Freedom to Grow: an interview with capernum

From the initial spark of self-discovery during walks in nature to the culmination of self-acceptance woven into each track, Capernum shares the profound narrative thread that binds the album together. Delving into standout tracks like 'Farewell My Friend' and 'Underbrush,' we uncover the depth of emotion and storytelling that underscore their production, offering insights into the bittersweet farewells and enchanting entrances that define the album's essence.

INTERVIEW

Your debut album, "Forest of Fairytales," offers a rich emotional journey. Can you share the inspiration behind the album and how your personal experiences influenced its creation?

That’s a cool way to put it. That album has a special place in my heart because it was my first full body of work that I felt proud of after making music for years. I started working on it in March of 2021.

Around that time, I started going on walks through a path in my neighborhood, and one time I realized I hadn’t looked more closely into nature since I was a child. I took a picture of a small carved-out hill that stood above the rest of the ground and I stared at that picture daily for a while. The album sort of spiraled out from the idea that self-acceptance

is an actual place you have to journey to.

The forest became the ideation of that very thought. Track 1 starts with a story of self loathing and incapability, to the final track where I finally felt capable and able to love who I was as a person. I feel like as I made the album, I slowly discovered who I was and began to love myself wholeheartedly. As far as music that inspired it.

As far as sonic influences go, I would have to say folk music, Glaive’s earlier work and Quadeca.

"Farwell My Friend" and "Underbrush" are standout tracks from your album. What emotions or stories were you aiming to convey with these particular songs, and how did you approach their production?

Farewell My Friend was actually the last song I started for the album.

I felt like it needed to be a much more minimal singer-songwriter cut to really make it personal. A lot of people thought it was about saying goodbye to a friend, but I really wrote it about saying goodbye to who I was.

I was just about to head to college, and felt like I needed to cut out a lot of my bad tendencies to really move onto the next stage of my life. It’s a song about saying thanks to who you were and how far you’ve come, but it’s time for a change.

It’s a really bittersweet goodbye that also works in the context of the album which I found really beautiful.

As for Underbrush, the three songs before it are supposed to be kind of a prologue in that they occur before the start of the journey to self acceptance. Underbrush is meant to signify the entrance into the woods. It’s supposed to feel magical and almost legendary in a sense.

For the production, I did a studio session with one of my high school friends. The intro guitar was recorded on voice memos to get the cicada sounds which gave it a really raw feeling and connected it back to the theme.

We thought that adding dreamy, bouncy production with the soft folky guitar gives it a sort of simple, yet otherworldly feel. I think it really fits that sparkly fairy vibe.

If I could go back, I think I’d redo the vocals on that song, but I digress.

As a new artist, how would you describe your signature sound, and what elements do you believe set your music apart in the current music landscape?

I think for my music personally it’s really hard to box into one genre. I’ve tried glaive type hyperpop stuff, folk, synthwave, indie and just straight up weird experimental music. Especially on FOF, it varies pretty frequently. I think the most signature aspect of my music is my voice. It tends to be a little weird and different from a lot of artists I’ve heard. I’m still trying a ton of new stuff, I pretty much just make whatever I’m feeling at the moment.

I think what sets my music apart is my ability to piece together worlds through lyrics and soundscapes. Even with differing genres, I can make a project sound cohesive. I love to tell stories, it’s so much fun. Pretty much all of my songs tell stories or stick to a certain concept, some more simple than others.

The themes of loss, hurt, self-reflection, and conflicting desires are prominent in your work. How do you navigate translating these complex emotions into your music, both lyrically and sonically?

I think for lyrics it really comes down to just being as vulnerable as possible. All of those emotions are things I’ve really gone through. I’ve lost a lot, I’ve been really hurt and I’ve come a long way in my personal life. I really like being super authentic with my delivery and just letting my thoughts come out in their purest form.

I love to write, and I’ve never really been a freestyler, but I treat the lyrics very delicately in that I don’t force anything that doesn’t work. I keep trying until I find the best inflections to show how I’m really feeling.

With production, I think the translation of emotions comes down a lot to sound choices that evoke certain feelings and also knowing when to make a maximal versus a minimal sounding part. Sometimes the most minimal areas allow for the emotions and vocals to really come through.

That’s something that I really like doing, and doing really really soft simple songs has been a cool thing for me recently.

"Forest of Fairytales" suggests a thematic connection between nature and storytelling. Can you delve into the significance of this connection in the context of your album and overall artistic vision?

In question 1, I kinda went over this, but I’ll go more into the abstract ideas I’ve had about this. Nature feels very open and freeing, and there’s so many stories being told just within wildlife. Animals trying to survive and bees pollinating plants.

It’s all very beautiful to me.

The openness really is fitting for the idea of self-acceptance. Self-acceptance is really just the mind being open enough to love yourself through any and all of the mistakes you make.

Nature is going to continue to play a pretty strong role in much more of my music to come. The possibilities with concepts and imagery in nature are endless really.

Your ability to vocally express intense emotions is a notable aspect of your music. How do you approach the balance between vulnerability and strength in your vocal delivery?

Vocals are something that is so cool to me. That’s where I really got my start with music. I’ve always been a vocalist, but adding production elements is something I didn’t start until a year before the album.

I like approaching the balance like anything, I think there really should be a good mix of vocal intensity on an album, depending on what you’re going for obviously. In my music, I really like to go more intense on vocals when feelings are even more heightened. I like to dramatize things a lot. And when a song feels like it needs to be more soft and visceral I like to really commit.

Vulnerability is something I really relate to more with a softer delivery. It feels quiet and heartfelt. I like strength when it comes to more catchy earworm songs. However, they should still have some pauses in their intensity at points to make the highs feel higher.

Overall, vocals are still something I’m constantly working on and trying to improve, so I think I’ll continue to get better at facing that balance.

Are there specific artists, genres, or even non-musical influences that have played a significant role in shaping your artistic style and approach to music?

Definitely. My biggest artist inspirations when I started were Juice WRLD and Convolk.

Rip Juice.

Now I would say my biggest inspirations are Bon Iver, Quadeca, Jane Remover, Underscores, Quedronol, The Microphones, Patrick O’Neill, and Brakence. A lot of these artists are exploring sounds I’ve always wanted to try out, and I think elements of their music are going to show up in my new stuff in a lot of cool ways.

I can pick songs from all of these artists’ recent bodies of work that are influencing specific songs I’m working on. Genre influences for me right now are really mainly folk, grunge, rock and experimental stuff in general. I definitely need to branch out more. For non musical influences, a lot of it comes from photography accounts I see on twitter, they inspire me quite a bit and help me to brainstorm visuals for my music.

I love the album movie for “I Didn't Mean To Haunt You”. It gave me some really interesting ideas for visuals. A lot of anime’s are also pretty influential for my style. “Mob Psycho” is a great example of a really visually stunning world that tells a really beautiful story.

I’d say places and atmospheres are probably my biggest inspiration right now though. I like emulating feelings of being somewhere while you aren’t. It’s cool for world building.

Looking ahead, what are your goals for 2024, both in terms of musical exploration and any potential new projects on the horizon?

I have so many goals for 2024. A few years ago, I made a lot of metric based goals, and slowly I’ve moved away from that.

Numbers are my last priority, while making art that I can be proud of is #1. I think my goal is to drop more music next year. This year I only dropped four songs, albeit one of them took me 6 months to perfect.

As of right now, there will be a new song in January called “Quilt”, and it’s a really soft, super short little winter themed acoustic song.

Really proud of it, and I’m excited to kick the year off strong. I’m hoping to drop a single like every other month at least for the rest of the year. So after “Quilt”, expect another song in February! I think I want to go back to some of the sounds I’ve explored before that are more poppy for sure, and I’m interested in exploring grunge which I’ve never really dabbled in.

As far as new projects go, I just started working on my second album. I’m excited to see where it goes, but I can’t really say too much other than it blows anything I’ve worked on out of the water. Depending on how long it takes, there might be an EP or two before it.

Super stoked for the album and its world.

In your creative process, do you have any rituals or routines that help you get into the right mindset for writing, producing, or recording music?

My favorite ritual for when I really want to feel the song is turning all the lights off in my room and recording with just light from my computer screen. It helps me fill in creative gaps because the dark helps me to visualize and feel things that aren’t there more closely.

I also really like making a song and then lying down and closing my eyes to see how it feels to really zone into the song. When I’m immersed, that’s how I know I’ve made something special.

I also work best from 12 am to 4 am so staying up late has sort of become a habit for me.

As your audience grows, what message or feeling do you hope listeners take away from your music, especially those who are encountering your work for the first time?

I think it’s super cool to see my growth since I first started. Even back then, I had people say that my music made them feel things that they hadn’t felt, or that my vulnerability was comforting. Some people say they just enjoy the music.

One thing I really want listener’s to get out of my music is an escape and the feelings that I try to portray. I also want to show people that anyone can make art. It doesn’t matter how many people it reaches, or how good it is.

We have so much freedom to express ourselves but some people choose not to. Nothing wrong with that, it’s just that if it’s something you’re interested in, what’s holding you back from trying something new?

Making art has shaped who I am as a person, and I’m so grateful that it’s such an accessible thing now. 

~

STREAM CAPERNUM

Brick by Brick: an interview with Micah Callari

Introducing Micah Callari, whose latest EP "Gasping for Air" offers a glimpse into her evolving journey as an artist. Delving deep into the creative process, Micah shares the inspirations behind each track and the journey of personal growth that shaped her sound. Join us as we explore the raw emotion and authentic storytelling woven into Micah's music, providing a window into her unique artistic vision.

   INTERVIEW

"Gasping for Air" showcases a unique blend of expressive vocals and intricate production. Can you walk us through the inspiration and creative process behind this release, and how it represents your artistic evolution?

When it comes to my discography, I see gasping for air as an experimental transition period.

My last record, I WILL GET MY ACT TOGETHER, was definitely my most calculated project to date; all the songs connected to each other and the album held a cohesive narrative throughout the runtime. Once it was finished and out, I wanted to do something easier and smaller in scope while still artistically challenging myself before my next big album.

I actually originally made the gasping for air songs with the intent of just releasing them all as singles, but I ended up finding they form a really cohesive package when you put them together. Once I had a cover and title in my head that clicked, I chose to turn it into the EP it is today!

I go into every project with the hope that I’ll be even better than before at production and vocals and songwriting, and I think gasping for air specifically saw a lot of growth in all those regards. I’m generally a fast worker when it comes to music, and I can knock out entire songs in just a couple days (or in sick again’s case, literally 1 day from start to finish!), so this time I tried to make sure that every choice for this project was intentional and had my full heart backing it.

The tracklist in particular took a long time to fully come together… i bet every warning label… could’ve been the intro track, and 7 dollar beverages was the closing track for most of the EP’s development… crazy shit! Even though I would probably change some things if I made the EP today, I’m still really happy with where it is now, and I think it’s my most honest music to date.

Your vocal tone is distinctive and adds a whimsical quality to your music. How do you approach using your voice as an instrument, and what influences contribute to the character of your vocal style?

I don’t know if this is just me, but when I work in the DAW, I see my voice as an instrument to play around with just as much as the pieces of the instrumental. I’ve never really separated them in my head since I started producing my own music!

I spent six years singing in choir and playing French horn. What they taught me technique wise was great, but dear god, the culture surrounding the program I performed in was frustrating to say the least. For a while I was swallowed into this elitist hivemind mindset where the social norm was to see autotune or electronic and pop music as fake and evil, and that definitely scared me off from even trying to make what I wanted musically for a long time.

It all caused me to feel a bit stuck in my head for a long time, since I was under the assumption that autotuning or manipulating my voice would equate to me being fake or something. I ended up bottling up a lot of feelings about myself and the people around me for years since I was too scared to really sing about it. Music is a big outlet for my emotions, and I was trapped for far too long.

It wasn’t until I conquered that fear of being judged for “producing my voice,” per se, that I really truly found my own voice, no matter how natural it ended up being.

"Premonition," "Sick Again," and "7 Dollar Beverages" each offer a different sonic experience. How do you navigate versatility in your sound, and is there a specific theme or emotion you aim to convey through your diverse array of tracks?

I’d say I’ve been a solidly diverse artist sound-wise from the beginning, I’ve just never been one to chain myself down to one genre or style. Whenever I get an idea in the DAW, as weird as it sounds, I just give it a go to see how it sounds.

I like challenging myself and trying out new things with each song, it makes production way more fun for me. I can’t chain myself to one idea or sound, I would be bored to death… not to say staying in one lane or genre is a bad thing! It’s just not how my brain operates at all, haha.

Lyricism plays a significant role in your music. Can you share insights into your songwriting process, and how do you find the balance between storytelling and maintaining a connection with your audience?

Before I wrote music, I wrote poetry and short stories, and even attempted a few novels as an elementary schooler. I’ve always been a writer, it’s just ingrained in my DNA. I don’t like to say it’s a natural talent for me though, I’ve spent my entire life practicing and have only felt confident enough to put my songs out publicly in the past couple years.

Similarly to my sound, I find it more enjoyable for me to challenge myself with my writing. Sometimes my songs recount literal entire days of my life start to finish, other times I write about my internal dialogue, and occasionally I just sing a fictional narrative!

Again, I can’t keep myself in one box, I’ll never be satisfied if I just stay doing one thing for my entire life.

I believe the small audience I’ve gathered over the years also understands that I’m never going to stay on one thing forever, and so because of that they’re open to hearing out whatever I try with each song. I love that, it’s really heartwarming whenever people tell me a song or project of mine has had an impact on them.

"Gasping for Air" has a sense of vulnerability and intimacy. How do you ensure that your personal experiences and emotions are authentically reflected in your music, and why is that authenticity important to you?

There was this stretch of time before gasping for air where I found it difficult to write about myself or my personal experiences.

I’ve struggled a lot with dissociation over the past year, and it really manifested in the way I was writing my music. Upon reflection, I think that’s why I WILL GET MY ACT TOGETHER was almost entirely a fictitious narrative, I was just too lost mentally to connect with myself mentally.

Gasping for Air saw me trying my hardest to bring that self-connection back to my music. Everything I wrote there was real and based in real-life experiences, and that self-reflectiveness even bled into the production and vocal performances.

Being authentic on this project was important for a lot of personal reasons; my personal life at the time was rough and I really needed that outlet to get through it all. Even if I wasn’t ready to write about everything that was happening in the moment, just getting the emotions out felt really cathartic.

As an artist, what role do you see yourself playing in the broader landscape of the music industry, and how do you hope to contribute to the evolution of your genre?

My current plan is to stay independent as long as possible.

Labels can be cool for the resources they provide, but I’ve seen too many horror stories about artists signing and losing control for me to make it my goal to sign to one. It’s just not for me, and that’s okay, even if my dreams would be a lot more achievable with label money, haha.

Funny enough, for as anti-label as I can be, I’d love to hear my songs on the radio one day. Highkey, I’ve actually been played on a radio station before, when Curro and Niko’s Drop Table show played a couple of my songs.

It was like, the craziest feeling ever. Radio was always just that thing from childhood that I thought I’d never be able to reach, and here I was hearing sick again on the airwaves on some fuckass Wednesday. Wild!!!!

I’d love for my music to reach charts, to be heard out in public places, and to have a presence somewhere, big or small. I perpetually have to tell myself that it’ll probably never happen, but it’s always been my dream and I’d love to see it through someday.

In a broader, existential sense, I want to help people take pop seriously. Throughout my life I watched a lot of elitists swear off so much good music just because it was pop, and I can’t even fathom to understand it at this point.

A good pop song can touch a person just as emotionally as any other genre, or in the case of these people, a concerto or symphony.

"7 dollar beverages" gained a lot of attention. How do you handle audience feedback, and have there been any unexpected reactions or interpretations of your music that stood out to you?

I actually went into that song trying to make it as accessible as possible, so I’m not surprised that 7 dollar beverages got as much attention as it did.

A critique I’d heard a lot about some of my earlier music was that it sounded “weird” so for this song, I specifically tried to keep my writing choices as “reined in” as possible. I will admit I do make some choices that can be out there sometimes, so this time I just wanted to make something listenable for as many people as possible.

It was a very different song for me in a lot of ways, mainly because the production was 90% by my friend Iris (@_irselr on Twitter). She just sent me this absolutely crazy beat, and then writing and recording on it took a day because it was just that good of a beat. Everything about that song happened at such a frighteningly fast pace that it lowkey scared me, LOL.

I’ve come to really appreciate what this song means to me, and I think placing it as the intro to the EP was the right choice in the end (I almost made 7 dollar beverages the closer, I really didn’t know where to put it in the tracklist for a longgg time).

Collaborations can bring fresh perspectives to an artist's work. Are there any artists or producers you'd love to collaborate with in the future, and what do you think such collaborations might bring to your sound?

For me the hardest part of a collab is just asking the person in question if they’d be interested. Once I’m actually collaborating with a person, it’s easy; as long as I know my place or role as a contributor to a project, I can stay and thrive in that role just fine, and compromise if I happen to disagree with other people’s creative decisions.

I’ve learned repeatedly over the years that other people usually know better than me when it comes to certain things, and I’m okay with that.

My dream collab list is soooo long, but right now corefish is definitely toward the top of the list. I’m very curious how corefish would sound on my production, he processes his vocals with lots of formant shifting and I think the way he does it is unlike anyone else.

I’d love to produce something different like that with him. underscores is totally be a dream collab too, she’s been such a huge inspiration to me and a studio session with her would be the fucking best.

In your creative journey, are there specific moments or experiences that stand out as turning points, influencing the direction of your music or shaping your artistic identity?

I was exclusively listening to classical symphonies and concertos and resented modern music until I was 14; that’s when I found artists like Poppy, Jack Stauber, and Billie Eilish and finally started building my own tastes and interests in music.

Then I found 100 gecs at the peak of their 2020 popularity, and it was fucking life changing. I know people like to meme on them, but I just saw some honest musicians making honest music and breaking all the rules I had built in my head about how music was supposed to work. underscores also broke my brain, she’s on another level when it comes to her writing and production.

All these artists I mentioned, who each had their own ways of expressing themselves, inspired how I make music and sing to this day.

Downloading Ableton was also a groundbreaking moment for me. Learning music production has probably been the best choice I made over the past few years. Things would absolutely be so much worse if I didn’t have my music in my life to ground and develop me.

Looking forward, what can listeners expect from your future projects, and how do you envision your sound evolving as you continue to explore new territories in your music?

It’s not ready yet, but I’m working on an album and I’m really excited to show everybody. Get ready for loud, saturated, distorted SOUNDS. And guitar samples; lots and lots of guitar samples. I can’t play guitar to save my life but I sure can sample it!

It’ll be a lot different than anything I’ve made before, but don’t worry if you don’t like it; I’m already starting to feel an itch toward making even wilder music and I haven’t even finished the current album!!!!!

For now at least, it’s a really fun stop on this never ending road I’ve found, and I can’t wait for people to hear it.

STREAM MICAH CALLARI

Testament: an interview with yonklolz

In this insightful interview with yonklolz, the mastermind behind the mesmerizing track "Don't Test Me," we delve deep into the intricate world of genre fusion and creative exploration. From the origins of his unique sound to the emotional narratives woven into his lyrics, yonklolz shares his journey of self-discovery through music and his aspirations for the future.

INTERVIEW

"Don't Test Me" showcases an incredible fusion of genres. Can you walk us through your creative process when crafting a track that seamlessly transitions between acoustic, electronic, funk, hyperpop, and punk elements? How do you approach such intricate sound design?

Around the time I made that track, I had this undying urge to fit as many things as I possibly could into a song. I felt the need to impress others, get however much recognition I could get, and just do whatever I could to garner some sort of reaction.

I really dislike the fact that that was the mindset I had going into producing that track, but I think my negative mindset kind of backfired on me halfway through completion. I had put all this energy into the first half of the song and had no idea how to keep it going, so I took a break for quite some time to focus on myself.

I think sometime in that break I realized that I genuinely didn’t care what other people thought of my songs, and regardless if it was a meaningful revelation, I found myself back in my room finishing the song, and for once it wasn’t for anyone else but me.

I used all the musical inspirations I had from when I was younger and put them together in some sort of collage that I called “don’t test me”. After this song was released, I started following the pattern of “fit everything I can into a song but for a better purpose than impressions” and it sort of became my entire style. I began noticing different genres work much better to convey different emotions, but if I wanted to have a multitude of feelings in my song, I would have to combine them at some point.

I generally think that it’s not a variety of genres in a song that makes it work, but rather the transitory periods between them. I tend to notice sometimes that in some songs, the transitions between genre to genre can sound sort of harsh and unexpected (even with songs that have a stagnant genre, but I look at this more like a transition from break -> chorus rather than genre -> genre), and the easiest way to make that transition work is to slowly build elements to the next part of the song in the current section.

TLDR: Different genres work for different moods and there’s no wrong way to mix two or more genres together, but transitions mean everything when it comes to blending them together. 

Your vocal range is impressive, moving from calm and soothing tones to intense, scream-heavy moments. How do you decide which vocal style suits a particular part of a song, and how does it contribute to the overall emotional narrative you aim to convey?

One thing I used to struggle with was how to make vocals suit the introduction of a song, whereas I felt like my tone was sometimes too jarring for such a soft section of the track.

Overtime, I noticed the dynamics of an instrumental and the dynamics of your vocals should match each other for a well-blended track. Obviously the tone of your voice, the lyrics, and the strength of how you say it matter in an emotional sense, but I feel like the actual dynamics behind it aren’t looked at as much.

Screaming doesn’t have to be for a heavy part of the song, nor does a softer tone require softer music, but the emotional aspect of it definitely increases when it matches the instrumental behind it. 

Listeners often describe being drawn into your world from the first note. Can you share a bit about the themes or stories that inspire your music? Are there specific experiences or emotions you find yourself consistently exploring in your work?

To me, music serves as therapy. I’ve never been to therapy, so I don’t know how valid of a claim that is, but I think half of the reason I haven’t become that miserable is thanks to music being there for me. Whatever emotions I’m feeling at the moment are the emotions in my song.

Most of the time, I use music to vent, so I tend to explore darker themes than I think people expect. And as I mature, so do the topics in my songs, which means at some point I really hope to make a song with a profound statement.

I always want the instrumental to convey the story or theme of the lyrics with as much intent as possible. 

As an artist who navigates diverse genres, how do you find the balance between experimentation and maintaining a cohesive signature sound across your body of work?

To be completely honest, I think the only part of my sound that’s signature is my vocals.

I do tend to follow a similar style in the majority of my songs (using heavy and washed out vocal layers), but outside of that I don’t think any song of mine is similar from the last (which can be a blessing and a curse). In this day and age, I can never tell whether people want consistency or uniqueness, and that’s something I struggle with more with each release.

That’s why at some point, I just threw out any idea of balance. I want to focus on what I want to make, and if that means tipping the scale to make something more unique than consistent, then I’ll do that a thousand times over trying to keep things balanced. Otherwise, I’d find myself limited to what I can do by what I’ve already made.

The quality of your production is noteworthy. What tools, techniques, or sources of inspiration do you rely on to achieve the unique sonic landscapes present in your tracks?

When I tell people that I produce in Ableton, they’re always like, “Yeah, makes sense. Everyone that produces in Ableton has that Ableton sound.”

But that’s just not true at all.

I know some people that produce in GarageBand better than I can in Ableton. I think a lot of good production lies in great sample selection, understanding of dynamics, and even 3rd party VSTs rather than what DAW you use.

But what is ‘good production’? I don’t have an answer for it - it's such a broad and subjective term. That’s why I think that the main part of production is making sure your production stands out. Each producer has a different way of producing songs, and the best way to differentiate yourself is just by being yourself.

I grew up listening to The Prodigy, deadmau5, Skrillex, and The Chemical Brothers, and while none of my songs sound like any of those bands, I used countless inspirations from how they produced their songs to make mine. I was immensely fascinated at how Liam Howlett was able to use so many samples from songs and transform them into violently different soundscapes, and that sort of production technique has definitely been injected into my music.

As of right now, some current artists I’m heavily inspired by are Martha Skye Murphy, Slauson Malone, and Lerado Khalil. I could go on and list every single genre of music that I’ve been inspired by, but I could summarize it by saying that the internet in itself has shaped how my music sounds and if it weren’t for thousands of these online communities that I could interact with and gain inspiration from, I’d probably be making corporate EDM. Or new age.

Actually, making new age would be pretty cool.

In "Don't Test Me" and other tracks, your lyrics carry a blend of intensity and vulnerability. How do you approach lyricism, and is there a particular message or feeling you aim to convey to your audience?

I think one thing I’ve struggled the most with in music isn’t even making music but figuring out what I should say over the song. I’m not the best writer and especially not the best lyricist, so it's hard to find that balance between good writing and a catchy tune.

Sometimes, I feel like the writing of my lyrics are greatly hindered by how I want the flow of my vocals to sound. I think that’s why I try pretty hard to have some sort of discernable emotion in my vocals to make up for the meeehh writing I come up with for some songs. I know that the passion and the emotion behind the actual instrumental is still there, but sometimes when I don’t know what to say, I just let my tone speak for itself.

I don’t think I have a current message behind my lyrics yet, but as I’ve been releasing more experimental works, I’m starting to improve in my writing and I think in 2024, you’ll see some tracks that have more intention and meaning behind them than before.

Your ability to seamlessly switch between musical styles is a standout feature. How do you see your approach to genre-blending evolving in the future, and are there specific genres you're excited to explore further?

I think that genre-blending is probably one of my favorite parts of making music because it isn’t explored as much in more mainstream songs. In the future, I’m probably going to still genre-bend but I want to work with sounds I haven’t worked with before. I did that recently on my latest release, vvv, and I plan to do it again. I’ve been listening to a lot of Squid and Model/Actriz recently (thank you Patrick O’Neil for putting me on), and I really want to do some sort of song in their anxiety rock sort of style.

I think it might be hard to find people that play live instruments as I don’t play a single one, but I feel like it would be super fun to make a crazy experimental rock EP or something.

As a multifaceted artist, do you find that visual elements or storytelling outside of the music itself influence your creative process? Are there any visual artists, films, or other mediums that inspire your work?

Of course!! I’m a huge fan of internet aesthetics and they definitely creep their way into my songs. modern discomposure, my 2nd ep I released, was a sort of exploration into early 2000s motifs and textures, and I definitely plan on making projects like that again in the future. Outside of aesthetics though, I’m a huge film nerd and there’s countless movies that inspire the production of my work.

I used to listen to soundtracks of movies constantly to get a feel for how they were paced in comparison to the movie. As I mentioned earlier, I think making a song is very similar to making movies, and I really want to follow the sort of dream logic of more experimental films in the future.

In terms of visual artists, I’ve definitely been inspired in my unreleased works by artists such as Ryoji Ikeda and Hiraki Sawa.

Looking ahead to 2024, what artistic goals do you have for yourself, and how do you envision your music evolving in the coming year?

One of my main goals this year is to delve into multidisciplinary art. Music does such a good job at conveying a meaning by itself, but I want to expand that meaning with some other form of art. I really want this year to be the year where I make the biggest impact on the scene by having compelling music videos, artistic short films, and writing that spirals out of control.

At some point, I’d love to go live too. I know everyone has that dream, but I really want my livesets to be different in the sense that I want to try to create an entirely new live experience in which everyone shares the emotions I’m sharing.

Or, maybe I’ll just go the Ryoji Ikeda route and use really cool lights and sounds. I think planning and budgeting all this will be very hard, but I trust the process and pray that this year I’ll make more connections than ever and grab the audience I want to make these projects happen. As for my music, I really want to work with more creative artists and collaborate on songs in unconventional ways.

I love the sounds and atmospheres some people in our scene make, and I think I’m just too scared to ask people to work with me. I used to have this thought that I needed to do everything on my own 100% of the time, and it’s really come back to haunt me. 2024 is the year I flip everything upside down.

As your audience grows, what kind of impact or emotional connection do you hope your music leaves on listeners, and is there a specific legacy you aim to build with your creative endeavors?

All I want is people to know that I’m here. I feel like people know that I exist but at the same time I don’t feel like I interact with anyone in the scene.

I know people tend to limit me in their mind because my artist name is silly, but I don’t think shit like that matters anymore and I want to be proof that you can have the dumbest name of all time and still make an impact on the community. I want to have some sort of audience where we can share the same experiences, same livelihoods, and same inspirations and degradations.

I want my music to serve as some sort of collective mind-like waste basket for shared negativity: your emotions are mine and I want to toss them away with you. My reality is crumbling and I want to document it the only way I know how.

I feel like there’s a couple ways to interpret that, but the way I see it is I want to feel what you feel and, if you listen to my music, feel what I feel.

STREAM YONKLOLZ

Reverberate: an interview with expathmia

With a distinctive blend of atmospheric elements and emotive storytelling, Expathmia invites listeners to delve into realms where reality intertwines with imagination. In this interview, we uncover the inspirations behind Expathmia's unique sound, their creative process in sculpting their sonic landscapes, and the future horizons they envision for their music.

INTERVIEW

Your music, particularly in tracks like "americanalleyway," paints vivid auditory landscapes. Can you delve into the inspirations behind your unique and atmospheric sound, and how do you translate those inspirations into your compositions?

I take a lot from what I currently listen to. For this EP as a whole, I pulled heavily from Quadeca, Ethel Cain, Ohzora Kimishima, and Quedronol. But for songs such as “americanalleyway”, I pulled straight from my fears: death, darkness, isolation, and being misrepresented. I want to be known for who I am and what I can do regarding music, not the sex marker on my birth certificate. During the period of time that I made “americanalleyway”, these fears controlled me and what I did, sometimes they still do.

They were bottled inside me as if a tornado of massive proportions. I wanted to create a song that represented what I was feeling in that exact moment. Whenever I make a song, I dwell on how I feel a lot because that is what usually drives my songs. It usually takes me hours of creating new synth sounds just to properly recreate that feeling. Usually just clicking synth presets then editing it from there.

It’s all just trial and error, then trial and error again, and again. It also depends on what I’m recording at the time. My phone is usually filled with photos and videos of the most random things. It’s usually the moon or some random forest, but each of these videos, I like to attach to a feeling which then goes to a song. It made making my visualizer really easy since I already had so many videos! To conclude simply, it all comes down to just messing around and trial and error. I really haven’t been producing for too long so I just like to click buttons sometimes till it works out!

Ambient music often has a way of conveying emotions and stories without explicit narratives. How do you approach creating sonic environments that evoke specific feelings or take listeners on a journey?

I have a small background in writing stories! I’m not really all that good but I have written a full length novel. I don’t think it’ll ever see the light of day, but it has prepared me for telling stories. I like to create a small tale before I do anything, whether it’s just a certain feeling or a fully planned story.

Since I haven’t really written stories in a while, it has kinda taken over my music. I’m always trying to share a story with my music and that’s how I approach each song. I’m always asking what does this synth represent, what does this song title share about the song’s meaning, what does the instrumental tell about the overall story. I think each song has to have a change within it. It’s like writing a chapter with Chekhov’s Gun. It’s a principle that states every element in the story must have a purpose and be necessary.

I like to think of my songs like that. Each song has a turning point in the story I’m telling. I think that is the best way to draw listeners in and evoke specific feelings.

"Oceanwall" has a distinct sense of place and atmosphere. How do real-world environments influence your music, and do you have specific locations or memories that serve as recurring inspirations?

As I previously mentioned, I take a lot of photos and videos of scenery that draws me in and captures a certain feeling. I base my music on those feelings I get from the world around me.

Recently, outside of my place of employment, there was a street lamp and it kept blinking, surrounded by ethereal darkness. I couldn’t help but take a video of it. I’m captivated by things people consider to be normal. I think environments like that are the best for taking inspiration from. These places that capture me get released into each song. The only place of significance related to my current EP is a lakehouse I went to this October. The first night there I sat on my bed in the darkness. It’d been a long day and surrounded by darkness and my fears, I continuously thought about my place in the world. It’s where my profile photo is from. There was a tiny mirror on my bedside and I snapped a quick photo.

From the moment I looked at that photo, I knew it would be the start of my music career. Earlier that day, I had discovered Drama Trial and ever since then, I knew that I wanted to be a musician.

That house directly inspired “Oceanwall (the closet song)” and directly pushes me forward in my music career every day.

Sound design plays a crucial role in your compositions. Can you share insights into your creative process when sculpting the sonic elements that make up your tracks?

Although I've now upgraded to Logic Pro, I made this entire EP in GarageBand. That limited my creative process, but I didn’t let it hinder me. It was limited but I spent a lot of time dwelling on certain noises and synths. I think I’ve gone through hundreds of synth presets for my EP.

It was all in the pursuit of finding the right synth for the right song. Another element I think about a lot is white noise. In songs such as “Wayfarer” and “Oceanwall”, background noise takes up a major part of the song. In “Wayfarer”, it was a clicking noise created accidentally through a plugin I use. At first, I thought it was an issue with GarageBand. Luckily, it was just a preset on my plugin! For “Oceanwall”, it was a sample of waves crashing onto a beach. I’m very particular with each thing I add. I’m very careful of the effect it has on the full track. On “Wayfarer”, I made a guitar sample that plays towards the beginning but also plays towards the end climax moment. But towards the end, it was transposed down.

That was something new I had tried and worked pretty well with a synth bit I added inspired by the movie, Hereditary, and its theme. It is all about trying new things until something works out!

Your music has a dreamlike quality, blurring the lines between reality and imagination. How do you achieve this balance in your compositions, and what role does experimentation play in your creative approach?

All of my songs tell a story. A story based on reality, close but so far from the truth. I take events from my life and base music directly upon my own lived experiences. That is how I achieve such a careful balance between reality and fiction. I probably sound like a broken record by now, but experimentation is everything.

I’m not an experienced musician so it’s all about trying new things. I pull that want to experiment straight from my life. I used to be really scared to try new things, but as I’ve started to come into my own, I’ve started to release my walls and let new things in.

Collaboration within the music industry can bring forth unique results. Are there any artists or creators you would love to collaborate with to explore new dimensions in your sound?

Oh, for sure! There are so many people I want to collaborate with. If we are talking dream collaborations, definitely Ohzora Kimishima, Ethel Cain, or Quadeca.

If we are talking a little more realistically, then Quedronol for sure. Quedronol’s is a master at creating a huge and beautiful soundscape. I would love to try and interact with that. I also have a small friend group that is slowly expanding. We have a discord server and plan to invite more musicians soon!

Currently, it’s only me and my friends: Jish (@callmejish), Capernum (@capernum1), Light (@lighttonthebeat), and Autumn (@SlaughtumnsOST). We are all collaborating and it’s so fun. 

When you listen to your own music, what emotions or experiences do you hope listeners will derive from the sonic landscapes you've crafted?

Hope. This EP spawned out of my hesitation in coming out to my friends and family. The title of the EP is a direct call out to myself. I used to be unwilling to even consider coming out and now with this EP, I’m rewriting that script and changing my despair to hope. We all may be buried in despair especially looking at the state of the world, but hope isn’t lost yet. It’s only lost when we say it is!

As a creator in the ambient genre, how do you see your music fitting into or challenging the broader landscape of experimental music today?

I think especially in this small music scene we all exist in, I think ambient music is a lot more accepted. Many people still refuse to call ambient music as music. I want to directly challenge that thought with my music. A big musician that comes to mind is thatcherblackwood.

Although he doesn’t make ambient music, he has a lot of elements I push into my music. He’s a master a creating a very vivid world out of noise and that is something I want to replicate.

Are there specific technologies or tools that are integral to your creative process, and how have they shaped the evolution of your sound?

My synths and my various plugins!!! I mainly use a granulator called Emergence.

Ever since I found that, it is like everywhere in my music. Another plugin I often use is Little Plate. That reverb is everywhere, like it’s so repetitive. Pitch bending is also very important to my musical process. Pitching notes up and down on the fly is very essential to each and every one of my songs.

These elements really pushed my music into an area that I don’t think anyone else occupies. I would love for someone to prove me wrong though haha.

Looking ahead, what themes or sonic territories do you envision exploring in your future projects, and how do you see your music evolving over time?

A huge theme that I still want to tackle and I currently do is being trans.

It’s kinda been beaten to death at this point by so many musicians, but I think I have a unique take on it that I want to accomplish later down the line. I’ve also been experimenting a lot more with guitar recently. I hinted at this in my EP’s visualizer on Youtube. Expect to see guitar in most of my future songs!

I think it could definitely head into the shoegaze region while still keeping a lot of my ambient elements. That’s my current goal.

One last thing I have to say is that I’m so thankful to Nefarious Supply and every listener. I appreciate you all!

Thanks everyone for this opportunity!!

STREAM EXPATHMIA

Crescendo: an interview with vilsynth

Explore Vilsynth's musical voyage in this interview, delving into the nuances of his creative process. Learn how he shapes his unique soundscapes, blending personal introspection with collaborative inspiration. Join us as we uncover the evolution of his artistry, from the roots of his vocal tone discovery to the atmospheric depths of his compositions, offering a candid glimpse into his emotive and innovative world.

INTERVIEW

Your voice is both beautifully evocative and calming. How did you discover the unique qualities of your vocal tone, and how do you feel it complements the atmospheres you create in your music?

My friend Alex and I used to make meme rap/parody songs back in our middle school days. I noticed that I had somewhat of a natural alto/tenor vocal range when I sang, so when I started ‘vil’ I experimented with a lot of electronic & alternative sounds that I thought would compliment my voice and likings best.

I see my style of music to be very raw and emotional, so I always try to add somewhat of an ambience to my voice, whether that is drenching my vocals in reverb or low-compression to make a softer and more ethereal listening experience.

Your production quality and sound design are notable aspects of your music. Can you share some insights into your creative process, especially when crafting the intricate sonic landscapes that define your tracks?

Whether I am producing or collaborating with producers, I always try to go with my gut and what sounds catch my ear the most.

I’m big into texture within the world of sound; how different synths, drums, and vocals fill up the space in a track. I enjoy having a variety of things going on, but to an extent where it’s not overwhelming.

Collaborations seem to be a significant part of your musical journey. How do you approach working with other artists, and what do you value most in the collaborative process?

Most of the people I collaborate with have been good friends of mine for years, online and in person. Getting to know somebody and have a connection, personally and creatively, is what makes collaboration the most exciting.

I like to let things happen naturally and not at a set pace, which always has proved to be the most rewarding.

Your music often carries a cinematic quality. Are there specific visual or narrative elements that inspire your compositions, and how do you translate those influences into your soundscapes?

I love making visual listening experiences with my tracks. I draw a lot of inspiration from nature, so sometimes I’ll go sit at my neighborhood park and jot down my surroundings and feelings.

A lot of the cinematic elements in my music have been inspired from Hans Zimmer, and his score for ‘Interstellar’ & ‘The Dark Knight’.

I sometimes find myself creating songs with the mindset of it being the score for a movie about my life, even if listeners don’t pick up on that. I’ve taken a liking to leaving my music and it’s elements up to interpretation.

In your song "greed," with xona, the balance between vulnerability and strength is palpable. Can you shed light on the emotional themes you explore in your music and how you navigate expressing personal experiences through your art?

Everything I make is based on my emotions. I’m a visual learner, so I write a lot of my feelings and song ideas in a journal.

Observing my thoughts and experiences in handwriting helps me visualize them so much better than just typing, because it feels more intimate and real. I try to dig deep and challenge my mind to articulate these thoughts into lyrics, and once they’re in front of me or spoken out loud, it’s like therapy.

As an artist, you've delved into various genres. How do you decide on the sonic direction of each project, and are there particular genres or styles that you find most inspiring or challenging to work within?

I try to study the fundamentals of certain genres that I want to make, which basically is just listening to a lot of music.

Recently, I’ve been very inspired by Paris Texas, and the Alternative Rap scene as a whole, and take heavy vocal influence from a variety of Folk/Americana music. Folk is very tedious to dive into because there are so many frequencies that can clash in the recording and mixing process.

I have so much admiration for the genre because it feels so ‘homey’ and authentic.

Listeners often describe your music as immersive. What atmosphere or emotions do you hope to evoke in your audience, and how important is it for you to create an immersive experience with each track?

I hope for my audience to relate or feel welcome with my music.

I make music for my own self-expression; to put my thoughts into an experience that comforts me. I hope that listeners can be able to put themselves into my shoes and share these experiences, or at the very least be able to take something good away from it.

The cover art for your releases often complements the mood of the music. How do you conceptualize the visual elements of your projects, and what role does visual art play in enhancing the overall experience for your audience?

Visual art is a very important aspect of my art. I always try to have a distinct color in each of my cover artworks that helps portray the overall mood and feeling of the song. I’ve tried to follow ‘aesthetics’ to make the overall visuals of my profiles on social media and streaming platforms, but I’ve always failed.

I love color and its ability to tell stories, so having a mix of different colors and editing styles in visuals represents my state of mind throughout each release.

One of our favorite tracks, "sticks & stones" with hovis, has received positive attention. Could you share some behind-the-scenes details about the making of this particular song, and what significance does it hold for you in your artistic journey?

This was the first song that I helped produce, with my good friend skylin. I approached this track with a storyteller’s perspective, trying to portray a character who is deeply in love, but is at wits end. It’s by far not my best work, but it’s a landmark in my discography for how far myself and hovis have come.

Looking forward, what creative goals and aspirations do you have for Vilsynth, and how do you envision your sound evolving as you continue to explore new facets of your musical expression?

I just want to keep learning and making whatever I feel. I hate keeping myself inside a box; I love experimenting.

I’ve grown so much as a person and artist throughout my musical journey, and I can only see myself progressing more and more.

STREAM VILSYNTH

At My Best: an interview with sc0ttryan

Today, we have the privilege of delving into the behind-the-scenes world of sc0ttryan's creative process. From unexpected moments of inspiration to the raw emotions woven into every lyric and melody, sc0ttryan shares intimate insights that offer a deeper understanding of the album's profound impact.

INTERVIEW

Your album "Betting with Blood" feels like a journey. Can you share a behind-the-scenes moment or story from its creation that's stayed with you? Anything unexpected or memorable?

Betting with Blood definitely was a journey.

This is a great question because there was absolutely one specific moment that kind of encapsulated the making of the project for me. I remember a few days before I was supposed to have the album in, I was hanging out with Lily {my girlfriend, I’ll probably end up talking about her more later} going through my FL projects. I stumbled across this unnamed FLP and figured I’d open it, and I found the entireeee last section of “closure inches closer” that I had completely forgotten I had made.

I was so fucking excited when I remembered that transition section. I hopped in the booth so fast to finish that song up it was insane. I was actually debating scrapping the whole thing that night and that moment pretty much stopped me from doing that, and is the reason that project is out.

"hlthy" carries a lot of raw emotion. What sparked the inspiration for this track, and how do you pour your feelings into both your vocals and production?

Ahhh. Thanks. Yeah. I don’t really know where to start on this one. I was absolutely in a horrific spot at the time it was made, and it’s kind of just a reflection on my habits and being so aware that what I’m doing is killing me, but being complacent and pissy about it because I’m neurotypical and tend to want things handed out to me. When it comes to translating my feelings into my music, my biggest thing lowkey is to not write ANYTHING.

This leaves everything to a massive gamble which I feel like I’m always taking, because depending on my emotional state, it’s either a hit, or it’s a MISS. I feel like I kinda just hit on that song, I didn’t have a conscious thought during that entire process, I just went full flow state and made that shit from scratch in one day. The bass patch def started it all though.

I remember pulling that serum bank up and just being like “this bass was made for my voice”. Think I was right on that one.

In a crowded music scene, your blend of production and heartfelt vocals stands out. What aspects of your music do you feel reflect the unique essence of who you are as an artist?

Thank you first of all, like genuinely. I have noticed that most of my charm musically stands in my ability to kind of just paint a picture of exactly what it is that I’m feeling at whatever given moment, and to do that shit with absolutely no confines.

My music is all over the place stylistically, sonically, it’s almost impossible to market or find a target audience for, yet I feel like I can make every song still sound like sc0ttryan, so I would say that. However, I really want to emphasize- especially with my 2024 phase you will all be hearing in the near future.

I refuse to fizzle out, and I absolutely refuse to not stand the test of time. I play the long game with this shit, and so best believe that the answer to this question is going to be completely different at this time next year.

Creating a cohesive narrative in an album is no small feat. Can you share the themes you wanted to convey with "Betting with Blood" and how you approached crafting that sonic journey?

I can’t stress this one enough . I have been waiting for someone to ask me this question so I can clarify exactly what’s going on with this album.

Betting with Blood is a musical representation of my grief, hopelessness, emptiness, and illness. It is not supposed to be high energy, it’s not supposed to be as catchy or as insane as my other shit. I made every single one of those songs from such a dark and disgusting place. I made that album as a farewell.

I did feel like I needed to share exactly what the things I was going through SOUNDED like. Words only do so much, and I felt like I could do a better job with just expressing the despair through that project. Each of those four songs has a very specific tie to four areas of my brain. It started with “heaven” though. I made the draft of that song not too long after my friend passed away.

I sat on that song for a YEAR. As did I with the closing track on the album which is about the ups and downs of gender identity, and debating whether or not being comfortable in my own skin- the ability to see myself as human when i look in my own mirror!!! Is something that I’d allow myself to do.

And it is- I am absolutely not a man, and I know that, and that song is kind of just about the pain of realizing that I have never in my life felt like a man.

Wearing multiple hats in the creative process, from production to vocals, how do you find a balance between these roles, and do you have a favorite or more challenging aspect?

Bro, you are asking the wrong person. Do y’all prefer my self prod shit more? I love producing. I love it, but I have always struggled with confidence in that area.

I just be making whatever feels right at the time. I know that answer may be significantly common and very underwhelming, but honestly, I’m an insecure kid who makes music in their bedroom. I’m working on the balance part. Also, can someone reading this PLEASE tell me why the fuck I can never get my 808s to sound right?

There’s a reason that in all of my self produced songs, there’s no 808s. I hope to bring up this interview one day after I make a hit or something and it has hella 808s, that’s gonna be full circle as hell.

Are there specific artists, genres, or life experiences that have left a lasting mark on your musical style and approach?

Bullet list of all my inspiration incoming!

• TRAUMA

• TRAUMA x2

• Video games (crosshair symbolism aint exist without CSGO)

• That awkward ass 2 year long emo phase I had when I was 12

• Generational resentment

• The urge to prove to people that I have that Shit in me

• Onto people-

• LILY ! (@lilydamirgian)

• Quinn (@iminthecut)

• Reef (@xxreefuh / @biphate )

• Niz (@niztopia)

• Noah (@backlightnoah)

• Zeke (@teenwrist)

• Kuru (@kuru8k / @kuru )

• Ian ( @zerointhebank )

• Wubz ( @0wubz )

• Cyber ( @cybertrash )

• Vaeo ( @pastaroach )

• 4cf (@4cfear )

• Angelus ( @7ngelus)

• Carpetgarden (@carpetgarden)

• LJ ( @1ljab)

• Kaixan (@kaixan2k)

• Joeyboey (@rouri404)

• Eric (@ ericDOA )

• EVERY SINGLE PRODUCER IVE EVER WORKED WITH ALSO HAS A SPOT

I am forgetting so many names that I probably will feel so terrible for forgetting later, but y’all absolutely know who you are. These people have been there for me without fail, though, and deadass I would not be here in the slightest if not for them, and many more. I love y’all and I just wanna say these people inspire me way too fucking much.

Storytelling seems integral to your music. How do you make sure your narratives connect with listeners on a personal level, and what role does storytelling play in your creative process?

This kinda comes down to the art of “ I just be making shit up sometimes”. I just like to take it to extremes.

If something I wanna talk about is a little too personal or a little too raw to the touch to record about, I’ll write a story. I fuck with throwing little bits of lore and biblical references into my lyrics as well. I work really hard on trying to establish a “Surface level” meaning to what I say, while offering a gigantic rabbit hole for my fans to go down if they care enough about whatever it is I’m talking about.

Lemme just say, “eve” and “prince” are fucking PACKED with those too. Storytelling is just a part of my music. What am I doing if I’m not creating an entire fucking universe around the music?

Looking ahead, any artistic goals or projects you're excited about, and how do you envision your sound evolving in the coming years?

Oh yeah. I’m cooking. Any music that comes out post- this interview is gonna be my best, exponentially, I guarantee it. I leveled up this year, and I really can’t wait to show it off. Duffel is gonna be crazy, the song after that is gonna be crazy, everything I’m making has been so dope that I kinda just wanna see how far I can push myself to really secure my spot as someone who knows how to make a damn good song. Idk.

My sound is constantly evolving, but all I can say in that regard is that I’m always gonna sound like me.

Every artist has their rituals. What's something you do consistently during your creative process that helps get you in the right mindset for writing, recording, or producing?

I don’t condone drug use or any kind of substances, but a 20mg Adderall XR and a hit of the pen be doing me pretty nice when it comes to locking in. My writing process also gets a buff whenever I’m hysterically upset about something for whatever reason. As long as I keep getting unnecessarily upset, y’all will keep hearing unnecessarily fire music.

As your audience grows, what do you hope people feel or take away from your music? Is there a specific emotion or message you want to communicate through your creative work?

I just want to connect with people who ache to be heard. I want to resonate with the people who know they have the world in their hands, but just can’t get to where they need to be. I want to build a home for my listeners, I want to build a universe where my fans can get lost in and listen to my shit after a hard day and just feel better.

The crosshair at the end of the day always is a symbol of unity, it’s about being a target, but not alone. My music is a cry for help, always, but in an empowering way. I don’t wanna say too much though, because it’s important to me that people tapping in can attach their own meanings to my music. Just know that I’m never gonna stop.

~

stream sc0ttryan!

Ignition: an interview with jauntsen

From drawing inspiration from iconic vocalists like Vic Fuentes to embracing the cathartic journey of self-discovery, Jauntsen reflects on their evolution as an artist. With a candid glimpse into the personal experiences that fuel their music, Jauntsen shares insights into their upcoming single "she's bleeding out!!" and the transformative process of finding authenticity within their artistic journey.

INTERVIEW

Your vocal range and passionate tone create a unique and anthemic experience. How did you discover and develop your distinctive singing style?

I think it all boils down to the roots of music that really inspired me growing up, I used to listen to a lot of singers and bands who had very high vocal ranges like Vic Fuentes from pierce the veil who has such a high vocal range but still adds a scratchy sound to it.

I never knew I could hit these notes or even achieve the sound till I started working on jauntsen because beforehand I was singing very low and pretty much moaning into a microphone. It all comes back that emo/rock music has always been the root of my love for music and overtime I’ve found other vocalists I love and try to mimic the things they do into my loud and screamy tone!

I do want to get better and try other styles of singing. I still think there's a lot of room to be improved. 

Your songwriting is often described as straightforward and cathartic. Can you share an experience or moment that inspired you to write a particularly emotive song?

This entire album is full of songs that I’ve had experiences of wanting to write about a certain issue going on within my life.

I think the next single titled "she's bleeding out!!" which should hopefully be out or dropping soon when this interview comes out is a song that has defined me as an artist and also defines the album I’m working on. I have been working so much towards trying to create my own sound within the music I have been making that within the process of creating this album, I lost myself and cooked too close to the sun and have been revising/scrapping certain songs.

This next song is pretty much about me grounding myself and trying to get myself back and I didn’t even really know I was writing about that when making the song. It just honestly happened. It was meant to be a song for me to create within my artistic journey!

What's the story behind one of your songs that resonates with you the most, and why is it significant to you?

I would love to share a story about a song that isn’t released yet but the second best song that I resonate with the most is a single from my album that is called “don’t be scared.” This song hits the nail just right for me about my feelings of self-reflection and shows a spot of vulnerability that I don’t share often. Talking about the fear of being forgotten about & going down a path you aren’t happy within your life but still having the courage to get up every day and run down this path you made to get to the other side where you no longer have to feel these things.

Many listeners connect with your music on a deep level. What do you hope your audience takes away from your songs or performances?

I just want people to resonate with it, the entire album I’ve been working on is honestly a very personal project to me. About the fear of being forgotten, self-reflection & learning to better yourself as a human being. I think a lot of people relate with these things but I hope once the album comes out people can be inspired by some of the words I say and energy I give to achieve their goals because one thing I realized within making this album was that I can do it only if I put my energy instead of letting it die. A Lot of small artists I'm friends with go through the same struggles I go through and when I see the people I look up to be down on themselves it not only shows me that I'm not alone but makes me want to help these people and give them the appreciation they deserve.

How do you approach the balance between your role as an evocative songwriter and a fearless vocalist when creating music?

I think sometimes my screaming vocals and loudness I tend to achieve messes with my songwriting, I don’t think I have horrible song writing but sometimes I wish for a cooler lyric but I’m like “Oh it doesn’t matter because i’m screaming it and people will think that’s cool” which is something I’m working on defeating within my next project and future music. That’s what I live for though, to see the progression and how far of a person I've grown over time based on not only my music but my lyrics.

Are there any specific artists or musicians who have influenced your artistic journey, and in what ways have they left an impact?

I can name several artists who inspired me the most but a lot of them are from different arcs of my life. Some of the artists are Vic Fuentes from Pierce the Veil, he’s always had such an effect on how I wanted to sing and eventually write like. I also really love early Pierce the Veil music based on how they did song structure which I think is a cool noticeable thing I do within my music.

Brakence not only for his vocals also, but I really admire his production from not only his current era but mainly his starting days from his album “hypnagogia” with all the glitchy sounds and pretty synths. Jane Remover for so many reasons, her album “frailty” changed my whole production style and was the reason why I decided to go down the path of glitchy, rock, distorted bitcrush music. The list goes on but I think these 3 dial down the core of things that started me to spiral into a daw.

If I were to name artist from the scene that I adore and love much also I’d give a shout out to drama trial, corefish, leastfavorite!, all of the webcage people, myth valley, clovehitch, etc.. the list can go on i love this scene so much and have made so many great friends who have inspired me in ways they don’t even know.

Can you describe your creative process when working on new music? Do you have any rituals or habits that help you get into the zone?

Recently a lot of the songs i’ve created that have made it onto my album have been songs I produce in my brain first out of nowhere, I feel like most artist have this where they make up songs in their brain and it always happens at the worst times like when you are going to bed, or at work, etc..

Whenever I get one of those I always voice memo the melody and whatever lyrics popped into my brain and then take the voice memo, put it into Ableton then try to build off that voice momo. Rituals though? I just gotta start making a song in the morning, I am by no means a late-night sesh person. I love waking up early and making music from 8am-7pm the latest.

I can make music from like 7pm-10pm but that’s like a rare occasion for me.

Your music is known for its relatable and honest themes. How do you draw from personal experiences to connect with your audience?

Pretty much every single song I create has to do with something that happened within my life. I mainly cope with these issues by creating songs about those feelings/situations but also make it vague within my lyrics so more people can relate. I love making songs where each person can interpolate the same lyrics differently. In the end, I know what it means to me and what I went through but other people can feel the same way.

What do you enjoy most about performing your songs live, and do you have any memorable moments from your live shows that stand out to you?

Well, I’ve only played one show so far and it was also just a guest appearance with Aria leastfavorite! We played our song “subject” together which even though I only played one song it was the best feeling of my entire life hearing the whole crowd sing my lyrics along with me and seeing everyone create a mosh pit for the ending. I am so ready for whatever show I play next and am very excited to have my own set also!

As you continue to evolve as an artist, what new directions or projects do you see yourself exploring in the future?

I 100% am already planning on making another project after my album drops, I want to dive deep into every inspiration that I take into my current style and even make something other than what I make now.

I also plan on trying to evolve into more of a content creator/streamer trying to not only make music content but gaming content as this was something that I have done in my past.

I think this is where I will start to shine more within the community!

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Jay Cartier

Welcome to our in-depth interview with Jay Cartier, the talented beat maker turned artist who recently released his album, "Everything is For Sale". In this engaging discussion, Jay takes us on a journey through his musical background, the inspiration behind his album's powerful title, and the personal stories that influenced each track. Throughout the conversation, he provides valuable insights into his creative process, collaboration experiences, and his aims for the future. Prepare to delve deep into the thoughts and experiences that shape his unique artistry.

Can you delve deeper into your background as an artist? What were some of the key experiences or moments that shaped your musical journey and helped you discover your unique style?

I started off as strictly a beat maker/producer and it took a ton of growth to get to this point with my production style. Now in terms of what inspired me to write; I’d say just starting out listening to the rappers my pops listened to in the car on the way to the gym and other places we went. I used to be much more into R&B and singing which is why I probably have that love for melody as well as the sport of just sparring lyrically.

"Everything’s For Sale" is not only the title of your album but also a powerful phrase. Can you elaborate on the personal meaning behind this phrase and how it relates to your life and music?

Honestly the idea of naming an album that has been in the works since I first heard “Watch The Throne” I don’t know why but that Hov line (“…and Everything’s for sale, got 5 passports I’m never going to jail”) has always stuck with me. Of course it’s different from my perspective; in my interpretation of the title it’s me looking at myself and my brand as a business. I feel like I’ve laid the groundwork and I’m confident enough in my product (the music) to where I can say I’m open for business essentially. The transition of being an upstart and trying to figure things out and then being able to confidently say that I’ve got something here that people can buy into and relate to and that being said: Everything’s For Sale

Beyond the overall theme, could you provide more insight into the specific themes or topics explored in each song on the album? How do these individual songs contribute to the overarching message of the album?

I can actually break it down song by song I won’t go too far in depth because I think the music can speak for itself overall.

•Track 1 (Pricey) to me is just my overall opinion on the state of music since I’ve been away, what separates me from other people in this space in terms of just being authentic to me and not trying to be something else. Lastly I’d say it reinforces previous statements (about family / loyalty) I’ve made in the past and I think it’s a great way to either be introduced to my sound as an artist or be reintroduced after the outro of ‘There Will Always Be Casualties’

Track 2 (‘96 Impala) in my opinion is a little more personal, I talk about the loss of a friend briefly, I talk about loyalty once again which is huge for me in my life but I say it in a different way. On ‘Pricey’ I say that loyalty is “Pricey” which it can be, depending on what/who you’re loyal to & Vice versa, it can be costly. On ‘‘96 Impala’ I say that loyalty is a mindset that can’t be purchased, which I also believe to be true. But of course I also throw metaphors and bars in there and send shots at those who’ve been fake in the past.

Track 3 (‘No Discounts’) is where the album starts to become a little more fun for me. It starts off pretty chill with the overall theme still being prominent. But then you hear a Jayson Tatum interview clip where he says he’s “Humbly one of the best” and that’s how I feel about music & then you get hit with the first beat switch of the album and I continue to talk my sh*t essentially. I felt like I was humble on ‘There Will Always Be Casualties’ but this time around I had to just say what I’ve been feeling and thinking.

Track 4 (‘Again & Again’) is pretty simple in terms of concept for me. At this point of the project I’ve shown you once again that I can rap, but now it’s time for some more playlist, radio friendly type of records with melody & a hook that’s catchy but also still stick to my niche of punchlines & quotables. This one is just about getting back in your bag and getting that feeling back of being on top of your game.

Track 5 (‘In Or Out’) has a pretty simple theme as well; I think everyone has been in a situation with a potential significant other and you get to that point where you have to kinda ask are you with me or not. It felt relatable and I’ve been in those situations myself so that one made sense

Track 6 (‘How [feat. SEVNGOINDIGITAL’]) This one I had a lot of fun with, Sean sent me the beat with his hook & I just took the theme and let the music come to me. It just talks about different ways I’ve dealt with the opposite sex in various situations. This is one I think is very relatable as well.

Track 7 (‘Problems [feat. Dhalya Nicole]’) I think this record is also very relatable. I believe a lot of us have been in potentially toxic relationships where we are 10000% sure that we are/were not the problem and sometimes we like to let the other person go figure that out for themselves. Dhalya absolutely killed her verse & I think it was very important to have a woman’s perspective on a track like this because this almost feels conversational to a degree. I don’t consider myself to be an R&B artist per se but this one makes me want to step foot into that genre a lot more so we’ll see what the future holds.

Track 8 (On the Up & Up) I go back to the “no hook” style previously used on the album and on this one I’m just back to talking about what I believe in and just keeping it honest about my views on the world and what I think again separates me from the rest. Along with the second beat switch where I get back into that space where I’m just confident and talking crazy honestly.

Track 9 (Everything’s For Sale) this was the final song recorded for this project believe it or not. I wrote it in about 30 minutes and I just had a great time putting together the bars and punchlines and I didn’t want to put too much structure into it. Just wanted to have fun with this one. With this album I wanted to get into that boastful mode at times and also stick to my real life experiences and this song embodies that feeling I believe.

Track 10 (Soul Food) “Put everything on the table like soul food” this song starts to slow down the album again to lead up to the conclusion. I’m basically saying that I’m more open and honest with my feelings, thoughts and emotions in the music. I want to be someone that the listener can relate to and any emotion or situation I can portray from my life into the music I feel like listeners in some capacity can relate.

Track 11 (All Business) as an artist I feel as if the intro/outro combo is just as important as anything else that goes into a great album sonically. I like for the outro to end as a cliffhanger because obviously more is coming in the future. Once again I’m talking about my real life and individual experiences on this album so I’m just venting about what goes on in day to day life. I still of course have to throw in some more bars that some might view as disses and I don’t really care how anyone takes it. I think this one wraps up this album very well and hopefully it’ll have listeners looking forward to what’s coming next.

In addition to your creative process, could you share any specific stories or anecdotes about the inspiration behind certain songs or the challenges faced during their creation?

I feel like I might have touched on the specific inspirations for each record on the previous question. However there are at least 3 songs on this album that have literally 4,5,6 different versions because they didn’t seem finished or I wanted to switch things around or make a different beat for it etc. One challenge for me is if I have the music in the tuck for too long it’ll become “old” to me and then I’ll be stuck in the cycle of my competition with myself to outdo my last thing. So it can be a blessing and a curse. I was constantly hearing things that I thought I could improve until the day I submitted the album. The biggest challenge for me is figuring out when something I’ve created is officially “Finished” sometimes the process of getting it done can take on a life of its own.

Building on the collaboration aspect, what qualities or strengths did SEVNGOINDIGITAL and Dhalya Nicole bring to the album? How did their unique styles blend with yours to create a cohesive musical experience?

SEVNGOINDIGITAL and I have collaborated a few times with 2 releases prior to “How” on “EFS” I’m a huge fan of his music and he brings such a unique style and sound to this project and from what I’ve heard from his discography I think he never misses.

I also am a huge fan of Dhalya Nicole and we have a few mutual friends that are all in and around music in one way or another. My friend and also frequent collaborator X Savy linked me with Dhalya on Instagram and after hearing some of her work I told her that when I found the right record I’d send it her way and she said that she’s open to collaborating and so about 6 months later I sent her “Problems” she sent her verse back and I knew that it could potentially be a big record.

When faced with creative blocks or obstacles during the album's production, how did you push through and maintain your artistic integrity? Were there any breakthrough moments that helped you overcome these challenges?

There was a couple of times during this process where I had a little writer’s block. Since I mostly write about my real life and my personal experiences whenever I feel stuck I just put the music to the side and go live life and let the world tell me what I should write about and usually after about a week or so away from recording I come back with a clear mind and it all flows much easier. And there’s some days where it feels like I can’t miss & I can write 2/3 songs in an afternoon as well. The main thing I learned for me is to never force it.

Reflecting on the recording process, can you share more details about the studio sessions? Were there any interesting techniques or experimental approaches used that contributed to the album's sonic landscape?

9/10, unless I’m on a feature or helping another artist write or listening in on a session, I'm recording at the house in my own studio so I don’t have many interesting studio stories unfortunately. Other than my dog Rylee being in the studio with me occasionally barking it’s not too much going on when I’m in album mode. I like being locked in without distractions during my process. I might put the Knicks game on but I usually start with one line of a verse or hook and then build off of that. I will say sonically I organized this album in this way with the track listing very purposefully. That came from me just listening to the tracks in different orders and I found that in my opinion this version flows the best.

As your sound and style have evolved, what specific elements or influences have contributed to this growth? Are there any particular experiences or interactions with other artists that have influenced your artistic direction?

I have a few friends & family that either are in the industry now or have been around it & I’ll usually shoot an idea or something to them and they can give me some more educated opinions on things. It might be something minor that I’m missing on a song or maybe they hear something I don’t. And so I’ve taken pointers and games from people I look up to that are within reach on a personal level and I’ve let that help mold me into the artist I am today.

Going deeper into the tracks, are there any lyrics or verses that hold personal significance to you? Can you share the stories or emotions behind those specific moments in the album?

As much as possible I try to say phrases that I don’t think have been said before, at least to my knowledge. I strive to find ways to put something together that makes sense and gets the message across without being repetitive for a cookie cutter type bar. On Pricey I have a line that says “my mother hates that we like guns it makes her nervous, but f*ck it we’d rather fight cases than follow hearses” and when some of my friends heard that line for the first time they gave me that look like; yea you got something here I’ve never heard that. But I try to find moments like that within every record honestly, while at the same time keeping it as simple as possible to understand & keep some replay value.

Beyond the intended message, what do you hope listeners will discover upon repeated listens to "Everything’s For Sale"? Are there any hidden layers or deeper meanings that you intentionally embedded within the songs?

It’s such a cliche thing to say but I think the music can speak for itself and be interpreted differently. I don’t want to give any listener a super specific answer on what they should take from this album because music isn’t really a definite thing; it’s art that affects people differently. In terms of deeper meanings I’d like to think so. I don’t want to be someone who just talks just to talk & it’s the same thing with the music. Some of the lyrics can definitely be looked at deeper depending on the knowledge of certain situations I’ve been in & I even revisit things I’ve previously mentioned in my music as well. I do think I’m good at generalizing certain things enough that a broad group can relate when they hear it but it’s always something specific. One of my close friends said it sounds like I’m “dissing people in every song” but I don’t necessarily view it like that I just speak my mind. That being said I’m also not ducking any lyrical smoke so you can interpret the lyrics however you want. Like I said the music can affect different people in different ways.

Balancing artistic integrity with commercial appeal can be challenging. Can you provide examples of instances where you had to make difficult decisions or compromises during the creation of this album? How did you navigate these situations?

If I’m being honest I don’t think I’m a big enough artist to say I’ve been put in any of those types of situations yet; I’m fully independent and I don’t follow anyone’s lead on what they believe I should be as an artist. I am big on making sure I’m not stepping into a space where I’m not myself or I’m not an accurate representation of me. I’m the same person in the studio vs in real life and that’s important to me. As long as I’m not compromising my morals and principles and beliefs & I give the song/project all that I can give it, I’m willing to live with the results.

Can you describe any unexpected or memorable moments that occurred during the album's production? Whether it be unconventional recording techniques or serendipitous collaborations, we'd love to hear about any interesting occurrences.

I’d probably say when I was recording the intro, it was one of those moments where I felt as if every line was coming together perfectly and every bar was going to land. Being in that creative zone where you have the feeling that you can’t miss is a great feeling. Honestly it happened a lot throughout this album's creation. The second half of the intro I didn’t even write it I just tried punching in line for line and I think it ended up being one of the better verses on the album. I tried something new because I really was considering not doing a second verse but then I liked what I kept hearing after that line and it turned into another verse.

In terms of musical influences, can you expand on how specific artists or genres have impacted your music? How have you incorporated these influences into your own unique sound?

Believe it or not I’m not closed off to only listening to rap music, I do listen to and enjoy other genres. If I hear a song and it sounds good to me then I’ll probably check it out and check the artist’s catalog out as well. I don’t hear a song, realize it’s not rap and then say “nah that’s not for me” . I might not want to make that style of music but I can listen to it and appreciate it. In terms of inspiration, that’s a long list; I grew up on mainly the household names from my parents era; Micheal Jackson, Prince, Stevie Wonder, Earth Wind & Fire. The list goes on. I’ve been drawn to classic and classic sounding samples since I got started in music & obviously sampling has been a staple since the beginning in hip hop so that’s fitting. I was introduced to hip hop by hearing KRS-One, Eric B & Rakim, Mobb Deep, 50 and I’d say Jay Z as well. And now my hip hop ear is super diverse, I listen to everything from Future and Metro Boomin to Benny the Butcher, Conway & Griselda, just depends on what mood I’m in.

Looking ahead, what are your long-term goals and aspirations as an artist? Are there any particular milestones or achievements that you're aiming for in the future?

For me, I want to be talked about in the best rapper conversations, long term. Just the art form that is rapping & putting together these bars, not necessarily achievements, but just knowing your reputation precedes you as one of the ones. I feel like I’m already laying the groundwork to be one of the best rappers lyrically. I think highly of myself because of the work I put in. It’s not a shot at anyone else because I feel as if I’m good if not great at what I do. Humbly, I’d say it’s too soon still to even talk about achievements. I genuinely love music & the process of creating something new & as long as I give my all into this I’ll live with whatever the results are I think that’s the best way to go about it. Now in terms of possibilities, I truly believe, skill wise, that I’m closer to the top tier of rap than I am to the ground level. Bar for bar I’m confident in any scenario & I’m willing to stand on that. I take pride in being a great writer so I’d love to collaborate with other artists and help them create as well & if I could get some writing credits on a major project that would be huge. Obviously everyone’s cliché goal in music is a Grammy award and I’d never say that I don’t dream of that being a possibility but I’m aware that it’s more than just good music that can go into certain awards and sometimes the art can get lost in trying to chase a trophy. For me; meeting certain artists and collaborating with musical hero’s of mine would be way more important to me as an achievement vs certain awards that others may put more stock in. The list could be endless but if I had to pick a Mt Rushmore right now I’d say; Hov, Drake, Future & Griselda. And I’d add J.Cole on that list too.

Finally, is there anything else you would like to share about yourself, your journey, or the album that we haven't touched upon? Any additional insights or stories that would help us gain a deeper understanding of your artistry?

I think we’ve touched on just about everything that I can think of. I’ll just close with the fact that I just write and rap about my personal views, experiences & opinions. I make music just venting & talking shit about my perspective on things and I think that a lot of listeners can relate to me.