Letter From The Editor: Dear BTS Readers, Hello! I am genuinely so excited for you to read this issue. We’ve got Greyson Chance, back with fantastic new music and an entirely new sound. We’ve got R5, who have fully escaped the Disney cliché and have the most incredible new live show (go see it). We’ve got Conrad Sewell, Ron Pope, and more too, but to top off the cake (and our cover), we have Nathan Sykes like you’ve never seen him before. Many bands have split and have had members release solo music, that in itself isn’t new. But what Nathan is doing definitely is. He’s incredibly sure of what he wants to be, and won’t settle for anything else, which is very refreshing. We’re excited to be a small part of explaining his vision of his new sound, and incredibly excited to share it with you, his fans.
Staff: Executive Editor Allison Lanza Online & Issue Editor Addie Whelan Director of Content Gabi Talisman Photo Editor: Bailey Flores Contributors: Addie Whelan Allison Lanza Alyssa Buzzello Bailey Flores Charlotte Freitag Chelsea Gresh Delaney DeAngelis Lauren Klonowski Taylor Cleek Valerie McIntyre
Photographers:
I’m super proud of issue 9, and as we’re working on issue’s 10 and 11, we definitely want your input. Tweet us who you’d like to see (@ BTSMag), we always want to hear what you’re listening to. Enjoy, Gabi Talisman Director of Content
Addie Whelan Alyssa Buzzello Bailey Flores Charlotte Freitag Delaney DeAngelis Gabi Talisman Hannah Jones
Designers: Addie Whelan Alicia Rangel
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@BTSmag Beyond The Stage is a digital music magazine based in the United States. You can read Beyond The Stage online for free or visit our website to buy a hard copy. Previous issues are always available to read online or order in print. Read the latest news at: www.beyondthestagemagazine.com
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Contents Issue 9 | Beyond The Stage Magazine
Ron Pope -- 06 R5 -- 10 Nathan Sykes --18 Editorial - The 1975 --24 Album Reviews -- 26 Greyson Chance -- 30 Conrad Sewell -- 36 Issue 9 Playlist -- 43 BTS | 3
x ambassadors | pittsburgh, pa | january 2016 | Photos by: hannah jones
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Jess Glynne | Los Angeles, CA | February 2016 | Photos by: marissa sandoval
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Photos and Words by Hannah Jones Even after a hectic day on tour, singer-songwriter Ron Pope was kind enough to spend time with us before his packed show at the Altar Bar in Pittsburgh, PA. The musician is just coming off of a European tour that featured stops in cities such as London, Amsterdam, and Stockholm.
After releasing multiple solo albums, he is back with Ron Pope & The Nighthawks. Released in January, the album is the culmination of years on the road. Pope gathered a group of talented musicians in New York, many of which he has known for years, to come together and create music.
We sat down to discuss his new record, life as an independent musician, and how the digital revolution is affecting the music industry.
The band consists of Paul Hammer, Alex Foote, Andrew Pertes, Alex Brumel, Alan Markley, and Michael Riddleberger. While it is difficult to find those special people to work with,
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he explains he didn’t want to “bring in people who don’t understand what went into getting to this place. There weren’t always people at the shows. So it’s nice now that there are, the people that I work with get how much of a privilege this is everyday.” It was all a very collaborative effort by the multi-instrumentalists. “We got in there and everybody really just kind of put their own thumbprint on it, and so I think that’s why it started to feel more like a band and less like making a solo record,” he says. While writing and recording on the road, the band began playing new music in front of their live audiences. It was the first time they had ever done that, and it allowed them to see just how people felt about what they were putting together. While a live album was once a possibility, they chose to continue polishing the songs and put out an entirely studio-recorded album. Pope elaborates, “That’s interesting, because generally you make a record in a vacuum. You’re in the studio and there are no fans around, so you don’t know what people think or how they’re going to react. We’ve been very, very lucky that people seem to like it!” Over the years, Pope has made a name for himself as an independent musician. With over one million streams and two million single sales, he has gained international recognition without the help of a major label. As a writer, singer, instrumentalist, and producer, he is doing it all. Also, by keeping his management close to home, he doesn’t have anyone telling how he has to live his life and career. “I hear a sound in my head and we get to chase it. That’s one of the beautiful things about being an independent musician, is nobody around to tell me no, for better or for worse,” he explains. With the phrase, “internet-sensation” sometimes tacked onto his name, it’s hard to not question how social media and today’s technology has affected life as an independent musician. Pope compares the digital revolution to being a “double-edged sword.” It is easier to create a good recording with inexpensive equipment and it’s easier to distribute your music globally. You can seek out new fans from the comfort of your bedroom via social media.
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“On the other side, everyone else can do that too. It used to be that someone at a label had to stake their life and their job on you. Now, you don’t have to go through those challenges in order to get a record out. People don’t have to ask the question, ‘should I do this?’” Pope says. Such a crowded marketplace only makes the need for a unique sound and image that much more important. Pope first found success with his song, “A Drop in the Ocean,” which was released in 2005. In the age of MySpace, it was deemed an “internet-hit” and has arguably become his most recognized song, even being played during a memorable scene of the popular television show, The Vampire Diaries. Since then, his sound has continued to grow and progress. Pope says, “I always chase the muse. Luckily, it’s something that has felt very natural for me.” As for the future, he hopes to continue building his audience, “That’s what we have done bit by bit, piece by piece, step by step over the years, and we have to keep doing that. The goal with releasing the music is to reach as many people as possible. So, that’s what I’m going to keep trying to do with this record and with every one after it.”
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R5 Interview by Addie Whelan | Live Review and Photos by Bailey Flores In my short time with R5’s Riker Lynch, I learned some things about a band that may be very misconstrued in the public eye: R5 is heavily influenced by some of the biggest names in music and their “Disney” image is definitely not something that will always stick with them. Although we were only able to talk over the phone, it’s easy to see how this band has become such a success and still has a growing fan base. With a joke about the weather, too little sleep (strangely a touring musician and a college student have very similar sleep schedules) and true passion about music, it was easy for us to connect in the short time we chatted. The band was out in San Antonio, ready for their next stop on the “Sometime Last Night” tour. Riker, along with his three siblings, Ross, Rocky, and Rydel, plus close friend Ellington Ratliff are the “five” that make up R5 and while this situation might seem like a center for family arguments, R5 is anything but the typical family drama. Yes, families tend to
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get into arguments, but what’s a family without an argument? Even though they call LA home, they don’t share an actual home together. The fivesome is constantly looking for new adventures in food and drinks and a few recommendations on restaurants, a conversation I was swept up in. A few minutes later, we’re finally getting into some questions. You may remember R5 from their Disney days. Flashback to 2011 when we all were strange, misguided teenagers and a familiar face might be in your head: Ross Lynch. Ross played heartthrob, musician extraordinaire on Disney Channel’s Austin & Ally, which also launched Laura Marano (see her Twitter following creeping up on 2 Million strong) into stardom. During our chat, this was a big point in Riker and I’s conversation. On my notepad, a big question I wanted to ask was “How were you able to get out of the Disney stereotype?” because R5 did exactly that, a feat accomplished successfully by few. Riker, like the true good natured brother to Ross that
he is, told me that not only was acting on Disney Channel a huge opportunity for Ross, but could also benefit the band as a whole. He saw their music being spread to more than just their following, to people who wouldn’t normally get to hear their music. But to further address the question, R5 is truly not just a “pop” band, and that is what is believed to have got them out of the Disney stereotype. To test this theory, I played a quick game with a few friends. My game was simple. I picked two or three R5 songs, mixed them into a playlist with some rock, indie and pop bands and had my friends guess what artist was currently playing. Of course, these listeners got the average song by Justin Bieber or Selena Gomez, but when it came to R5, they were shocked to find that the band was launched out of the Disney name. The rock sound, Riker explained, was filled with influences from OAR, Led Zeppelin, INXS, and even Bruce Springsteen. He recalled a memory of his dad playing Springsteen and immediately, we were both excited to talk about his famous “Is there anybody out there?” line from his live shows.
One of his biggest influences, and I think this surprised me more than anything, is Australian band INXS (pronounced ‘In Excess’), and that is where our conversation went from a normal interview to Riker having a bit of a fangirl moment. On January 17th, R5 played at Sydney, Australia’s “Big Top Sydney” and included a cover of “New Sensation” by INXS. Riker spoke excitedly as he talked about one of the highlights of his career, when INXS messaged him on Twitter and told him that they loved the cover. When asked about his dream tour, the topic of INXS comes back again and before listing his ultimate lineup, he asks one simple question: “Can it be a festival?” After I gave my blessing, Riker went on to invent a festival that we think would sell out in very quickly. He included (and this is not limited to) Walk the Moon, INXS, The Struts, of course R5 and more, finally ending with one of the bands that he considers always in his head, OAR. Excited Riker” comes back as he exclaims that after playing on national TV, Marc Roberge (lead singer of OAR) reached out to Riker about seeing him play. Not only does
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Riker list this one of his top musical moments, but also includes writing with Marc on his “hopefuls” list of goals for 2016. What’s next for R5? After this tour, fans may not see them live for a little while, but studio time is definitely on the calendar. Riker told us he hopes to have a collaboration featured on the next studio album, and that he hopes he might get to write with Roberge. After I tried (unsuccessfully) to get Riker to spill secrets on the next release, I thought I’d try another tactic. I referenced the beginning of my phone call when I asked if the new record will have the same sound as their past projects and he more than agrees. Rock is where the band is comfortable and that’s where they plan to stay. While Louder was the band’s first full studio length album, Riker explains that they’ve “grown so much” since the first album and that they’re really confident in their sound now. That sound completely translates into their live show, which borders on a full blown rock concert, definitely gives us hope for R5 sticking around for a while. If you’re expecting synchronized dances and covers of Frozen songs, you might want to exchange your tickets. Riker not only said that it isn’t your typical show, but that viewers often leave more excited than when they got to the show in the first place. On this most recent tour, R5 is playing from Sometime Last Night, an album that debuted at number six on the Billboard Top 200 and number three on the Billboard Digital Albums list. I think in this case, with their sales, and live show experience, it’s safe to say that R5 won’t be going away anytime soon. While their music dates back to the pre-Disney days, it also has an incredible future. Talking about the band’s future, Riker’s big moment came when he gets to talk about venues that the tour is hitting and where he would like to play. Our phone call got even more interesting when Riker talks about watching Fall Out Boy play the Chicago Theatre in their 2008 TV Movie and how he saw OAR at Red Rocks Amphitheatre. As we reached the end of our conversation, I noticed that while Riker doesn’t get to sleep in his own bed or be near his hometown comforts, he is incredibly grateful for R5’s success. With a live show that is worth being proud of, a successful full length album and adoring fans around the world, it’s easy to see how R5 have made a name for themselves and continues to grow their fanbase every single day.
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SHOW REVIEW: R5 in Austin, TX R5 took over the Paramount Theater in Austin, Texas on February 6th. The band put on a show full of energy from start to finish and had the audience in the palm of their hands the entire time. Electronic rock band Parade of Lights opened the show and fans enjoyed their set as the band played their songs including “Feeling Electric” and “We’re The Kids.” After a quick set change, Ryland Lynch (the lone Lynch sibling not in R5) took on the role of DJ and remixed songs like “Sorry” by Justin Bieber and “Hello” by Adele, with fans singing along and jumping to the beat. Ryland also performed his new single, “Take Me There” featuring Daisy Guttridge, getting the crowd fired up for what was to come. After Ryland, it was time for the moment everyone was waiting for-- R5 was about to take the stage. Fans rushed to the front of the stage to get closer to the four infamous Lynch siblings; Riker, Rocky, Rydel
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and Ross and bandmate Ellington Ratliff. “We Are Family” played over the PA, signaling it was nearly time for R5 to take the stage and fans were ready and excited. R5 took the stage and kicked off their set, opening with “Heart Made Up on You” followed by “All Night and Dark Side”. After playing a few more originals, the band decided to perform an energetic cover of “All These Things I’ve Done” by The Killers. One of the highlights of the night was when Rydel brought girl power to the stage being the sole woman of the band, taking the lead on the song “Lightning Strikes,” a break from her usual backup vocal duties. Rydel proved that she could rock just as hard as any of the men who were onstage with her. All throughout the show, R5 showed nothing but positive and fun energy as they interacted with their fans, whether they were in the front, in the back, or all the way on the top of the theater.
Grizfolk | Detroit, Mi | February 2016 | Photos by: delaney deangelis
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BEEF: Good Press or Simply Rotten? Words by Taylor Cleek
“There’s no such thing as bad publicity.” “All press is good press.” These mantras have been hammered ad nauseam for decades by agents, publicists, and paparazzi alike. It only matters that people are talking about you, never mind what they’re actually saying. But in the social media-centric 21st century; does that still remain true? Is it worth scoring a headline by any means necessary? Let’s take a look at two recent cases: You wouldn’t expect there to be much room in the rap game for an astrophysicist, not even one as notorious and beloved as Dr. Neil deGrasse Tyson. Nevertheless, in late January Atlanta rapper B.o.B posted a series of tweets claiming the Earth was actually flat. Yep, flat. Despite being theorized as spherical as early as the fourth century by philosopher and scientist Aristotle, B.o.B took to Twitter and urged his followers to “grow up” as well as thanked NASA for their role as “gatekeepers of the edge of the Earth.” It wasn’t long before Dr. Tyson attempted to clear things up through a few tweets of his own, but the help wasn’t appreciated. Instead, B.o.B went as far as to record a conspiracy filled diss track aimed at Tyson actually accusing him of being on the payroll of whichever elite secret society is deciding to lie to us about the shape of the planet we currently inhabit. The planetary affair finally came to a close when Tyson stepped onto The Nightly Show to school the B.o.B one final time with a public display of gravity more commonly known as a mic drop. So, what’s the point? Conveniently enough, it just so happens that B.o.B dropped a new EP a few days prior to the whole fiasco, titled FIRE (False Idols Ruin Egos). It can only be assumed that his flat Earth tirade had a lot more people looking at the rapper for a week and potentially listening to the mixtape. And maybe that’s enough in itself ?
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Let’s look at another recent Twitter beef, Kanye West vs. Wiz Khalifa. This virtual flame war ignited once Kanye announced via Twitter that his new album Swish would now be called Waves (and you currently know it as The Life of Pablo). This apparently upset Wiz, who took to Twitter himself to declare rapper Max B (who introduced the term “wavy” to hip-hop and is currently serving a 75 year prison sentence) the only truly wavy one in the rap game and that, “Without him there is no wave.” Kanye didn’t hesitate in firing back with a few tweets of his own, stating (I’m paraphrasing): Wiz stole his entire act from Kid Cudi, his first single was corny, he doesn’t know anyone who listens to Wiz, Wiz was “trapped” by a stripper (ex-wife Amber Rose) with a kid he doesn’t want, that rappers (namely Wiz) can wear tight pants thanks to Kanye, and that Wiz wouldn’t even have a kid if it weren’t for Kanye and as such; Kanye owns Wiz’s child – again, Ye’s words, not mine. Kanye did finish the attack by thanking Wiz for the free album promotion which may potentially provide an answer to my question: as an artist; does it not matter what people are saying about you, only that they’re saying anything at all? Can embarrassing internet drama serve as an adequate way to push records? It’s something I’m actually unsure of. True, I’m currently sitting here writing about B.o.B and that isn’t something I would typically do. But I’m also telling you he’s irresponsibly spreading intense misinformation and ignorance amongst a likely impressionable fanbase. Kanye is also making headlines (as he tends to do) but for a childish temper tantrum that perpetuates his reputation as a humorless brat. Is the true aim of a Twitter beef to simply get people talking like I currently am? Is it effective in selling albums? And most importantly, if you drive continuously in a straight line for a few thousand miles will you eventually fall off the edge of the Earth into an endless abyss of darkness? I can only ask the questions, I don’t claim to have the answers.
Troye Sivan | Chicago, IL | February 2016 | Photos by: addie whelan
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NATHAN SYKES Words by Delaney DeAngelis Live Photos by Jack Daly Interview & Portraits by Gabi Talisman
Nathan Sykes, known for many years as 1/5th of The Wanted, is now on his own. His opening salvo “Kiss Me Quick” grabbed attention, and his follow up “Over and Over Again” featuring Ariana Grande is coming to a radio near you. Getting ready to release his first solo album this fall, Sykes is clearly ecstatic about his new venture. Now working alone, he’s able to give fans more creativity and show off his incredible vocal range. -- Continued on the next pages --
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“I think when you’re in a band you’re writing on behalf of four other people, as well as yourself, and you only ever end up writing one or two songs per album,” said Sykes. “Luckily for me, those songs that I would normally write for the band, ended up being singles, which is fantastic and a massive compliment to my songwriting ability. But I think you sing in a certain range when you’re in a band so I think this album has really given me the freedom to explore my full vocal range and my full vocal ability and also, learn a lot about myself as a songwriter as I’m now creating a full body of work instead of writing just one or two singles per album. I’m now writing the whole thing and it’s a very personal album. It’s all written from personal experiences, it’s all written about people that came into my life and left my life. It’s been really amazing. And the label and the team have been fantastic. They just say go and write the album I’ve always dreamed of writing and I believe that’s exactly what I’ve done.” Nathan couldn’t tell us too much about the album, but from what he told us, we’re ready for it now. “The one thing I can definitely say about the album,” he said, “Is that I have a name for it. I had the name before any song was actually written. So I’ve had the name from the day I really decided to make an album.” While the album may have a pop foundation, Sykes said he brought soul, jazz and R&B influences into it. “I think it shows a couple of different sides of me,” said Sykes. Later, he added, “I’m extremely proud of it. I think it’s the first time people are really getting to see who I am as an artist, and I hope that people enjoy.” Like the album as a whole, Sykes’ newest single, “Over and Over Again,” is a personal song for him. Written over a year ago, it’s about telling someone how he feels. “I’m terrible at telling people how I feel about them in person, so I decided to write it in a song,” he said. “It’s a very personal song, it’s written to someone, they don’t know it’s written about them yet. The other day they texted me how great the song was, which is fantastic.” Adding, interestingly, that he wanted the song to lend itself to remixes, and potentially a duet, Nathan explained “I purposely wrote the track at 126, I think it is, which is a lot of the house tracks are written at. Also at the time I wanted to write a track that lent itself to a duet as well. I’m really glad that both of them worked out really well, with obviously the duet being Ariana Grande, and the remix going to #1 on the Billboard Dance chart, which is amazing!”
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“It made sense to be a single because I think the introduction of ‘Kiss Me Quick’ was a bit of statement piece for me, like a sign of intent I suppose, especially with all the horns, especially at the start of the track,” said Sykes. “Almost like an announcement, that I’m here, as a solo artist, hello, and I think ‘Over and Over Again,’ contrasting that so well, gave me a chance to show myself off as a songwriter and really gives the audience to concentrate on the vocals and the lyrics.” Sykes said that he doesn’t have one particular way to write songs, but many of them start off in a sort of unusual place. “A lot of my songs start in the shower, which is absolutely bizarre,” Sykes said laughing. “That normally starts with me singing like a concept. Sometimes I change parts of the concept and sometimes I change part of the melodic line that I’m singing with it and I’ll always record it into my voice notes on my phone and then I’ll take that idea of the concept or melody into the studio.” Sykes told us that his label and team have been very supportive and told him that he should write the album he has dreamed of writing, and that’s what he did. “I just kind of let it happen spontaneously,” said Sykes. “And if spontaneously I feel there needs to be a 30-piece choir on the track, then I’ll be like, cool, let’s get a 30-piece choir on. And if there’s not a 30-piece choir, like there hasn’t been, I’ll go in and build a 30-piece choir, which has been amazing. I literally spent up to three hours in the booth building this choir.” As Nathan is no stranger to massive performances both alone and with The Wanted, specifically in the last six consecutive Capital FM Summertime Ball events at London’s O2, we had to ask about his live shows. “Oh you know what, I love worldwide tours, I love traveling, I love seeing new places,” said Sykes. “I think, just purely based on live shows, there’s nothing like playing venues close to your hometown, and obviously, all your family gets to come, and it’s just really special.” Outside of his hometown shows, Sykes excitedly talked about playing in South America. “It’s just absolute mayhem when you do shows,” said Sykes. “Everyone just loses every single care on the planet and it’s just we are going to have the best time ever.” Sykes has been playing a lot of radio shows over the last few months, and said some of his favorite up and coming artists include Shawn Mendes, Charlie Puth, Alessia Cara and Tori Kelly. “I think we’re in a really, really good time for music, and I think it’s very exciting as a new artist to see
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other new artists around a similar age to me just absolute killing it,” Sykes explained, adding “I think we’re in a really, really good time for great vocalists as well, and that’s really exciting to be part of that, and also to be part of the British movement that’s happening with so many great vocalists coming from the U.K., it’s great to be seen.” Nathan Sykes is still young but revealed that he’s always thinking a few years ahead. Finishing our time with Nathan, asking what was next seemed redundant: he’s clearly a man with a plan. Instead, we wanted to know where he thought his music would be in five years. “That’s a great question. I think still growing as an artist. I’ll still only be 27, which is a petrifying thought for a lot of people I think, but I think I’m still very young as an artist. I think there’s a lot of room to grow as an artist, and intentionally I’ve put elements of that into my sound, because I always do think a few years ahead, and where I want to take the album, more like the albums to come, where I want to take them musically, what direction,” Sykes said, before finally adding, “I already have an idea of what my second and third album’s going to sound like which is really exciting. Obviously with how music changes so quickly, you never know what music is going to be, but I hope I’m in a position where I’m touring the world with a big, old band.”
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The 1975: A New Era For the past two years, anytime I heard the name “The 1975,” it’s almost as if a switch flipped in my head and my vision turned black and white. The band was black and white. They weren’t the first to brand themselves as black and white and they most certainly won’t be the last, but in my mind, they were the personification of monochrome.
Article by Allison Lanza Live Photos by Chelsea Gresh
was losing the ‘rockstar’ ego that came with quick success and an emotionally driven project. “Our projected identity needs to change not only visibly but philosophically,” read as though the band was preparing to undergo an entire transformation, from the way they are presented to the way that they are perceived. Perhaps the most obvious sign of this The 1975’s debut was lengthy and new in sound. There great rebranding: “Old Matty” (the dark silhouette) was nothing else like it out at the time, and no other with a tight grip on the mouth of PINK (New Matty). band could dream of releasing a sixteen track first album. But here was The 1975, with a record titled Upon return to social media, the band’s icons were The 1975, kicking off with a song called “The 1975.” simply a solid pink. And thus, a new era began. The band was pushing the boundaries long before the release of this record, however, with four EPs The release of the band’s second album, I like it when preceding the album. Each EP’s general sound varied you sleep, for you are so beautiful yet so unaware of it, a bit, though as a whole make a cohesive project. was creative in all forms, from the marketing behind it to the obvious, the finished product. The band sent When the band began teasing “1st June, The 1975” out cryptic promotional postcards to random fans and via all of their social media pages, avid fans saw their some received pink cassette tapes featuring singles excitement rising. What could be next for the band? “Love Me” and “UGH!” Pop-up shops full of art and When June 1st “The” 2015 finally rolled around, however, merchandise and meet and greets with the group were fans were in a frenzy as the band tweeted a cryptic set up in New York City and London. The band’s video comic hinting at a possible demise, their social media for “The Sound” featured slides of critics’ complaints accounts suddenly disappearing that very same night. about the group, ranging from “punch-your-TV The questions began to rise: Were The 1975 teasing a obnoxious” to “I only heard ‘Chocolate’ once, but I hated break-up this entire time? It seemed silly to think that a it,” and my personal favorite, “unconvincing emo lyrics.” band who was becoming an international phenomenon Photo by Allison Lanza would break up after the release of just one album. Some fans threw around theories that perhaps the band was changing their name, as pre-“The 1975,” the group was called Talkhouse, The Slowdown, Big Sleep and Drive Like I Do. The possibilities were endless and Tumblr overflowed with theories, but after re-reading the cryptic comic thoroughly a handful of times, I realized that the answer was completely there in front of us— the band was about to unveil their grand rebranding. “We’ve killed the rockstars,” screamed that the band
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This is a band that has stopped caring about the public opinion and has focused on making music that they love, which correlates into a sound that mega-fans have been eating up. I like it when you sleep, for you are so beautiful yet so unaware of it is, in itself, a work of art. The band had a clear direction for this record, both in the artwork and the actual content. The use of the LED signs and pink tones throughout the entire campaign make everything cohesive. Lyrically, the album is wonderfully written, but the thing that caught my attention most was its references to their previous release, their self-titled album. The band took the opening song “The 1975” off of their debut and reimagined it to set the mood for this album. “A Change In Heart” directly calls out “Robbers” and “The City” from their debut with the lyrics “You used to have a face straight out of magazine, now you just look like anyone… I never found love in the city, I just sat in self-pity and cried in the car.” While I like it when you sleep… can be listened to independently, it’s almost as if you have to have a working knowledge of The 1975 to fully appreciate the beauty of the record. The 1975 is a band that has successful mastered the art of rebranding. From monochrome to pastel, this band is one that is overly aware. Their decisions are highly calculated, and yet they seem to have it down to a science. Love them or hate them, The 1975 seem rather unbothered and will continue to shine for years to come.
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Album Reviews Promise Everything Basement Run For Cover Records The year was 2012 and things were looking fairly bleak for Basement fans. Despite being on the verge of releasing their second album, Colourmeinkindness, the band announced they’d be taking a break. The band released what appeared to be their final album and played one last string of sold out tour dates before hanging it up. But now it’s 2016 and things are looking much better. Not only is Basement back, but they’ve returned in style with their third studio album, Promise Everything. The new record’s ten pop-grunge tracks clock in at nearly a half hour and insist on getting caught in your head. The fans might be divided on this one: those who strictly prefer Basement’s younger, angrier, messier material may not find a lot to identify with on Promise Everything. But those that appreciate the direction the band has slowly and surely charted since their last full length will likely see the band comfortably completing their transition from angsty punk rock to a more easily consumed alternative. Promise Everything is more “head nod” than “head bang” and if you’re okay with that, this record is something you might enjoy. That isn’t to say the album is a snoozer void of energy. While it certainly doesn’t mind a slower tempo at times (“Oversized,” “Halo”) there’s still plenty of potential for the stage-dives and finger-pointing-pile-ups that are to be expected at Basement shows (“Blinded Eye,” “Promise Everything”). Despite a new coat of paint that at times channels pop-rock giants Weezer or the band’s fellow Brits in Oasis, the record holds moments that are unmistakably Basement – the dreary opening riff of “Aquasun” or an unapologetically loud bridge in “Lose Your Grip.” While the band might be playing it a little more safely than in past endeavors, vocalist Andrew Fisher sounds better than ever. The singer’s range is on great display all throughout Promise Everything. This is especially evident on “Submission”, a track that es naturally between smooth melody and Fisher’s signature howl. Promise Everything appears to be the beginning of a new chapter for Basement. Where most bands might feel threatened by accusations of going “poppier” or writing rock songs that will sound nice on the radio, Basement seem to be confidently taking it all in stride. While the record doesn’t take many risks, it does provide a very listenable, catchy, and easily enjoyable experience. Basement knows where it wants to go and Promise Everything feels like a sure ticket there. 3.5/5 Taylor Cleek
Life of Pablo Kanye West GOOD/Def Jam Records Four album titles, three years, two children, and one Adidas deal later, Kanye West’s seventh solo album has finally come to fruition. The process of crafting The Life of Pablo has been an incredibly lengthy and transparent one, heavily publicized through West’s impassioned Twitter musings. As he vacillated tirelessly between different tracklists, album titles, release dates, and rollout tactics, it became nearly impossible not to feel a slight personal investment in the LP’s release. When the album was finally unleashed upon the clamoring masses at West’s Yeezy Season Three fashion show on February 11th, it became immediately clear that the high expectations set for the infamous visionary’s album had been fulfilled. Witty in his lyricism and innovative in his musicality, West has created yet another genre-defining piece of art. A handful of hip hop’s most promising up-and-comers lend verses to the album, pumping vivacity into an already colorful sonic landscape. More than a decade into his rapping career, West is still constantly reinventing himself. With each new album, he consistently delivers a new sound. The Life of Pablo takes the experimental dissonance of 2013’s Yeezus and expands upon it, drawing in sonic elements from his earliest work and unexplored territories alike. He links up with an impressive range of producers, including not only the usual suspects such as Travis Scott, Cashmere Cat, and Hudson Mohawke, but also some unexpected collaborators like Future’s right hand man Metro Boomin and the legendary Madlib. Elements of gospel, rock, and house are interpolated into each track’s production, uniting the individual songs as one cohesive unit. Kanye West’s dedication to pushing hip hop in new, progressive directions has been unwavering throughout his entire career, and it certainly doesn’t falter now. The Life of Pablo is a thrilling, transportive listen that is sure to have a lasting impact on rap music well into the future. 5/5 - Charlotte Freitag Download: “Ultralight Beam (feat. Chance The Rapper, The-Dream & Kelly Price)”, “Famous (feat. Rihanna & Swizz Beatz)” and “No More Parties in L.A. (feat. Kendrick Lamar)”
Download: “Lose Your Grip”, “Blinded Eye”, “Promise Everything”
Black Star David Bowie RCA Records
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Entering the new year of 2016, we lost a legend. No matter your age, you know at least one David Bowie song. But not only was he a musician, he was also a poet and an all around artist. Before Bowie left the world, he recorded his last record Blackstar. From most critics and fans, it was said that Blackstar was intended to be the last record before Bowie died, as he knew he unfortunately did not have much time left to live. Blackstar is Bowie’s “thank you” and “goodbye” to both old and new fans alike. The record contains David Bowie’s old fashioned sounds, but also adds new and experimental sounds. When listening to Blackstar, one can hear bits of Bowie pop, jazz, rock, alternative, and essentially everything Bowie experimented with in the past in a way of expressing himself. In a way, Blackstar also attracted new fans to explore his entire collection from the very beginning to the end.
The lyrics are likely what attracted the fans the most to Blackstar. Bowie was always known for his lyrics, and with this last record they are deeper and poetic more than ever. Though sometimes very dark, it does not take away any of the creativity of words. The lyrics reflect on his life in the past and he does not sugarcoat any struggles. David Bowie gave us one of 2016’s greatest albums, but the best part is that he will always be remembered as an artist. Bowie was not just a music artist, but an artist in general. His words were his canvas and the music was also part of his art. 5/5 Valerie McIntyre Rest in peace, David Bowie. Download: “Tis A Pity She Was A Whore”, “I Can’t Give Everything”
Album Reviews (continued) Drive North SWMRS Uncool Records SWMRS, the band that is bringing a new definition to indie-punk, has released their debut album and it’s full of teenage angst and infectious melodies. Drive North comes out February 12th and deserves all of your attention, plus all of your friends’ attention too. Produced by Zac Carper of FIDLAR and Billie Joe Armstrong of Green Day, this album packs a power-punk punch. It starts off with “Harry Dean” which is driven by a surfy riff. Lead singer Cole Becker calls out “Let’s cut loose go out tonight,” and fills this song with a spirited attitude that sets the album in motion. “Miss Yer Kiss” is the most unique song off of the album, and opens with a chorus of whistling and distorted electronic samples. It’s playful and talks about longing to just be with that one person. “Ruining My Pretending” is a great power-pop tune that is relatable and upfront with singer and guitarist Max calling out, “It’s just a story, we all know the feeling, you don’t believe it, you’re ruining my pretending.” An ode to the “punk-rock queen” Miley Cyrus is something that no one saw coming. However, SWMRS created it and “Miley” really cuts loose at every chorus. Full of the unadulterated feeling of freedom, “Do You Have A Car” drives home the fact that this is a coming of age album. “Drive North” is the most shocking and punk track and brings the whole thing to a close. It’s a pleasantly surprising dis on Los Angeles that encourages driving north to Oakland. With strong hateful sentiments about Santa Monica Boulevard and Venice Beach, Cole screams very passionately about everything that is wrong with Los Angeles. Drive North is pure anthemic bubblegum best listened to from start to finish in the car with all of your best friends. 5/5 - Alyssa Buzzello Download: “Turn Up”, “Ruining My Pretending”, “D’You Have a Car”
Matter St. Lucia Columbia Records More than two years after the release of their last album, St. Lucia is back with Matter, stunning their fans everywhere with its incredibly catchy lyrics and a dance-worthy tracklist. Filled with infectious melodies, Matter was released in late January and features four singles. Each track beautifully represents the St. Lucia style and has listeners always waiting for more. The opening track, “Do You Remember” reminisces on a past relationship, transporting frontman Jean-Philip Grobler back to a past relationship. That very track is the easiest to sing-a-long to on Matter, with Grobler singing “Innocent hearts, time’s a ticking, But we’re making a start, look in the mirror, The lines getting deeper, but what do you know?” and transporting the listener to an old time in which innocence played a huge role in what is now a broken relationship. The second track on the album is lead into with strong synth and drum sounds, Grobler harmonizing with Patti Beranek’s vocals. “Home” is not only the loudest and heavy song on Matter, but also reflects on the time Grobler spent with Chris Zane (producer for Passion Pit). A synth solo takes over midway through the track, which transports listeners to the days of St. Lucia’s self-titled from 2012. Not only does the entire album demand the attention by physically listening, the lyrics require a deeper sense of thinking. While all of this is happening, tracks like the album’s third single “Love Somebody” find Grobler singing about finding someone to love, though it is slower and almost completely out of St. Lucia’s usual sound. Definitely a surprise track on the album, “Love Somebody” is the unexpected “slow jam” that has been missing from everyone’s must have lists. The final track on Matter is a strong ending, and may be the best on the album. With hints of sounds from the 70s and 80s, “Always” embodies everything that Matter was supposed to be. While some may argue that Matter is a predictable comeback for St. Lucia, we disagree. Matter is just the right blend of new and experimental, and surely will reaffirm St. Lucia’s place in the electronic-dance music scene. 4/5 - Addie Whelan Download: “Do You Remember,” Always,” and “Love Somebody”
Backbone Roam Hopeless Records
Pop-punk band ROAM, dropped their first full-length album, titled Backbone, this past January. Backbone is perfect for fans of Set Your Goals and Sum 41. This album surely blows their previous releases out of the water, showing a lot of growth from their previous EPs. Backbone opens with a clever intro track then throws you straight into banger after banger. This album is full of guitar driven songs that will have you yelling along in no time. From a slower track to heavier songs, Backbone has a little something for everyone. There is even a re-recorded version of “Warning SIgn,” an older song, which sounds fantastic. Along with the previously released singles, “Deadweight” and “Hopeless Case”, ROAM have proved they are a force to be reckoned with in this album. “Cabin Fever” is a perfect track to open this album with. It hooks you right from the beginning, keeping
you excited for more. “Tracks” slows the album down a bit for all of those who enjoy a slower acoustic song. Alex Costello and Alex Adam’s unique vocals definitely make the song an interesting one. The lyrics to this song are also hard hitting and meaningful, which isn’t too different from the rest of the album. It shows that ROAM put a lot of time and effort into making this album the best that it can be. We can only hope that this album gets the attention it deserves. It definitely showcases the talent that these boys have and will definitely will help bring back more pop-punk music. 4/5 - Chelsea Gresh
Download: “Cabin Fever,” “RIP In Piece,” “Hopeless Case”
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Album Reviews (continued) Nothing But Thieves Nothing But Thieves RCA Records Very rarely is an artist’s debut album as strong as Nothing But Thieves’. The UK-based alternative rock band’s self-titled debut shows off the band’s versatility as they tackle everything from fast-paced tacks with impactful choruses to breathtaking ballads. The album opens with “Excuse Me,” a song that begs for your full attention, and by the bridge, your attention has been commanded. Rolling straight into the fast-paced guitars in “Ban All The Music” and “Wake Up Call,” Nothing But Thieves keep listeners tapping their feet to the rhythm and bobbing their heads. The next song, “Itch,” is perhaps the strongest on the album, one that starts dark and contains a chorus that unexpectedly hits hard, with lead singer Conor Mason’s falsetto shining and the bass line grooving. From here, the record dwindles down, allowing the band to show off their softer side for a few minutes with the incredible ballad “If I Get High” and eerie early fan favorite “Graveyard Whistling.” Speeding back up with “Hostage,” a song that could easily belong on the soundtrack to a blockbuster action movie and the record’s first single, “Trip Switch,” Nothing But Thieves continue to prove that their music can take various forms, and that they can tackle anything. In a following tender moment, Mason longs for his love to remain in “Lover, Please Stay,” the Buckley influence in his vocals proving obvious. With their self-titled record, Nothing But Thieves prove that they have what it takes to be the next alternative-rock heavyweight. Between their own nearly sold-out UK headlining tour, impressive opening slots for Muse and appearances at festivals all over the world on their calendar in 2016, the band’s impressive debut album will grace the ears of a broad audience. If Nothing But Thieves’ live show is anywhere close to as brilliant as their debut, this band is going to be a force to be reckoned with. These sixteen songs sound as if they were made specifically to be played in arenas, and it wouldn’t be in the least bit surprising if that is the setting that this band ends up in very soon. 5/5 - Allison Lanza
Nine Track Mind Charlie Puth Atlantic Records It would be a bit of an understatement to say that Charlie Puth’s debut album, Nine Track Mind was highly anticipated. Ever since he graced radios with his feature on “See You Again” by Wiz Khalifa, the world has been wanting more. Puth released “Marvin Gaye” featuring Meghan Trainor way back in February of 2015 and resulted in the “kiss felt around the world”; the infamous kiss between Puth and Trainor that spread all over the internet. The second single was “One Call Away” which opens the album with a nice sweet, raw vocal to draw listeners in. “Dangerously” is a nice pick-up after the calmness of the previous track. Listeners will get a better taste of Puth’s vocal range in this song due to the risks he takes. “We Don’t Talk Anymore” which features pop star Selena Gomez is a bit different from the rest of the songs on the album; it has a nice mix of acoustics and a catchy chorus that will make it a stand out song. As the album continues on, there is a stretch of songs that blend together and in turn get a bit lost. Directly following these is “Suffer,” one of the best on the album; it has a unique R&B sound with mixes of pop and blues that really makes it stand out among the others. There’s no argument that Puth can sing, but Nine Track Mind doesn’t showcase his voice enough for the world to see it. The few instances on “Suffer” and “As You Are” where there is a glimpse of Puth’s full potential are fantastic. It’s a decent record, but it also may be an easily forgotten one. Not much stands out aside from the brilliant collaborations and a handful of songs that only scratch the surface of what his incredible voice can really do. 3/5 - Lauren Klonowski Download: “We Don’t Talk Anymore” (feat. Selena Gomez), “Suffer”, “As You Are (feat. Shy Carter)
Download: “Itch”, “Hostage”, “Lover, Please Stay”
Panic! at the Disco is a band known to change their genre from album to album, resulting in no two Panic! at the Disco albums sounding the same. For the band’s fifth release, Panic! at the Disco blended all of their past genres to create Death of a Bachelor.
Death of A Bachelor Panic! At The Disco Fueled By Ramen
Death of a Bachelor is the first album solely made by frontman Brendon Urie. The whole album was written and recorded by Urie. In addition to vocals, Urie recorded the guitar, bass and the majority of the drums himself. This album truly shows how talented a musician he really is. One interesting aspect of the album is the order of songs. Starting with the upbeat, happy song “Victorious,” the album ends on a much more somber note. The final two songs, “House of Memories” and “Impossible Year,” talk about past memories and heartache. Usually, albums mix up songs of different tones, but this aspect gives the album a storyline.
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Death of a Bachelor is all about Urie accepting his life. From party days to married life, Urie covers it all. Death of a Bachelor serves as a reflection both lyrically and instrumentally. “Crazy=Genius” gives the vibes of the band’s debut, A Fever You Can’t Sweat Out. “Golden Days” and “Impossible Year” reflect Pretty. Odd., released before the band’s split in 2009. “Hallelujah” calls back to Vice & Virtues and “Don’t Threaten Me With A Good Time” sounds like their previous album, Too Weird To Live, Too Rare To Die. Love it or hate it, Panic! at the Disco is always evolving, musically. Only time will tell if this is really “the end of eras” like Urie sings in “Emperor’s New Clothes” or if the next album will be something completely different. 5/5 - Delaney DeAngelis Download: “LA Devotee” “Don’t Threaten Me With A Good Time” and “Emperor’s New Clothes”
kaleo | new york, ny | February 2016 | Photos by: Gabi Talisman
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Greyson Chance Portraits and Article by Charlotte Freitag, Live Photos by Addie Whelan
In a twist of fate that he describes as “massively bizarre,” the power of the viral video transformed Greyson Chance from a local superstar to a bonafide global sensation. “To this day, it’s crazy to think about,” an older, wiser Greyson says of his overnight rise to fame. “We just played the studio at Webster Hall a couple nights ago, and it’s strange to be on this side of things, because I was always the kid in the audience, looking up at the performer. Now that I’m the artist, it’s bizarre. I’m very blessed and very fortunate that everything started the way it did, because now I have an avenue to play music out to people.” A simple three-minute recording of a young Greyson performing Lady GaGa’s “Paparazzi” at his middle school talent show in 2010 captured the hearts of millions, catapulting him into a whirlwind journey through fame, self-discovery, and, of course, scrawling his name across “the weird assortment of body parts that musicians are asked to sign.” The overwhelmingly positive reaction to his Lady GaGa cover afforded Greyson a wide variety of opportunities, most notably an invitation to perform on the Ellen Show. Absolutely captivated by his talent, Ellen Degeneres offered him a contract to be the first artist signed to her record label, eleveneleven in 2010. He would go on to release two projects with the backing of Ellen’s label, Hold On ‘Til The Night and Truth Be Told, Part 1 before going the independent route in his later teen years.
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Too young to have fully developed an artistic voice of his own, Greyson’s earliest tracks were largely products of the music executives surrounding him and the intense pressure to maintain the interest sparked by his viral middle school performance. Throughout this beginning stage of his career, Greyson’s music stayed within the realm of radio pop and singer/songwriter, never foraying into different sonic territories or playing with expectations. The bubblegum aesthetic suited him well in his early teens, but as he matured, it became clear he needed to take a drastic change in direction. He decided to spend significant time out of the public eye after leaving eleveneleven before returning to the world stage as an independent artist. Now eighteen years old and a senior in high school, Greyson creates music that is startlingly different from the records he released when he first entered the public eye. As his trademark high-pitched voice descended into the low, velvety register he currently sings in, his artistic point of view began to shift into focus. Sophisticated in his lyricism and adventurous in his musicality, Greyson now makes music that is far more memorable and engaging than ever before. The Oklahoma native plans to reinvent himself with his upcoming project, entitled Somewhere Over My Head.
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“There are a lot of different inspirations on this project,” Greyson says of Somewhere Over My Head. “There’s definitely a lot of soul, especially in the melodies. There’s also some alternative influence, as well as some urban influence. It’s ultimately pop music, so I’m definitely trying to deliver some choruses.” Somewhere Over My Head includes the work of several different producers, many of whom belong to what Greyson describes as his “homie group.” “When you’re a songwriter, you develop this network that I call the homie group, which is a group of producers who understand your sound and are excellent at what they do. There are probably six producers on that list who I know could make anything I send their way sound good.” An incredibly talented pianist himself, Greyson often works directly with producers to build the sonic elements of his tracks. He typically crafts his own melodies and piano licks before approaching a producer with a concept or idea, leaving his own fingerprints on all of his instrumentals. The process of writing and recording the new EP has spanned several years, and has happened alongside Greyson’s transition into young adulthood. Much of the lyrical content is centered around growing up and “being influenced by new things [he] wasn’t influenced by before when [he] was 13 or 14.” In addition to writing about the insanity of his new life, Greyson takes special care to pay homage to his Oklahoma roots. There is one song in particular, he says, that truly captures the essence of his Oklahoma upbringing.
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“There’s a record called ‘More Than Me’ on the EP that reminds me of my roots. I wrote a lot of the lyrics back home in Oklahoma. The chord phrasings on this song are gospel influenced, because I grew up playing music in the church, and that’s home for me. The production makes it sound like Oklahoma, so it’s a testament to home and a testament to growing up in the wild, wild west. ‘More Than Me’ is one of my favorite tracks on the whole EP.” The new project is reflective of Greyson’s most significant experiences and influences, and is a product of his own artistic discretion. “What’s good about being an independent artist is that I have the direct freedom to be in control of anything creative I want on my project,” he explains, although he quickly clarifies that he is not opposed to the traditional label-based method of releasing music. “I think a lot of people like to point fingers at labels and say they’ve corrupted the system and made it about profit, but there are good people who are at these labels who genuinely want to help artists get good music out into the world. It really depends on the artist and their team. You could have the biggest name in music, but if their team isn’t supportive, then it might not work very well for that artist. On the other side, you could have someone like Chance The Rapper who has nobody behind them and is very, very successful. The internet has completely changed the music industry, and whether or not the traditional method works completely depends on the artist.”
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As an independent artist operating primarily out of Los Angeles, Greyson has finally found the workflow that suits his style of making and distributing music the best. After completing online high school this spring, he plans to pursue music full-time. “Right now it’s weird because I’ll work on music and do events, and then I have to go do my econ homework,” he explains with a laugh. When he isn’t studying, Greyson is busy travelling the world, performing his music to rabid fans, and mingling with the likes of President Obama and Paul McCartney. He still keeps in contact with Lady GaGa, who has consistently been one of the most influential people in Greyson’s life.
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“The second or third time I ran into GaGa, she gave me the best advice I’ve ever gotten. I had been going through some industry problems at the time, and she sat me down and told me, ‘Listen, you really just need to focus on the music. There’s going to be all this other stuff around you, but it’s really important you just stay focused on music and stay true to your craft.’ I take that close to heart, and when musicians ask me what advice I’d give to a songwriter, that’s the most important thing. Just to stay really devoted to your music. People will sometimes tell you that you’re really great, and other days they might tell you you’re not so great, but you just have to focus on the music and be confident in yourself.” Lady GaGa’s lyrics helped start Greyson’s career, and her words continue to help push it into the future. Greyson’s priorities as a musician have always been centered around artistry, and his dedication to his craft will serve him well as he continues to evolve.
Max Frost | Detroit, mi | February 2016 | Photos by: delaney deangelis
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Conrad Sewell Photos and Words by Marissa Sandoval
Conrad Sewell first made his mark on the music industry when he auditioned for Season 2 of Australian Idol, and while that endeavor did not lead him to great success, Conrad refused to give up. He released a single “Firestone” with Kygo, a track which made its way up to the charts in not one, but many countries. After that, Conrad released his debut EP, All I Know, reaching out to a larger fanbase in the US. He has been on tour with household names including Ed Sheeran and Maroon 5 and performed at Coachella among other festivals. It is clear this is a guy who never stops: between touring and recording, it’s hard to see where he has time to do anything else. After speaking with him and watch-
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ing his performance, it is also clear that Conrad has a huge a passion for his art. With stage presence reminiscent of his idols such as Michael Jackson, Conrad owns the stage, while being sure to remain original and true to himself as an artist. Beyond The Stage met up with Conrad at the last show of his tour with Jess Gynne in Los Angeles: BTS: How did the music you grew up listening to influence the music you’re making now? CS: A lot of vocals, like Michael Jackson, Mick Hucknall from Simply Red, and big soul voices I listened to a lot. Vocally, I now try to bring that into what I do. I always loved
industry? Do you think there’s any upside to not having overnight success? CS: It was very hard, it’s still hard. But I think you learn a lot, because you appreciate it more and you stay a lot more humble. Now I don’t even think of the success I’ve had as anything and I still appreciate every moment because it’s taken so long to even get this kind of success. BTS: Where is your favorite place you’ve performed? CS: Probably Coachella and my hometown, Brisbane, when I played with Ed Sheeran the first time I ever went back. BTS: Your sister is also putting out music right now, does that get competitive? Do you think it helps you continue to work even harder?
those emotional ballads and I fell in love with great pop song writing, so that’s what I try to do with my stuff. BTS: What do you want people to get from your music? CS: I want them to get emotions and all types of feelings, but I also want them to get addicted to it. Whenever I fall in love with an artist, I just listen to it back-to-back-to-back and make moments with my music. So like the first time you kiss a girl, remember that, or playing it at your twenty-first, or at any important party because you want to create a moment with your mates. BTS: Do you think you had a hard time breaking into the
CS: We are actually really competitive, both of us. We always send each other music and get in the studio and write together, but it’s all in fun love. BTS: Do you have any advice for aspiring musicians? CS: Work on your writing, play live as much as you can and just own who you are. I know that sounds cheesy, but pick a few things that you love about music, what music you love and what you want to do. Then try to make that, but in your own way. BTS: If you had to pick singing or writing, which one would you pick?
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CS: I like singing more, but writing is very fulfilling as well. BTS: Your single with Kygo was huge, do you enjoy collaborating on songs? CS: I love collaborating! I think it makes you a better artist and writer, and it can help you break out. It gives you access to a whole new group of fans. I probably would have never had the whole tropical house music fanbase without it. BTS: Is there anyone you are hoping to collaborate with in the future? CS: I’d love to collaborate with Bruno Mars, Sting, Prince, Stevie Wonder, Kanye West, or Jay Z. BTS: What’s next for you? CS: Finishing up my album and then touring and continuing to grind it out. But I’m mainly focusing on putting a great album together that people really love and spreading that around the world. BTS: Are there going to be collaborations on your new album? CS: I’ve got a couple in my plans. I’ve done a few already; a couple hip-hop collaborations, I’m working with Ryan Tedder on the record, and a bunch of different producers and writers that I love as well.
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The Neighbourhood | Los Angeles, CA | February 2016 | Photos by: alyssa buzzello
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Joywave | Chicago, il | February 2016 | Photos by: addie whelan
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metric | Chicago, il | February 2016 | Photos by: addie whelan
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firekid | new york, ny | February 2016 | Photos by: gabi talisman
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15. 14. 13. 12. 11. 10. 9.
8. 7. 6. 5. 4. 3. 2. 1. What’s on our PLAYLIST? Ain’t Got Far To Go Jess Glynn
Way Too Much Wavves
Clearest Blue CHVRCHES
Dancing On Glass St. Lucia
Run or Hide Run River North
The Less I Know The Better Tame Impala
Wild Horses Bishop
Wolves Kanye West
Love Yourself Justin Bieber
Inheritance Harriet
Now Joywave
Needed Me Rihanna
I Took A Pill In Ibiza Mike Posner
LA Devotee Panic! At The Disco
Roses Chainsmokers Ft. ROZES
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Photo by Addie Whelan