for Paul Thomas Anderson's "Inherent Vice."

So, take us back to the beginning. Do you come from musical families or are you trailblazers?

Matt's mom plays the piano. Chase's parents both played instruments growing up as well, with his dad being an all-county baritone horn player on Long Island as a teenager. Aaron's uncle plays a mean blues guitar and was a big influence on his relationship with music growing up. So there definitely is some musicality that comes from our families.

That said - the approach that we've all taken to our own music is much different than that of our parents and relatives. Aaron and Chase started a punk band in seventh grade, playing blink-182 and Taking Back Sunday covers around their small NJ hometown. Matt picked up guitar in high school, but really dove into playing in college, thanks to the inspiration of his roommates at the time and listening to a lot of Pink Floyd and Led Zeppelin.

Looking back, what have been some of the highlights that you’ve experienced so far as individual artists and/or collectively as a band?

We were on a real high going into the pandemic as far as momentum goes. The Grander live experience started in June 2019, and by January 2020 we played a sold-out show at Pianos in NYC. That was a big highlight for us, but we also had a lot of small victories along the way. We put on a show in Matt and Chase's apartment to 50+ people, booked our first festival appearance at Cornchella in Western PA (not to be confused with Coachella, but maybe one day...) and played to large crowds in Brooklyn and Downtown Manhattan.

At the same time, quarantine did help us slow down and focus on the music. We had been recording our debut album at a professional studio (we were recording in the same studio as Blue Oyster Cult, lol), but were forced to put that on hold as well. That time allowed us to really sharpen our songwriting, and our next batch of music is easily our best yet.

It has been a great experience starting Grander and bringing it to a live setting, and we can't wait to get back out there!

What’s next on the horizon for you? What are you most looking forward to in 2021?

We are releasing our debut project, "If Found, Cherish" later this Spring/early Summer. The seven-song EP features songs that were all written during quarantine, and we're really excited to share it. As it stands, we have four songs completed and mixed, and the last three are very close to the finish line.

Otherwise, we're looking forward to playing live again! We are looking into putting together a livestream or virtual concert and have also talked to some friends about doing small intimate live experiences in our own spaces with small groups.

Before the pandemic, we were a five-piece band, with Angie and Jesse joining the core band, but we haven't all played together since our last show in February 2020, so there's definitely going to be a bit of an adjustment, and perhaps some new personnel coming to the live show in 2021.

And we may release some more music before the end of the year as well. There are two songs that we decided to leave off of the EP that we may package together as a release, and some old ones that we started in the studio that we hope to revisit. So hopefully we come out of 2021 with a nice body of music for our fans to enjoy.

If you could collaborate with any artist, producer, or musician -- living or dead -- who would it be and why?

I think we'd all agree that it would be a dream to collaborate with the late Mac Miller. We had very personal connections to his music, and hearing about the way he worked with other musicians is one of the big inspirations behind the collaborative energy that Grander tries to facilitate.

Justin Vernon of Bon Iver and the members of Radiohead would also be amazing to work with. Both groups push the boundaries of genre and sound, and that's really fundamental to what we do. We like to learn a lot about these artists and incorporate some of the ideas behind their songwriting into our own. We question everything in the studio, and always ask what more can be done? Sometimes we'll go and completely fuck up a song, just to see how far out it could've gone, and then rein it back in, and I think a lot of that comes from Bon Iver and Radiohead.

What words of advice or encouragement would you give to someone who’s trying to make it through and stay mentally healthy during this pandemic?

I'm not sure that we are qualified to give out advice or encouragement ourselves, as we've been going through many highs and lows personally throughout the pandemic. But I think it's important to take a step back and realize that we're all in this together, and that it will get better. It's been inspiring to see progress of late, but of course, we're still in the thick of this thing.

It's been helpful for us to lean on creation in this time, but there are also some days where you just don't have it. And that's ok! I think realizing that is important too. We were so productive in the beginning of quarantine with all the extra time on our hands, and then really saw our production slow down once Summer came around. That's the ebb and flow of making art, and it's inevitable.

Is there anyone who you’d like to give a shoutout to?

We're all very lucky to have great support systems in our families and we can't thank them enough for coming out to our shows, listening to demos and just being encouraging overall.

Justin and Sam, who are mixing and mastering the album, have been great collaborators and willing to "go there" with us to create a really unique and interesting body of work. It's our first time working with mixing and mastering engineers as Grander, and it's been a real pleasure. This project sounds awesome thanks to them!

We want to thank Corey Zack at Cocoon Recording in Jersey City for letting us come through and record drums for a few tracks on the EP in November. He's got a beautiful space and is a great person to work with, and got these drums sounding real crispy.

Shout out to our close friend group who have been down to listen to our demos and give us feedback, especially LeighAnn Armbruster, Dennis Desantis and Brandon McNamara, who have all heard these songs a bunch and have been really helpful in giving us perspective from a listener's point of view.

All of the people who have collaborated with us on this project deserve high praise. Angie Cuzzola delivered some beautiful vocal performances, Josh Flores-Vitti brought that thump on a couple bass lines and Greg Anastasio provided some dreamy atmosphere. It's so great bringing our friends in from afar (Josh is in DC and Greg is in LA) and being able to create something together.

Big thanks to the Henshaw brothers for everything. Jesse's art is going to be the cover image of the EP, and Darien came through and helped us out with some production. We miss them greatly, as we've been separated through most of the pandemic, but cannot wait to jam with them again soon.

Finally, where can people find you online?

We're all over! Our Instagram is the best place to keep us with us day-to-day. You can follow us on Spotify to make sure you don't miss "If Found, Cherish" when it drops. Check out our Soundcloud for some unreleased demos as well.

Is there anything else you’d like to add?

Thanks so much for reaching out for an interview! Shouts to Sonia and the Jersey Indie team for doing things like this for independent artists in NJ. It's been an honor!

Interview with Bobby Mahoney (Quarantine Edition)

By Deaglan Howlett | Posted Wednesday, April 14, 2021

Bobby Mahoney and The Seventh Son have been working tirelessly since first emerging from New Brunswick, NJ back in 2012. In the past few years alone, the group has toured the East Coast and Midwest, released a handful of EP’s and singles and even opened up for Bon Jovi at the Prudential Center. Most recently, the group released an acoustic version of their track “Called It Quits”, recorded in New York just before the shutdown started last year. 

When the pandemic first hit a little over a year ago, any lover of music knew it was going to be a little while before they were out seeing live music in any “normal” capacity. While some bands headed to the studio and others dissolved, Bobby took this time to help bring people together during this isolation. His livestreams have helped create an online music community that both inspires and connects musicians and listeners all around the world. I absolutely love what he has been doing with this somewhat new livestream medium and Bobby was kind enough to talk to me about what he's been up to the past year with The Seventh Son and the year of the livestream.

When and where was your last show before the venue lockdown?

B.M.: Our last full band show before the lockdown was at The Saint on February 20th with Latewaves, Lake Lilies, and Earth Telephone, but I also jammed with Matty Carlock at The Stone Pony on Feb. 22nd, played acoustic at Langosta Lounge with Joe Rapolla on March 7th, and then I was on a float with Williams Honor in the Asbury St. Patrick’s Day Parade on the 8th. The next week, the school I teach at went virtual and things hit the fan.

How has the pandemic affected the band (i.e. practices, songwriting, release dates)?

We have definitely rehearsed less than we would have, and we definitely have spent less time in the studio to say the least. We have been able to record 5 songs as a full band so far, but we have more work to do. We have put out a few new videos, a new live track, and new acoustic songs in the meantime, which we are all proud of.

How has the pandemic affected your songwriting, if at all?

I have a lot of songs that I was working on pre-pandemic that have new context to the world we find ourselves in currently. I still write down fragments of ideas and record bits of voice memos most days, and am constantly revising ideas, but I find myself letting them marinade more, living in various states of completion. As we have been in the process of getting vaxxed up, we have been starting to get back in the swing of rehearsals and studio sessions to complete the next batch of songs that I’ve let marinade enough. 

When did you first premiere your Bloody Marys and Coffee show? How did you come up with it?

I believe it was March 22nd, 2020. It started as me feeling unsure of how to help the situation, feeling restless, and wanting to give people a distraction. Part of the restlessness was feeling the need to ‘stay relevant’ and active, which I am sure a lot of our peers can relate to. 

“Called It Quits (Acoustic)” on Bandcamp now!

How many live streams have you done since the pandemic? Did you ever expect this medium to take off the way it has?

I honestly haven’t been counting or keeping track in any way (laughs sheepishly). I didn’t think we would be doing this for this long, or else I would have kept a better record. I would approximate there have been around 50 solo acoustic ‘Bloody Marys and Coffee”, two successful full band live streams, one less successful one early early on before we asked more friends for help, plus many more benefit video contributions and streams over the last year. It's like putting a bandaid on a headshot, but we are making the best of the medium. The best upside is that I get to check in with my friends all around the world once a week, and that's been a gift, and the coolness of it isn’t lost on me. I’m very grateful for all my friends, old and new, who have tuned into any of the streams this year. Some people haven’t missed one. I’m also grateful to have been able to still play with my band in any capacity over the last year, so I will take what I can get. The safety of our friends, and families who could have been directly or indirectly affected by us playing music in a less-than-safe setting has weighed heavy on me, and it continues to. 

Have you been finding yourself writing more or less the past year?

Less in the overall volume of songs, but I still have too many songs that I want to work on. I’m excited to put the band back to work as soon as possible. The gears haven’t stopped turning but they definitely were slowed for a while when it really wasn’t safe to even be in the same room for too long. Now as things are starting to look up a bit (knocks furiously on wood) we can start to rev the engine and get the gears moving faster.

Plans for future releases? Currently working on anything?

Yeah, there will be a new Seventh Son record in the not so distant future. Will it be an EP? Will it be an LP? Will it be a Double Record? Not sure. I really am still figuring that all out. Time and the process will present that information to me when I am ready for it.

You can keep up with all things Bobby Mahoney and The Seventh Son here!

Interview with Via Ripa. New EP "While It Lasts"

By Deaglan Howlett | Posted Wednesday, March 17, 2021

Via Ripa are a four piece rock outfit based out of Long Branch, New Jersey. Forming in summer of 2019, Via Ripa already has two EPs out; their latest “While It Lasts” was released 2/14/2021. Their blend of influences lead to a unique, energetic sound, with a familiar New Jersey attitude. Unfortunately due to the pandemic, after Via Ripa’s first three shows, venues were shut down and the group was forced back to their practice space. Luckily for us, the group has been hard at work and are showing no signs of stopping. I reached out to the band to see how they have been keeping busy in the wake of their latest release, as well as what is next for Via Ripa.

When did Via Ripa first form? 

Via Ripa: Mike and two of our friends (Sam Macpherson and Kyle Kieper<333) had started writing songs together and posting them on YouTube in like 2015/2016, and they called that Via Ripa, but only did that for about a year. Fast forward to the summer of 2019, and Matt, Mike and I (Sean) started jamming together and eventually got our drummer Nick in the mix. We got the okay from Sam and Kyle to use Via Ripa as our name in the beginning of 2020, but I guess you could say Via Ripa has been around for a little while. 

Who were your influences when starting the band, have those influences changed?

As far as influences go, all four of us come from varying backgrounds with varying interests in genres and artists.  Personally, mine (Nick) range from jazz artists like Louis Prima, Art Blakey and Benny Greb to bands and artists like Streetlight Manifesto, Jack Johnson, PUP, Vulfpeck and Led Zeppelin.  Sean was listening to a lot of Slaughter Beach Dog, Skeggs FIDLAR, bands like that, and Mike was on a big Jimmi Hendrix and The Smiths kick. Matt is more into blues and progressive, like Ariel Posen. That said, we feel that our sound is a result of all of these bands and evolves due to the wide variety of our own personal influences

When did you start writing for your latest release, "While It Lasts"?

Over the summer we sat down and kind of just wrote whatever popped in our head. I think in total we wrote 11 songs and ended up recording 10 of them in a two day span, with some over dubbing sessions in the following weeks. “Summer is Dead” was a reworked version of the song Mike wrote in 2015, but all of the writing for the “While It Lasts” was done in the summer.

How has the pandemic influenced how the band functions (i.e. practices, songwriting, recording)?

We had our first three shows in a two week span before COVID shut down live music, so it really sucked going from full steam ahead to doing nothing. We didn’t have practice for the first few months, but we slowly got back into playing and writing. I think the time away from practice for a little allowed us to write material in our own space and bring it to the band and then have it take a whole new shape and sound. The live music shutdown also changed the way we feel about releasing music. We could have put out a ten song album, or two five track EPs, but staggering our releases and creating anticipation for our next songs, that has really been the best way for us to present our music to people. 

Any bands you are looking forward to playing with once shows come back around? Venues in particular?

Sean — Loveseat Pete!!!!!!!!! And I would love to get back to The Saint and The Brighton [Bar], but House of Independents and any 4333 Collective show would be really cool, too. 

We would also love at some point to start branching out to NY, Philly, and Boston. Nick’s got a bunch of friends and bands out there from touring and school, which is pretty great.

How have you all been maintaining your sanity throughout the past year?

We haven’t. This band is full of neurotic basket cases who cannot be saved from themselves. 

Future plans/releases?

We have a direct-to-vinyl session with Leesta Vall on April 3, and we will be putting out another EP, 5 songs, in the near future.  We are also always writing and pumping out new songs, so at some point or another we will record those, too! But definitely give our new EP, “While It Lasts”, a listen.

Via Ripa is
Nick Marinelli — Drums
Michael Pinckney — Voc/ Guitar
Matt Smentkowski — Vox/ Guitar
Sean Cuddy — Bass 

Idle Wave - "Party Guy" Album Release. Interview with Guy Battaglia

By Deaglan Howlett | Posted Wednesday, February 24, 2021

After their self-titled debut in 2018, Idle Wave are back with their latest release, aptly titled “Party Guy.” While the project remains spearheaded by singer-songwriter Guy Battaglia, he enlisted a new cast of fantastic musicians to help bring his ideas to fruition. This record includes the catchy melodies listeners will remember from their first release, adding a focus on Battaglia’s lyrics and vocals with the track's sometimes sparse instrumentation.  After a delay with the original release date due to the pandemic, “Party Guy” was officially released to the world February 19th, after much anticipation. I recently reached out to Guy to ask him about the creation of this new record and releasing music during a time where live shows are unfeasible.  

When did you first start writing for “Party Guy”? Are these all new songs?

“Party Guy” first began with the song “Home.”

In the Spring of 2019, I’d go for regular walks around my neighborhood, that of which were often accompanied by my own voice, humming along to the spontaneous melodies crafted in my mind. Sometimes these melodies would follow me all the way home, so I’d repeat them out loud and then store them as voice memos in my cell phone. Curating these melodies not only became as habitual as my daily walks, but a way to process my life experience during that time.

Having recently left a suffocating job, I was without a doubt relieved, yet perplexed by what was to come; the next chapter of my life dawned on me as an unsettling and haunting mystery. Through these revelations, I gathered my senses, sat myself down on my bed and pressed record on my phone. Beginning with a two-chord progression and an improvisation of lyrics, one of the spontaneous melodies came adrift. This voice memo would ironically be saved as “Home 44”, as it was one of the many drafts that my voice memo app would default the title name as my phone’s location.

After recording a raw acoustic version of “Home”, I sent the “Home 44” memo to Erik Kase Romero (The Front Bottoms, Stillhungry) and asked him to cut the track with me. Since we were overdue to work on a record together, Erik kindly accepted the project and I began gathering new material. Throughout the Summer, Erik and I reworked the two most Pop-Punk influenced tracks on the record (“Happy” and “Stay”) which were first demoed with Idle Wave’s former band members and respected friends — Joseph Enright, Matthew Herman, Kevin Houston, and Chris Russo. Even though these two songs were originally demoed elsewhere, they needed to be completely reconstructed with Erik to the styles of “Home” and the new Indie-Alternative genre that we were naturally gravitating towards. (You can hear the original demos of “Happy” and “Stay” when you download the deluxe version of “Party Guy,” only on Bandcamp).

By the Fall, most of “Diet”, “All Night”, “My End”, “Sex/Tape”, and “Space” were mapped out or tracked with Erik, and it only took a few more sessions into the Winter to finalize the album. In the several months that carried the recording process from Fall to Winter, we experimented with tape loops, shuffled between guest musicians, and even changed studio locations. Anyhow, as  “Happy” and “Stay” constitute as new songs, despite of their original format, “Sex/Tape” does not. “Sex/Tape” was borrowed from my former Alternative project “Flammable Animals” and was instrumentally reimagined to create a darker and deeper experience then it’s original counterpart, “American Counterpoint.”

For those who are interested, “My End” was the last song to be written for the album. Beginning as just another melody on the acoustic guitar, “My End” startled my own thoughts with feelings of nostalgia. I foresaw “the sounds of my childhood”, and reflected on the sounds of Indie-Rock bands from the 90’s. After listening to the final instrumentation back for the first time, I felt something indescribably large about the song; I knew I’d make it “track 7” on the album from that moment on.

Who did you work with when recording “Party Guy”? Have you worked with these people before? How did that affect the music?

This was my first time collaborating with Erik on my own music. For years I have sat in on sessions with him during college classes or when I was just hanging out at his studio and playing shows with him.

Erik and I were both determined to enter a realm of sounds I’ve never been a part of before. I was particularly inspired by Neutral Milk Hotel’s “In the Aeroplane Over the Sea” and how it was an acoustic driven record with distorted bass and raw drums that just took you away lyrically to a bizarre fantasy land. Although I went in not knowing what to expect, one thing was for certain; I wanted this to be a full-length record.

Featured musicians included either close friends of mine or other talented musicians that I had crossed paths with in the Asbury Park scene. Not only did Erik produce this record with me, but he helped craft bass lines, piano embellishments, and drum machines. I hired two incredibly talented drummers (one of which is a longtime friend of mine), and even did a vocal feature with my friend Brittany Byrne (singer of Skyeline). My long-term friend Samir Bunty Tawalare played drums on the latter half of the record while Chris Donofrio (formerly of Deal Casino), was commissioned during the early Summer sessions. 

How has the pandemic affected your songwriting process?

I’ve spoken to a number of songwriters I look up to who have been cursed with “writer’s block” this year. I am happy to say that has not happened to me (knock on wood). In fact, once we were given a go on proper public safety precautions, my friend Connor Hanson and I began meeting up to work on a follow up record over the summer.  

What has it been like setting up a virtual release show opposed to one in person? Any benefits/drawbacks you feel strongly about?

Honestly, nothing will ever beat a live show. In this Black Mirror era of civilization, live shows are where I meet the people that see the world eye to eye with me; the ones who don’t mind being alone on a Friday night and aren’t afraid to scream their heart out to their favorite songs.

I feel eternally grateful to all who have tuned in to our previous livestreams, and we are making a point to deliver this time; four 4K cameras, a new studio space, a full five-piece band, and some of the most exceptional musicians and engineers I have ever worked with.

Nobody is satisfied with the current state of things, but I’m beyond lucky and thankful for being able to get in a room with people and track 11 songs in one day for this supportive community to experience. I am not exaggerating when I say it blows away some of our previous streams.

Who will be joining you/playing with Idle Wave at the release shows?

For the upcoming ”Party Guy” release show, my extraordinary band will feature:

Connor Hanson (Cloud Hands)

Jon Chang-Soon (J C Soon)

Samir Tawalare (Talk to Plants)                                                            

Brittany Byrne (Skyeline)

Erik Kase Romero (Stillhungry, The Front Bottoms)

Personal favorite part of the record to you? 

I do love all eight of the songs, but “Diet” and “Space” are the ones I’m most excited for people to hear.

You can purchase “Party Guy” by Idle Wave here!

State Function – “Suspended Animation” (Interview)

By Deaglan Howlett | Posted Thursday, January 23, 2020

State Function is the solo project from Liam Frank, based out of Highland Park, New Jersey. His first release is a 4 song EP titled Suspended Animation. Released in November of 2019, this EP started its life in the fall of 2017. With the help of friends and the honing of his own skills as a songwriter, Suspended Animation is a strong debut release. After a couple listens, I reached out to Liam to ask him how this project came to be and what it means to him. Thanks again, Liam!

What is State Function to you? The band, name, etc.

State Function, to me, means individuality and being true to yourself, it means self-awareness, it means being human and being inspired by life around you. I came up with the name because I really enjoy science, and a State Function (or function of state) is a property in a thermodynamic system that matters solely on its present equilibrium state, and the past pathways it took and forces that acted upon it do not matter. I relate that a lot to my outlook on life as a whole. Making the most of your present and your present surroundings; all we have is right now.

When did you start working on your EP Suspended Animation?

I started working on the EP in the fall of 2017. I always had a vision for the project and for the sound, but I was never able to translate those ideas well on my own until I finished school. I lived with some friends in Asbury Park right after college, and they were always recording something in the living room. I was always playing my guitars, but the additional gear and resources I had at my disposal through them really facilitated my musical and eventually lyrical ideas. I was able to get a lot done in the next two years and link up with more people that helped with this project because of that and because of them.

What is your songwriting process like?

A lot of trial and error, fitting things together from past ideas, a lot of messing around on guitar between the hours of 10pm and 4am. I definitely need a melody or musical part first, though. Sometimes when the trial part for a new melody is successful, I'll finish a song altogether in a couple of hours. That's what happened with the songs “Snowing” and “Elsewhere” on the EP, and those are two of my favorites. I love words and metaphors a lot since I'm such a romantic person, and I really go for imagery as well. When it comes to songwriting, my brain is this chaotic windstorm of fragmented musical and lyrical parts, but when there's a moment of clarity, it's a beautiful thing and I can get a lot done.

Were the songs written for this release written around the same time or over time?

They were definitely written over time. Like I said, some developed sooner than others, but for the ones that took longer I had ideas and pieces in mind for months and sometimes years, and they didn't come to fruition until this EP felt finished. I didn't want to rush anything, though.

Where did you record? Who played on this release?

I recorded in a lot of different places, including my old living room on Fourth Ave in Asbury Park, with my friends Will and Kevin at their respective home studios in Hunterdon County, NJ, and with my friends Craig and Alex at Craig's home studio in Stockton, NJ. I wrote and played all musical parts as well as the lyrics, except for the synth part on “Elsewhere.” Kevin played on that, and it really brought out the sound on that track. All of these guys had a hand in production and post-production, and they were totally instrumental in delivering the sound I was going for.

Favorite song on Suspended Animation?

Favorite song has to be “Snowing.” First song on the album, first single I released and first thing altogether I released myself that was a huge deal. It's a song I think really does a good job describing me. It's a positive song about learning how to let go of your past, being ready for a bright future, but also learning how to stay in the moment and keep working hard and also how to better temper your expectations. That theme is repeated in the chorus, "My heart is set on spring, but it won't stop snowing." You're ready for something better, but you have to put in work in the present and let go of the past. Because after all, all we have is this moment, a metaphor I used in the naming of the whole project!

Last thing I'd like to add: a shoutout to my brother and my parents, especially my dad, for believing in me, my art, my passion, and supporting this project so much and giving endless love to me and to everything I do.

Interview with Cara Introcaso

By Deaglan Howlett | Posted Wednesday, January 8, 2019

Cara Introcaso is a 23-year-old singer/songwriter based out of Middletown, New Jersey. Her first EP, Post Grad, was released late 2019 featuring seven original tracks. Self-described as “all over the place” when it comes to having a definitive genre, Post Grad has something for every type of music fan. Since the release of Post Grad, Cara has been performing throughout Monmouth County, both solo and with a band. I recently reached out to Cara to ask her about writing and recording her first release. Thanks again, Cara!

When did you first start releasing music?

I started recording music on my own when I was 17—putting out covers. The first cover I recorded was a piss-poor version of "An Illustration of Loneliness" by Courtney Barnett. I wrote and recorded my first original song called "Apples" when I was 18, which I did in my college dorm room. I hated that song, and promptly set it to private on my SoundCloud, and continued on to write a few more originals that I posted. Some are still up there, what have I got to hide? We all start somewhere.

Who were your influences for this release?

This is a difficult question for me… every artist has a "sound" and I'm not too sure that I've found mine yet. I like writing songs that are jazzy, like Amy Winehouse and Norah Jones, just as much as I like writing indie songs, like Pavement and Built to Spill, just as much as I’d LIKE to write intricate musical arrangements seen in the stylings of my favorite artists, Radiohead and Wilco. I even enjoy toying with synth-y stuff and making beats. Gun to my head, I probably (definitely) could not come up with a genre that I’m going for, which is mirrored in the songs that I released, and the reception that I received in that all of my friends had a different “favorite.” It’s kind of all over the place, but then so is my taste, so I suppose the short answer is “I’m really not sure.”

What was the writing process like for Post Grad?

As the name suggests, all of these songs were written in the one year following my graduation from college. Anyone can attest to the fact that it is a tumultuous, confusing, sometimes disheartening time, getting out there and assuming your responsibilities as an adult. I really hated my first job in New York City, with a burning passion, and became all existential about the confines of the working world and the whole rat-race rigamarole, and had about one hour each day after my commute to do something that I enjoyed until I quit that job. Many times I took my frustrations out by writing songs, and 4 out of the 7 I wrote and recorded all in one night.

Some are reflective of that – I wrote “Modern Thing” on the bus ride home, observing people’s reactions to our bus being broken down for 2 hours. I wrote “Conversation starter” in the midst of my unemployment, after driving to a parking lot alone with a keyboard and my mic and recorded it right then and there – I mostly did this because I read that Will Toledo from Car Seat Headrest used to do the same for his first few solo albums. In “Devandra” (I was listening to a lot of Devandra Banhart at the time) it’s kind of a nihilistic, sarcastic ode to being in a rut, and “Pull me in” was really just me fucking around when I was wine drunk and really emotional one night (I didn’t even write down those lyrics, I just made the track and sang whatever I felt like over it).  And of course, you gotta have the love songs, which are seen in “Cool jazz,” “UDKB” and “Mindspace.” I write lyrics first, like a poem, and then figure out how I want it conveyed in the music.

How did you record this release? Advantages/disadvantages?

Hah. I recorded all of it on GarageBand, with a microphone that my friend Baha got for me (he also lent me his keyboard), a Scarlett USB recording interface, and my guitars. I did all of the mixing and editing myself, and the majority of the instrumentation myself. It has its ups and downs – I know how to play guitar, piano, bass, drums, and sing, so it’s cool to release something that was wholly my own. But, if I had the opportunity to record in a studio with other people, I’m sure it could’ve sounded more finished. It’s my first EP, so I guess it’s fitting that it has that bedroom-DIY imperfection to it. That being said, the reason it took me so long to release any of these songs is that I was never (and still am not) totally happy with how they sound, so I’ll probably seek out studio time for the next one.

Who else played on Post Grad?

I wrote “UDKB” with three of my best friends—Jack Killilea played the drum track on an electric drum kit, which was really fun to watch if you know the kid at all. He also came up with the chord structure for the guitar part, and Justin (Clappsy) did guitar fills in the background which, in my opinion, makes the song. I didn’t feel like writing a second verse, so I had Nick Mitwasi rap over it—everyone who took the time to listen to his lyrics let me know that they thought it was hilarious, on top of the fact that the kid can rap. The song is a bit fluffy for my taste in terms of the lyrics, but it was just fun to write and record with my pals so it’s still one of my favorites. Jack also came up with the chord structure on the verse of “Cool jazz,” and other than that it was all me.

What does this project mean to you?

Oh we’re gonna dig deep now, huh? I have been playing, performing and studying music and musicians since I was in elementary school, and it’s an integral part of who I am. I always wanted to do more than I was doing because I never had my own band… I always played with different people and would take any opportunity to perform throughout high school and college (remember that time I filled in for 2 gigs on bass with your first band, Deaglan?). I never even entertained the idea of going to school for something music-related, because my left-brain is just as decisive as my right-brain, so in my adult life music has been my hobby, my passion, and a creative outlet, but not my career. The benefit of working full time is that my own stability is not contingent upon the music that I make, so it never has to become stressful, even if I do get jealous of those whose main gig is… playing gigs. So first and foremost, this project means a lot to me in terms of having something to share with people who may not get to see me play, or have only heard me play covers, and to have had something to work on so that I didn’t fall victim to complacency and stop creating my own music.

For me personally, this was like one long diary entry for the most transitional phase of my life this far. Shit’s hard! I spend a lot of time contemplating and had a series of existential crises and fell out of love then in love and considered about 18 different career paths and a lot of the time I wanted to rip my hair out—and I’m a pretty optimistic person! I watched people I love go through the same thing, and all of it was just very real and I love that I could create something out of all those feelings I felt. Listening to it now brings me back to the moment in time when I wrote them, and now that I’m out of that rut it’s nice to go back and recall those memories.

Favorite song you have written so far?

My favorite song on this project is “Conversation starter.” Though I mainly perform on the guitar, I love the piano, and that song came out of me like a brain dump. I hate songs with fluffy lyrics, with cliché idioms all angsty and whatnot, and the lyrics on this song are probably the only ones I’m completely satisfied with on Post Grad.

Interview with Denim Mob

By Sonia Schnee | Posted Tuesday, November 5, 2019

On March 1st, Glassboro, NJ’s Denim Mob released their single “Psylocin” on streaming services everywhere. Denim Mob is the performance alias of songwriter/musician Jackson Zabranksy, who is also joined by bassist Anthony Melograno and drummer John Kelly-Keifer. The group is signed with independent record label Rowan Music Group which operates out of Rowan University.

Check out our interview with Jackson Zabransky, below, to learn more about the inspiration behind their music, and be sure to follow Denim Mob on social media for announcements re: their upcoming single “Say You Want” which will be released in the coming months.

What's your name, where are you from, where are you based now?

My name is Jackson Zabransky, and I’m from North Jersey but based out of Rowan University for the time being.

How would you describe your sound?  Who are your musical influences?

I like to call it synth-driven 80’s-esque dirty nasty new-wave funk (from outer space). Realistically though, we explore a lot of different genres, trying to utilize them through our sound. Influences range anywhere from Bruce Springsteen, to Paul Simon, to The 1975. 

Congratulations on the upcoming release of your new single, “Say You Want.” What can you tell us about the inspiration behind the song?

Thank you! “Say You Want” is by far our most guitar-driven track and is one of our tracks that is a true homage to the 80’s sound in a modern context. It explores feelings of wanting someone but hoping they say it first. 

Jackson Zabranksy

What's the creative process like for you (which comes first, the melody or the lyrics)? Is there anyone you collaborate with, or would like to collaborate with in the future?

Melody and track always come first for me. I allow the track to shape how I feel about the song and what sort of topics I can write over it. I think it allows me to really dig into what emotions the track brings out. I write a lot of the songs myself, but have been writing more with my awesome band, bassist Anthony Melograno and drummer John Kelly-Keifer.

What's next on the horizon for you? 

Next on the horizon is our first serious release this spring, but until then another single and some music videos. Stay tuned!

Finally, what are some ways that fans can connect with you online?  (Website? Facebook? Spotify? Etc.?)

We’re on all the main social media platforms (Instagram, Facebook, Twitter) at @denimmob. Our latest single, “Psylocin,” is up on Spotify, Apple Music, Bandcamp, and pretty much all the other services.

Interview with Silent Tides

By Sonia Schnee | Posted Wednesday, October 30, 2019

On October 19th, Central Jersey indie trio Silent Tides released their debut EP Fruitless Enterprise. Check out our interview, below, with Liam and Gus to learn about the inspiration behind their music.

What's your name, where are you from, where are you based now?

Our names are Liam Hughes and Gus Mirabella. Liam is from Westfield, NJ and Gus is from Milltown, NJ. We met while attending St. Joseph High School in Metuchen, but we’re now based in the New Brunswick area.

Who are the members of Silent Tides?

We are the members along with our friend Jesse Silva, who plays drums and sings backing vocals. We both write and sing lead on our own songs, so the band is a mix of our songwriting styles and personalities.

How would you describe your sound? Who are your musical influences?

Our sound is a cross between indie, garage, and psych rock. Our influences are Tame Impala, Radiohead, Arctic Monkeys, The Strokes, The Smiths, and The Beatles to name just a few. 

Congratulations on the release of your debut EP, Fruitless Enterprise. What's the inspiration behind the EP?

The inspiration behind this EP was to make a succinct statement on what Silent Tides is all about. This is our debut EP, so we wanted to capture the wide range of sounds we play, as well as touching on different themes that have captured us in recent years—personal growth, independence, religion, the ever-changing social climate, etc. 

As we both write songs, there is an ebb & flow both in theme and style throughout the record. Fruitless Enterprise may very well live up to its namesake, but regardless, it is a statement of growth and has been anything but fruitless for us. 

Is there a song that's your personal favorite? What's the creative process like for you (which comes first, the melody or the lyrics)?                  

LIAM: For me, my favorite is “Who Knows.” It’s a song that means a lot to me and it took a few different sessions to get right. It starts as a series of questions like: What should I do with my life? Is following a dream a good idea? And the second half is a kind of self-assurance and love song. Basically saying that although there’s confusion, and things seem meaningless I can find peace and meaning in knowing how I feel and believing in that feeling, whatever it’s towards. 

I’ll start with a musical idea, record it, and listen back to determine how it makes me feel. I ask myself, what does this song evoke? and I find a subject that works with the music. 

GUS: My favorite song on this record is “Grey Eyes.” I had written the first section independently, but it wasn’t until Liam and I worked on it together that it took its current form . It is our most collaborative song, and you can hear it—both Liam and I sing lead in different sections. 

I don’t have one method, it differs from song to song. Sometimes it starts with a riff or a drum beat, then the other instruments and vocals/lyrics follow. Other times, I have lyrics that I want to use and so I base the music off of that. I think having a concrete method is dangerous so I try to let the song just happen without overthinking. 

What's next on the horizon for you? Do you have any shows coming up?

We [had] our EP release at FM bar in Jersey City 10/17 (https://www.facebook.com/events/561024154713558/), and after that we’re taking a break from shows to put our focus towards the second record. We are opening for Delicate Steve at the Stanhope House on December 21st. 

Do you have any words of advice for people who share a similar passion or have maybe faced similar obstacles/challenges?

Well, we are in no position to give advice, but I would recommend finding other people with the same passions as you. Community is so important and having a group of people who can relate to you is one of the most valuable things in this world, don’t take it for granted.

Finally, what are some ways that fans can connect with you online? (Website? Facebook? Spotify? Etc.?)

We’ve got all the typical stuff. We finally got our website up—it’s still a work in progress but that’s our home base where you can find everything you need to follow us: SilentTides.com—nice and easy. We are on all streaming platforms (Spotify, Apple Music, etc.). Some additional links: 

Facebook: Facebook.com/silenttides 

Soundcloud: Soundcloud.com/silent-tides 

Bandcamp: Silenttides.bandcamp.com 

Instagram: @silenttidesmusic

Is there anything else you'd like to add?

Support local music! Also, shoutout to the longtime friend of the band and my (Liam) personal mentor EJ Gaub. I would not be here in so many different ways if it weren’t for him. He recorded this EP for us, and was a tremendous help throughout the mixing process. 

Interview with forgettable History

By Sonia Schnee | Posted Sunday, October 20, 2019

Earlier this month, South Jersey alternative/indie rock duo forgettable History released two new theatrical and thought-provoking singles, "kaleidoscopic cobblestone" and "amber nectar." We were fortunate to get an interview with songwriter/lead vocalist, Andrew Lodge, to learn about the inspiration behind their music.

What's your name, where are you from, where are you based now?

My name is Andrew Lodge, and I am from Medford New, Jersey. I am currently at Pennington, living on Campus at TCNJ. My bandmate is Kevin Savo (lead man of Out of The Beardspace & Pan Song). He's originally from Clementon, but he lives in Waterford now.

How would you describe your sound? Who are your musical influences? What’s the inspiration behind the name of your band?

Our sound is luscious, passionate, theatrical, touching, and artistically fearless.

My musical influences are the following: Radiohead, car seat headrest, School of Seven Bells, and The Unicorns (just to name a few).

The inspiration for the band name goes two ways. The simple version is that I purely suck at history and lack the desire to study it. I remember taking Honor's APUSH my sophomore year, and it felt like I was picking the best shade of blue if the question was "Which one is blue?" My teacher was a wonderful lady, so it wasn't her fault at all. The extended version will be kept for personal interactions with my beautiful fanbase one day.

Congratulations on the release of your single, “kaleidoscopic cobblestone.” What was the creative process like for you (which came first, the melody or the lyrics)?

My process with Kevin is sporadic, but typically we write the song first and then the melody on top. I studied music theory in my junior year of high school, but I never applied anything I learned to my art. I sit at a piano, play some chords, show Kevin, and his excitement fills my body with confidence. For "kaleidoscopic cobblestone," I wrote it on guitar. Vocals and melody always come last, since I always play with the lyrical content of a written song. 

What's next on the horizon for you? Do you have any shows coming up?

I would love to perform some unreleased material with Kevin anywhere! TCNJ or any small venue would be lovely. However, being at college is difficult and Kevin is in multiple projects. The day we perform will be the day we show it all on stage. We haven't been rehearsing at all, because the album is not finished. But, we have just released a new track called "amber nectar" that is out now.

Tell us a little bit about your personal journey. How did you get to this point? Do you have other creative work that you’d like audiences to check out?

I wish I could remember my whole journey. I can probably say that it started when I was jealous of my sister playing the Adele song "Someone Like You" in front of her attractive friends.

"I can do that!" I blurted out.

"Okay, go ahead."

I sat at the piano and it was terrible. Her friends laughed at me and I was determined to learn the song afterward. So, I watched YouTube videos on how to play the song. I learned "The Scientist" then "A Thousand Years" later.

My mother pushed me to do the musical in middle school since I stopped wrestling. My audition was fairly good, but I didn't receive a lead role in Seussical. The judge even said, "Where were you two years ago." It felt that wished he could have given me something, but couldn't since kids had the experience. I was a Who (even though I was the tallest one, since I was an early bloomer) and the Grinch. There's a hilarious Wiki page that claims the following: 

For Jr., various songs are cut and shortened; the subplots based on The Butter Battle Book and How the Grinch Stole Christmas!, and their relevant songs and characters, are removed to make the story more understandable for younger audiences, though the Grinch retains one line during the song "Here on Who".

(I even remember reading that sometimes they cut the Grinch and have The Cat in The Hat dress up as the Grinch for the one line). 

"Where even a Grinch wouldn't dare to be totally mean." I'll never forget that.

I met a kid who wanted me to join his band and wanted me to get bass lessons in the winter musical (Peter Pan) my freshman year (little did he know that I played piano and sang). And that's how I met Kevin. At the School of Rock. I got kicked out of the band and Kevin wanted to help me.

Do you have any words of advice for people who share a similar passion or have maybe faced similar obstacles/challenges?

You're your own worst critic. Sometimes it's best to let go of the little details if they're holding you. Being in states of monotony is an awful feeling. Know that not everyone is doing what you're doing. You're unique, embrace it.

Finally, what are some ways that fans can connect with you and forgettable History online? (Website? Facebook? Spotify? Etc.?)

I would give my number, but I don't pick up if I don't recognize the number. So I would recommend our Facebook, Instagram, and even Twitter. If you're into email forgettableHistory@gmail.com

https://www.facebook.com/forgettableHistory/

https://www.instagram.com/forgettablehistory/

https://twitter.com/forgettablehx

Is there anything else you'd like to add?

Anyone who wants to shoot a music video or set up a gig, let me know!

Cheers!

Molly Ringworm - "Good Ol Boys" (Interview)

By Deaglan Howlett | Posted September 17, 2019

Good Ol Boys is the latest release from indie rockers Molly Ringworm. Based out of Atlantic County, NJ, this is their second EP since the release of Tape 1, back in September, 2017. Good Ol Boys is the culmination of a year's worth of work in the studio and writing for the group. Singer and guitarist, Sarah Holt, was kind enough to talk about the band’s history and what went into this phenomenal release. Thanks again, Sarah!

When did Molly Ringworm form? When did you start releasing music?

Molly Ringworm started as a solo project in high school in 2015. I put out my first two singles, "561" and "All The Time," in 2016. I would grab anyone that would play with me for a live show as a duo, a trio or solo. Niko has been there from the beginning, originally playing bass. This past year, the lineup finally solidified into a four piece.

How did you meet?

Guitarist Johnny Zappas and I are cousins. We have been playing in bands together for ten years now. We both went to a performing arts high school where we met and became friends with bassist Andrew Simpson and drummer Niko Berardo. We've been playing together in all different projects ever since!

Who are your biggest influences?

Liz Phair and Joni Mitchell are who made me pick up a guitar and start writing. Phair, Mitchell, Stephen Malkmus, Elliott Smith and Sadie Dupuis (Speedy Ortiz, Sad13) are who I look up to for lyric writing and guitar playing. The Beatles have also been important to me from a young age. They are masters in melody, harmony, songwriting structure and attitude.

How has your music evolved since you first formed Molly Ringworm?

I think the main way Ringworm’s music has evolved is its shift from a solo project to a group effort. I’m still writing all of the songs, but I also have the input and contributions of parts from my talented friends. All of our creative brains together make songs better than I ever thought they could be written alone in my room.

What was the process like writing and recording Good Ol Boys compared to previous releases?

With the singles and the previous EP, Tape 1, everything was recorded in a matter of days. Recording and mixing Good Ol Boys was spaced out over the course of this year. We recorded and re-recorded and had to find time here and there with our busy schedules. We also really took our time mixing, which with the passing of time we have learned more about since previous releases (thank you Andrew for leading that brigade).

Favorite song on Good Ol Boys and why?

The guys' favorite is "Timmy." There's this sort of dynamic explosion in the chorus that Niko described best as a release of tension. There's a lot of energy to it, especially when we are playing it live. My favorite is "No Matter What" because the subject matter is so important to me. The song is addressing misogyny in the music scene in forms of condescension, exclusion, harassment and complacency of peers and friends. It's a call for men who claim to be feminists to recognize misogyny when they see it, and to speak out when their female friends are silenced.

Upcoming shows:

Saturday, October 5 - 7:00pm

Molly Ringworm @ The Whitechapel Projects

15 2nd Ave.

Long Branch, NJ 07740

w/ Ornamental & Format War

Friday, October 18 - 7:00pm

Molly Ringworm @ The Clubhouse

Inside The Downtown Shops @ 53 Main

53 N Main St.

Toms River, NJ 08753

w/ Dolly Spartans & Heartsigh

Rachel Ana Dobken - When It Happens To You (Interview)

By Deaglan Howlett | Posted August 13, 2019

Rachel Ana Dobken is a singer, songwriter and multi instrumentalist based out of Asbury Park. Her latest release, When It Happens To You, is raw, inviting and familiar. Her songs touch on the human condition and how we are all much more similar than we sometime realize. Rachel was kind enough to let me ask her some questions about the album, her songwriting process and her eclectic mix of influences.

How did you come up with the title, When It Happens To You?

So, the title of the record actually came to me in the form of a poem. Essentially, it’s about the concept that we don’t know what an experience is like until we go through it  ourselves. Someone can tell you, “Oh I can give you all of this advice, but you won’t know what it means, what it truly feels like, what to DO and what is right for YOU until it happens to you.” It came to me just like most of my writing does— subconsciously and at a time when I wasn’t thinking about it at all. I originally thought, I will make this into a song and use it as lyrics! Which I may still do… if you’d like to read it (this is a condensed version there's about 3 more stanzas!):

When it Happens to You

Then you know what to do

Know exactly what I am going through

Hope it happens to everyone

You and you and you…

So that you know what to do

When it happens to you

Our pride and preferential being

Existing within this sphere we call earth

Acting as if we have each other

When all we do is try to live first

Selfish, but it comes from a place of fear

Of wanting of wishing of hoping oh so much

That you'll find love, connection, acceptance, and trust

Pick me look at me love me respect me!

Because all we all ever want is acceptance

From you from me.

From every living thing.

It seems so hard to find

If you think of it this way...

Or maybe not?

When it happens to you

You will know what I mean

Hope you figure out what to do

When it happens to you

….

When did you start writing for this release?

Well, the oldest song on the record I wrote in 2013 when I was still living in Upstate NY post-Bard College. That song is “Got Away.” The second oldest song is “Belief Beneath” which came to me in 2015 and was completed shortly after my debut EP Detach was completed. The majority of the songs came to me within the past year, and I’d say about 40% of the songs were completely flushed out. It really all came together once we started tracking and mixing.

 What is your writing process like?

My writing process is very fluid and organic. Ironically, it’s the opposite of how I’d describe myself— it’s relaxed, free, organic, flowing….

I don’t choose when or where songs come to me, or even what they sound like. They just do. It’s almost like its own spiritual entity (not to get all “hippy-dippy” on you here). I find when I allow the art to speak for itself and come out when it needs to, it always does and does so in a compelling way. I worry that I will run out of material but honestly, every time I think this, something better musically and philosophically comes to me. Something is always rattling around in my brain and is always dying to come out. Usually I’ll hear parts of a song when I am most able to let go and clear my brain (showering, when I’m falling asleep, while going for a run), when I am not thinking about anything at all.

A lot of times it can be after my brain is going for days and I’m coming down from, or feeling residual emotions from whatever situations are going on in my life. The next thing I know I’m in the shower and an entire melody comes to me, a lot of times in conjunction with a lyric. I have a basic idea of “this little line is definitely a chorus or a verse.” Almost immediately after I know, “oh ok this is what the groove is, this is what the drums will be doing.” And then I’ll have an idea, even if the parts have not come to me yet, where the song is to go.

Typically, (especially if I’m feeling wildly inspired or going through something) I will continue to hear parts throughout my days and weeks and won’t be able to escape it. The song just happens. Usually, after a structure is set the lyrics will come. It always varies in different ways and each song has its own set of similar yet different creations. After that, I’ll sit down a couple of times and work through until lyrics and structure are all flushed out! Then comes the workshopping with the band! 

Influences for this album?

Well, I listen to everything but I don’t try to sound like anyone. I just know what I love and for me it comes back to, the groove and genuineness— intention behind the music. Don’t worry about the bullshit, don’t worry about people and your “image”, just hone your craft and be true to YOU. I guess I will answer this in regards to production, and where I saw the record fitting sonically in 2018. It was (sort of but not really) all over the place. Sometimes when referencing where the drums should sit, we’d pull up Allen Stone. Other times for vocals, it would be Lake Street Dive (I get the vocal comparison to Rachael Price a lot wooo go Rachel’s)! Guitar-wise, My Morning Jacket and White Denim… I could go on and on.

Photo by Danny Clinch

What was it like producing your own record?

It was fantastic and insanely overwhelming. I’m a perfectionist and I thrive off of being in control, so I definitely drove myself crazy at times (surprise, surprise)! I am so proud of the way the record came out, so proud of the work we created. Everyone told me during the process (while I was pulling my hair out) that I would be so incredibly proud of what I was achieving. But in the moment it was insanity at times. Listening to mixes over and over again and losing context, having to make every little decision from what take should we use to what guitar tone works best? I didn’t know how much panning mattered before this record… Should the drums be “wetter” and the guitar more “dry”? All of these decisions fell on my shoulders and I had to eventually be like, “whatever fuck it, I can’t care anymore, let’s just say it’s great. I have to be done…” But, as an artist with a vision, as someone who hears exactly what they want down to the last riff (I’m soooo happy with that ending to “Understand”) it’s extremely rewarding to know that you’ve created something with 100% authenticity true to the art itself. I know that isn’t always the case, but I will for damn sure strive hard to make sure it is in my music career.

Who did you work with?

Great question to follow-up with because as much as I loved to produce this, there is no way I could have without the help of the folks who gave me constant feedback and who played with me… let’s start with my engineers Tim Pannella and Joey Henderson— simply the best.

Then the players—Dan Haase (bass), Ryan MacLean (lead guitar), Andy Jackle (drums—”Intro,” “Got Away,” “Taking My Time”), Chris Dubrow (bass—”Us,” “Taking My Time”), Joey Henderson (guitar—”Always,” “Intro”; vox—”Belief”), Mark Masefield (b3), Ian Gray, Denis Daley, Bruce Krywinski (trombone, sax, trumpet), Danny Clinch (harmonica!) and I played drums, guitar, piano and sang. It was mixed by Kyle Joseph and mastered by Justin Colletti…

I’d be nothing especially without Chris Dubrow (who truly helped me get this off the ground organizing my thoughts and sounds through the pre-production phase), Dan (such an incredible player and amazingly helpful opinions, Dan and I have a great flow and a lot of respect for each other as musicians—I’m extremely grateful to him and our musical chemistry), Joey (oh man, thank you Joey, my right hand man in so many ways, Joey and I think, hear and feel things in a very similar fashion and we happen to have very similar musical influences)... and of course everyone else. Even the musical friends and my boyfriend who gave me feedback and lent me an ear to know I had to get the fuck out of my head—Renee Maskin, Tara Dente, Joe Michelini…

Favorite song you have written? Why?

Whew, this is a tough one… I think for this record it’s either “Understand,” “Everybody Wants” or “Learning How to Let Go.” In regards to “Understand” and “Learning,” its for similar reasons. I love the sentiments of what they captured, and more so I think because it’s something I live and struggle with frequently.  This gnawing feeling that we have as a society, as people, as artists to compare and be down on ourselves for being different or wondering why we aren’t succeeding at a pace we expect, in any situation.

It’s a coming to terms with reality in the moment, but also allowing yourself to feel the feelings rather than fight with them. Not understanding all the time why you’re having them but just accepting that…

“Everybody Wants” is an epic love song and is in other ways one of the best track on the album (lyrically well-written, easily accessible, showcases my vocals the best)…

Who are some other artists you feel define your sound?

I love so much music, I’m such a music nerd I could cry about my love for the medium—I know this is why I keep going… some of my biggest influences, and you can make the call whether or not you hear it!: My Morning Jacket, The Band, Jeff Buckley, Incubus, John Mayer, Paul Simon, Fiona Apple, Amy Winehouse, White Denim, Thelonious Monk, Julie London, Patsy Cline, Ray Charles… the list goes on and on…

Future plans?

I’m planning out 2019 and trying to figure out our gigs. I am in the works of figuring out some music videos, and I do have an unreleased single that will come out probably in the spring—keep the eyes and ears peeled! 

~

Spotify: https://spoti.fi/2PSjhSQ

Apple Music: https://itunes.apple.com/us/album/when-it-happens-to-you/1438758369

Bandcamp: https://rachelanadobkenmusic.bandcamp.com/ 

Ghost Friends - "Tree Speak" (Album Review)

By Sean McCall | Posted Sunday, February 24, 2019

Ghost Friends is an indie rock / emo band from Moorestown, New Jersey. Ghost friends is:

“A 4-piece basement dweller howling echos of love and loss. Our reverberations cling to the the rusted pipes cemented into your foundation as the sounds of our angst pry their way through the cracks in your floorboards. We’re down here.”

The band consists of Alec Pezzano, Kyle Forgason, Jimmy Jenca, Justin “Juicy” Condora, and Sid (who is known for ghosting/melancholy). 

Their most recent release, Tree Speak, was released on mischief night (Oct. 30) of 2018 which makes this record extra spooky. Tree Speak was Produced and Engineered by Jim Jenca, the bassist, which is definitely a cool easter egg.

The record begins with “Diving Bell” which immediately has you intrigued with what’s going to come next. It’s instrumental up to about a minute and a half into the song, and then finally resolves with some angsty and catchy lyrics. “Diving Bell” is a solid feeler and introduction to Tree Speak and sets the mood of the EP very well.

The second track, “VertiGogo,” is super poppy and gives me a Mayday Parade feel right away. I really like this track personally because it’s very well-produced and spacey. There’s a lot of dynamic and rhythmic changes in this song which I can definitely appreciate. I really dig the line “you move in stereo,” and if you’re itching for a catchy pop punk breakdown, “VertiGogo” definitely delivers.

Transitioning into track 3, “Malfoy,” Ghost Friends keeps pop punk alive for sure. The intro of this song gives me a heavy Four Year Strong vibe followed by The Starting Line’s “Say it Like You Mean It” once the vocals kick in. Malfoy will have you naturally bopping your head the entirety of this track.

 “Blood Eagle” is the fourth track on Tree Speak, and it’s definitely one of the most emo in my opinion. There’s a lot happening dynamically, and the lyrics definitely pull at your heartstrings. The theme of the song seems to be dealing with the ability to help a loved one grow alongside with you; if both parties could work towards healthier communication.

 The 5th track, “Split Ends,” definitely reminds me of earlier the story so far from the get-go. This is another emotional feeler that copes with the idea of being better off without someone that you once felt very attached to.

Tree Speak closes with “21 grams,” which they released a music video for that you can check out here. This song gives me an optimistic and hopeful feeling, despite all of the heartbreak and loss throughout the record. It mixes happiness, hope, despair, and heartbreak into one place. I think Ghost Friends did a great job summing up the record with this one.

All in all, I think this is Ghost Friends’ best release, but be sure to check out “The Blackmaker Demo” from 2017 as well. There’s plenty more to discover with this band, so head over to their website if you’re interested!

https://www.ghostfriendsarereal.com

Aw Shucks - "Better Now" (EP Review)

By Sean McCall | Posted Thursday, September 20, 2018

Aw Shucks is an indie rock band from South Jersey and Delaware County. The band consists of Dylan Walker (vocals/guitar), (former member) Jarrett Wenzel (vocals/guitar), Jack Meidel (bass/production), and Chris Kearney (Drums/vocals). Their first EP is the “Better Now EP” which was released in October of 2017. This record was recorded by their bassist, Jack, and mixed by the band. Better Now was mastered by James Forbes (Fine Cut Studios), and the artwork was done by Austin Pettit. 

The record opens up with a song “Elizabeth Cranford,” which introduces Jarrett Wenzel and a hot clean guitar tone. This song is 5 minutes long, but doesn’t ever drag because it's packed with hooks, instrumentation, and tempo changes that keep you on the edge of your seat. The lyrical content of the song deals with going through a tough breakup with somebody you love and can’t help to still be in love, so naturally, it’s a super emotional song that still gives the listener a feeling of hopefulness with the way the music is portrayed. 

The second song, “Pawn,” switches over to an immediate head-bopping vibe. It also switches to their other vocalist, Dylan Walker. I really love how they incorporate their strengths as songwriters/singer and go back and forth on who’s singing on which songs. In my opinion, this is one of my favorite songs. There’s a beautiful change at the end of the song when Aw Shucks sings “is that how this ends, with you leaving me, useless and gone,” where they just go off. The rhythmic change is super tasteful after the entire song already being catchy. I also like the idea of extending the chorus of the song towards the end. 

The third track, “Swaying Flowers,” has one of my favorite instrumental hooks ever. The song opens with that which is essentially the chorus in my opinion. It’s subtly mathy and very tasteful. This is also the track where they say the EP’s title in the lyrics, so you know it’s gotta be a bop. This song seems to deal with the hardships of being stuck inside your own head, and not being content with where you are. 

The fourth song, “Backroads,” switches back to Jarrett being the primary singer, and he doesn’t fail to pull at my heartstrings again. This song seems to be discussing making the mistake of driving home drunk, and those irrational intoxicated feelings on top of dealing with personal mental health. A lot of the song is talking about wishing death amongst yourself, which seems to be an impulsive feeling when you’re at your lowest of lows. What I love about this song is the dynamics throughout -- especially the ending which says, “I have far too much in me to watch it end like this.” He changes the mood and mentality to something positive and optimistic regarding self-health. 

The fifth song, “Oh Sheesh” (by Aw Shucks — that shit made me laugh) seems to be dealing with putting up with somebody who is bringing negativity into your life; the idea of wasting your time on someone you should have never given your time to in the first place. I love this song’s instrumentation. There’s a lot happening dynamically and a lot of tasteful changes throughout the song. 

The last song on the record, “Signals,” is my personal favorite.V Dylan wrote a simple and melodically catchy song with an assortment of dynamics. The lyrics talk about the hardships of being in love in a struggling relationship. It combines memories, reminiscing, past, and future of moments with somebody who is held close to his heart. My favorite line is “...but I swam to the depths of the sea, ‘cause I know that you are safe with me. All I did was dream of what could be, but now I can barely fall asleep.” These lines are super relatable to something I’ve gone through personally, and I feel as though a lot of people have had their own similar situations themselves. What I love about this song is the way you can hear the emotion portrayed in the vocals. 

Overall, I think Better Now was an absolutely amazing and impressive record to introduce themselves to the world. I really hope this band gets the recognition they deserve sooner rather than later, because this is not a band to sleep on. On top of that, they are all wonderful musicians as well as people. If you haven’t gotten the chance to, I strongly suggest you get out to a show and try to catch these guys live. The record is recorded beautifully, but I think they portray themselves even better live. 

Check out their second EP, Big Plans, release show here:

Interview with Sonic Blume

By Deaglan Howlett | Posted Wednesday, August 22, 2018

For fans of - Haunt Club, My Bloody Valentine, Slowdive

Sonic Blume have truly hit the ground running ever since the release of 2017’s self-titled EP.  In just a year, the band has grown exponentially both in talent and recognition.  Their latest release, Beach Karma, is their first full-length, and it is an exceptional follow up to their well-loved 2017 debut.  Sonic Blume was gracious enough to answer some questions about Beach Karma and what is next for the group.  Thank you again!

What was your inspiration for the album?  What were you guys listening to?

We were listening to a lot of modern dream pop bands, such as Alvvays, Wild Nothing, DIIV, Beach House, and M83, and of course some less modern bands like The Smiths, Joy Division, New Order, My Bloody Valentine, and The Strokes.

Photo by James Waltsak.

Anything you learned from the first release that you applied to this newest release?

Well, the new record has a lot more synth, and I think that was something we knew we wanted to do for a while.  Back in February, we opened up for Gaten Matarazzo from the show Stranger Things’ band, Work in Progress.  And when we were asked to play the gig, I watched Stranger Things in preparation for meeting Gaten.  I immediately fell in love with the soundtrack from the show with all of the really cool 80s synths being used.  The soundtrack inspired me to write the instrumental transitional songs on the new record, “Door 1," "Door 2," "Door 3," and "Door 4.”  All the synth from those tracks I guess carried over into the rest of the album.

How do you write your songs?

I (Max) usually will write most of the parts by myself and then I will bring them to the band and we will jam on them and see what works.

How would you define your sound?

I like to think of our music as having a dreamy, ethereal, and nostalgic sound, with jangly, upbeat guitar melodies.

Who worked on the album?

Just like the first record, Erik Kase Romero engineered, produced, and mixed all the songs.  He is really great to work with as he really understands who we are musically and is able to help us carry that vision into the recording.  Tim Pannella mastered the record.

What’s next for Sonic Blume?

On August 22nd we’re opening up for Brick + Mortar along with Carroll in Seaside Heights, NJ, and we are planning on releasing more visual content for our fans (i.e. music videos).  We’re always writing new material, so, of course, we’ll be eager to share that with our listeners as well, the sooner the better.

~

Listen to Beach Karma here!

chill/hilarious - "21&colder" (EP Review)

By Sean McCall | Posted Wednesday, August 15, 2018

Chill/hilarious is a 2-piece indie band from Cherry Hill, New Jersey.  The band consists of Zayna Youssef and Jack Meidel.  They are a DIY band who recorded their own music.  Zayna plays drums and sings, while Jack is on guitar and making the band's recordings possible.  chill/hilarious’s bio is: “she plays, he plays, she sings,” which pretty much wraps up their two-piece vibe perfectly.

Their most recent release, “21&colder” was recorded by their guitarist, Jack Meidel, and Chris Kearney, who is in Jack's other emo-band from NJ, Aw Shucks.  21&colder was recorded at PKD studio in Springfield, PA.

The first song on the EP is titled “Make Leaf,” which opens with a solid jam for the first minute or so of the song.  It introduces their heavier, more dynamic aspect of the instrumentation.  When the vocals came in, it immediately brought the dynamic level down to an intimacy with their vocalist, Zayna.  My favorite line in this song was “Yeah, I know you’re showing off, that's kinda- lame.”  I love the musical breaks of stops in this song, and this part left only the “lame” to be heard in the vocals which really caught my attention before ending with another instrumental jam at the end.  Definitely a great short and sweet start to the EP. 

The second song, “Greengrass,” immediately opens up with a lot of energy and a great hook.  A minute or so into the song, they bring the dynamics down again and make the vocals super prominent and intimate again.  I feel as though this song is talking about striving for change and just an all-around self-perspective.  I really like how they continue to reintroduce the instrumental breaks and jam endings. 

The third song is titled, “Ice Water,” and the vocal melodies in this song really reminded me of Anthony Green almost mixed with Title Fight which is super interesting and catches your ear for sure.  This is another short track that holds a lot of emotions. 

The record closes with “The Outcome” which is definitely one of my personal favorites.  The lyrics are very genuine and the music is simply catchy.  I believe the lyrics in this song deal with holding in something that is true to you without question -- that other people or society around you makes you feel wrong for.  The line “caught in a lie that I can’t help this time, why should I?” is super powerful.  I love how this song makes you feel hopeful and almost joyful.  It’s an awesome feeling to step out of your shell, and this song portrays that perfectly. 

Overall, this record is powerful and pure.  It’s short, and leaves you wanting more, which is an awesome thing to be able to do for the listener.  There’s a lot of talent that goes into this 2-piece, and I strongly advise you check them out. 

If you’re looking for a place to start, the intro song, “Make Leaf,” is great, and “The Outcome” is my personal favorite. 

Interview with Darryl Joo of Project BWQ

By Sonia Schnee | Posted Friday, August 10, 2018

Project BWQ is an indie/alt/rock band based out of northern NJ.  On August 2nd, they released the official music video for their single, "Phosphene."  Check out our interview with Project BWQ founder Darryl Joo, below. 

What’s your name, where are you from originally, and where are you based now?

My name is Darryl Joo. I was born in Korea, and now I’m based out of North Jersey; my musical life is primarily based out of Hoboken and Jersey City.

Congrats on the release of your new music video, “Phosphene.” It’s gorgeous-looking! What was the process like of making the music video? Where was it filmed?

Thank you so much!  I’m absolutely thrilled with the video; a lot of love and dedication went into its creation.  This was my first time working on a music video, so it was a lot of learning for me.  The opening/closing scenes were filmed in Hoboken, NJ, with the rooftop scenes taking place over at the studio building (where I practice, and also where Silver Horse Sound is located – that’s where I recorded my debut album). The “dream sequence” was filmed at NLK Studio in Jersey City, which is operated by Jack (bassist) and Courtney.

It was a challenge being in front of a camera.  I don’t really enjoy having pictures taken of me, so being filmed in front of a camera with an enormous lens looking directly into my eyes was very uncomfortable.

Otherwise, what a blast – we booked out a day at the studio for everyone to drop in at different times, hang out, and shoot their parts.  It was a lot of coordination and effort, but the people involved made it painless and fun.

Was this your first time working with Director/Producer Courtney Collins? 

Not my first time, no.  We had a live outdoors shoot in November of 2017 where she filmed a short set of music.  It was very different from filming the music video, though.  We also worked together for our first photo shoot as a band.

Tell us about your music.  How would you describe your style?  Who are your influences?  Is there anyone who you'd love to collaborate with one day? 

I would describe my style as “varied,” but Max (guitar) describes my sound as “progressive singer-songwriter.”  I try to actively avoid falling into a genre of sound.  Exploring different types of music and different soundscapes brings me a lot of joy; the songs on the album range from quiet acoustic-guitar driven folk rock all the way to jazz fusion and alt metal.  I do my best to put a fingerprint on each song so they don’t feel disparate – rather, each song is just an exploration of genre within the context of my voice.

I draw deeply from classical music (Beethoven, Tchaikovsky, Rachmaninoff), but I also listen to jazz and rock (Miles Davis, Wes Montgomery, Radiohead, Jeff Buckley).  I don’t really have training by way of any of that, though, so I’m taking the sounds and putting my own take on them.

I would love to collaborate with Thom Yorke.  I think he’s busy, though.  I’ll shoot him a message and see if his schedule opens up at all, but I get the sense that he’s busy.  Also, I don’t think he knows I exist.

What was the inspiration behind your debut album American Ghost? How do you hope people will feel when they listen to it? 

A lot of lonely nights went into writing the songs on American Ghost, but there is an equal measure of wanting to connect with people and actually making those connections happen.  There is no hidden inspiration to the album.  The album was a necessity – it just needed to happen, no more and no less.  It’s a snapshot into the fiber of my existence at a very specific and transitory moment in my life.

I hope that people listen to the album and feel camaraderie with their neighbors.  I hope that sad people listen to the album and know that someone shares in their pain.  I hope that lonely people listen to the album and feel a little less alone in the world.  I hope that happy people listen to the album and recognize that there are people in pain around them.  And I hope that people who have lost all hope listen to the album and walk away feeling renewed.

What has your personal journey been like?  When did you discover that you loved music?  I read that you were a teacher at one point.  What did you teach, and do you find any similarities between teaching and making music? 

I’ve loved music for as long as I can remember.  Music always made sense to me.

Numbers and figures also made sense to me, so I thought I was going to be a doctor – since a career in music is for the irresponsible.

Turns out, I’m also pretty irresponsible.  I was a middle school math teacher for about 3 years, and at some point along the line, I realized that as much as I loved my students and loved teaching (something else I’ve always enjoyed), I was completely miserable not making music.

And of course, there are connections between teaching and making music.  For me, that connection is about finding the best way to relay information and sentiment to another person.  Each song, like every good lesson, has a hook, an introduction, a development, and conclusion with a clear goal in mind at each step of the way.  It’s a bit murkier with music, obviously, but the connections are there.

The most useful things for me, though, have been the organizational skills, the work ethic, and the ability to visualize various scenarios and think up contingency plans – all of which I developed as a teacher. 

What do you think of the music scene in Hoboken/Jersey City?  

I love the community.  My first time stepping up to deliver a live performance of my own music was just 2 years ago at a local open mic.  I still can’t believe I only met these people between 1-2 years ago.  I feel like I’ve known them for ages; I feel like I’ve found a family, and they’ve taken me in as one of their own.

It’s vibrant, supportive, and filled to the brim with love and talent.  You won’t find that in many other places, if at all.  I know I’m new to all of this, but I know there’s something special there.  I’d like for more people to be aware of it. 

Do you have any shows coming up? 

Yes!  We’ve got our first little tour put together.  8/15 we’re at The Fire in Philly, 8/16 at The Brighton Bar in Long Branch, 8/17 at The Pompei Lounge in Staunton, VA, 8/18 at Roofer’s Union in DC, and 8/19 we’re settling down in Abingdon, VA to connect with some friends.

Where can people find you online? (Facebook, Twitter, Instagram, Soundcloud, Bandcamp, Spotify, YouTube, etc.?) 

People can find us here:
Facebook: https://www.facebook.com/projectbwq
Instagram: https://www.instagram.com/projectbwq
Soundcloud: https://www.soundcloud.com/projectbwq
Youtube: https://www.youtube.com/channel/UCJ8wD0OBLocLhzC2ntRCT7Q
Spotify: https://open.spotify.com/artist/6shPUIVIALcy89GUCLMQVc?si=k_7ROcUrRyKJJfcdkh4IWQ