Isabelle Silvola 2/7/24 Isabelle Silvola 2/7/24

Concert Review: Chloe Moriondo with rosie

Most people have that one artist that TikTok introduced them to. For me, that was Chloe Moriondo in 2020.

By the end of the year, I was listening to her albums on repeat all day every day. So, when I heard they were performing at the Whole Music Club, I immediately marked the day on my calendar, bought tickets, and started freaking out.

First off, the concert had the most adorable limited memento tickets (as the actual tickets were all online). I wasn’t sure I would be able to get one because I was pretty far back in line but they still had plenty by the time I reached the front. Since the Whole Music Club is pretty intimate, I was in the second row for the concert too which was amazing.

Rosie was the first of the two to perform and I had never heard of her but I was floored by her performance. She is such an amazing singer and she is the sweetest. They performed an acoustic set and a set with a band. My favorite song was “It’s Always Sunny Somewhere” which hasn't been released yet.

Rosie is a local indie artist and you can find her music on all major streaming platforms. Her Spotify is attached here and I’m telling you that you have to go stream her song “Lilac Season” right now because I’m obsessed.

After her performance, she had merchandise available for purchase. I ended up buying one of her t-shirts and a custom CD with unreleased tracks because it was so cute and her unreleased tracks are perfection (both the CD and t-shirt can be found on her merch site). Plus, if you aren’t sold on the CD yet, you can check out her music highlights on her Instagram and you will be.

Rosie has a concert on February 10th at Pillar Forum, and February 18th at Greenroom (21+) and you can sign up to get email updates about future shows on her website.

After Rosie opened, my literal icon Chloe Moriondo came on. Finally being able to see an artist in concert who you’ve been obsessing over for years is an experience that can not be put into words. She was so sweet and had the best energy while performing.

If you haven’t heard of Chloe Moriondo, she is a musician from Michigan and she started off playing ukulele and guitar on YouTube. She just released her album SUCKERPUNCH last year, and like Rosie, she is on all major streaming platforms including Spotify.

I mostly listened to her older music before the concert, but I have been listening to their song “I Eat Boys” so much since the concert (speaking of “I Eat Boys”, that’s the most real title in the history of music).

Overall, this concert was everything I could’ve hoped for. This was my first time going to a concert at a smaller venue and if you’ve never been to a smaller venue you should go to one. Not only are they a great chance to find new artists, but they’re also so much less expensive than most stadium tours or other large venues.

Emma Vasa 2/7/24 Emma Vasa 2/7/24

1970s Renaissance: The Birth of Modern Rock

The 1970s was a decade known for its radical change. This mass rebirth of countless societal forms and groups coined this era “The 70s Renaissance.” From political movements such as the 1973 Supreme Court ruling of Roe v. Wade and anti-Vietnam War campaigns to the continued fight for women’s liberation and environmental activism.

While political change is a massive note of the 1970s, it is not the only category that coined the 70s as a renaissance. Music, fashion, lifestyle, values, film, literature, and the arts all took part in the 70s rebirth. This decade, as a whole, continues to impact current generations.

Now, the rebirth of the music industry and its culture, specifically with Modern Rock, is something I feel affected everything in the 70s. Music became an escape and a voice for millions of people to express themselves. The birth of Modern Rock brought us some of the most iconic musicians and bands, such as Led Zeppelin, Queen, Black Sabbath, Fleetwood Mac, AC/DC, and so many more.

Many artists produced new techniques or melodies, such as Jimi Hendrix’s slide techniques on the electric guitar; one of his most notable songs, “Voodoo Child,” used this technique. Janis Joplin came to fame with her strong and gritty voice that captured the attention of American audiences.

Woodstock ‘69 became the marker of the rebirth of the music industry. Not only did the chaotic new music become popular during this very festival, but the principles of loving, caring, and looking out for and with one another became a new societal shift in this era. The moments spent with your loved ones and peers while escaping the hectic world by listening to music caused a push to live the “wherever the wind takes me” lifestyle: Pursue what you love, with whom you love, and live in the moment. Spontaneity was key to living a fulfilling life in the 70s.

Furthermore, Modern Rock became the backbone of the 70s rebellious era. It starkly contrasted social form with its aggressive, boisterous, and confrontational style. Clothing, hair, makeup, and mentalities reflected the music while people continuously voiced their opinions on current events.

Women began to pull away from rigid societal norms built around love, marriage, sex, and appearance. Artists such as Helen Reddy, Ann and Nancy Willson, and Joni Mitchell wrote music voicing women’s experiences with sexism, misogyny, and social constructs. They showed women they could have loving relationships outside of traditional marriage and gender roles.

Women’s fashion took a turn from unified, conservative-cut clothing to bold, glittery, and flowy pieces. Women began wearing jeans, cutting their hair short, wearing multicolored pieces, and experimenting with layering.

The 70s were far from perfect, however. What came along with the free-living lifestyle was the mass use of drugs and psychedelics. Cocaine became one of the most popular drugs in America. Drug and or alcohol-related deaths rose within Hollywood, and a number of these deaths contributed to the elusive 27 Club. An unofficial club of celebrities, primarily musicians, who died at the age of 27. Most commonly from freak accidents, suicide, or overdose. Some of Rock's most famous names, such as Jimi Hendrix, Janis Joplin, Jim Morris, and Kurt Cobain, passed in the 70s.

Truth be told, this short article only skims the surface of the Renaissance of the 70s and its impact on current generations. There is much more to be said about the music industry, the arts, politics, lifestyle, lgbtq+ rights, and representation within this era.

Emma Walytka 11/29/23 Emma Walytka 11/29/23

Boygenius: A Revolution of Expression

Boygenius recently appeared on Saturday Night Live and dropped an exclusive dainty jewelry collection with Catbird a day later; and may I add ready to “fight Dave Grohl in the parking lot,” after their 2024 Grammy Nomination (without a doubt the boys will win). I initially became a fan because I had never seen a band brand a staple piece and make it into a statement advocating gender expression and neutrality in clothing.

“The boys'' refers to the three band members: Phoebe Bridgers, Lucy Dacus, and Julian Baker. The band spoke to me initially because of their construct-breaking nature and dedication to Thom Browne Suits, an apparent nudge to how men and boys easily receive praise and are “geniuses” for even mundane accomplishments. So, come along with the boys and me to review and attach meaning to some of my favorite songs.

“Bite the Hand that Feeds Me”

Each night, a tooth button (as an ode to their matching tooth tattoos) is attached to their matching suit jackets or bomber jackets. The tooth is symbolic of the boys's song: “Bite the Hand.” The song’s repeated lyric is "I'll bite the hand that feeds me,” which speaks to an inability to love someone in your desired way in a language that feeds your soul. The song begins with the line, “I can’t love you how you want me to,” nodding to individuality and distance in love that values, morals, and a lack of communication can attenuate. Their fashion choices and embellishments add to the depth, symbolism, and dedication to their songs in a way (I would argue) no band has done before.

“Trying to be Cool About It”

My favorite song on the album, “The Record”, is “Cool About It,” because the last verse speaks to a strong desire and longing to want to be close to someone emotionally when they struggle with mental illness. The line, “Once I took your medication to know what it’s like, and now I have to act like I can’t read your mind,” represents the struggles and isolation that mental illness can bring while highlighting the humanity in wanting to understand and lead with empathy. The song emphasizes the importance of mental health awareness and support and the struggle of not loving but feeling alongside someone.

“Not Strong Enough to Be Your Man”

Featured on former president Barack Obama’s summer playlist for 2023 is “Not Strong Enough.” In a recent interview on DailyMotion, the boys sat down and identified the song's lyrical meaning. The song opens with, “Black hole opens in the kitchen…every clock is a different time…It would only take the energy to fix it…” Dacus said the kitchen is a domestic symbol, and the clocks represent things that should be easy in life- but they are tied to emotions that make it near impossible to touch them because of dealing with mental illness and a lack of motivation.

My favorite verse (verse 2) holds the line, “drag racing through the canyon…singing boys don’t cry,” highlighting society's disapproval for wallowing and being in touch with your emotions, as it portrays weakness. If you listen further, the chorus brings a positive light to the complexity and capability to be who you dream to be for you and your partner.

If you are a person of sentiment and love breaking fashion “rules,” I urge you to listen to Boygenius. Their songs artistically portray the hardships and marginalization you face as an individual with mental illness and the beauty in sensitivity, empathy, and emotional rawness.

Lauren Lugabauer 11/12/23 Lauren Lugabauer 11/12/23

Spotify Daylist: Can AI Accurately Predict My Music Taste?

Music is the powerful entity playing behind the scenes of our lives, our soundtrack for a walk to class, the deciding factor of a great party, or the new connection between us and a lifelong friend.

Each of us holds a sense of belonging within our Spotify profiles, as we skillfully sort our nostalgic favorites and new discoveries into curated playlists. But how much do these playlists really speak to who we are? How much do they separate the individual lives of those walking amongst us? And how can something so personal to us be so easily predicted by the expanding artificial intelligence that has found its way into every aspect of our lives?

My Monday began with the words “Hopeless romantic delicate Monday morning,” as I was faced with songs that a detached technological being deemed appropriate for my day. The rest of my week was defined as “Electra electro-pop Tuesday evening,” “funk pop swamp Wednesday morning,” “liminal witchy Wednesday afternoon,” and “melancholy nap Thursday morning.” So, I was forced to wonder if these were correct and if these words and songs were representative of my emotions throughout the week.

The ability to view our playlists in such a descriptive manner provides a sense of understanding between us and our music. As much as we want our music taste to be unpredictable and uniquely ours, there is something nice about belonging to a specific genre and seeing how these genres can shift throughout the week.

However, every day brings its fair share of challenges. Whether it’s bad weather, early mornings, midterms or plain bad luck, a “funk pop swamp Wednesday morning” might be the last thing we wanted to hear while trying to get through the day. But music will always be able to set the tone, and that is exactly what Spotify seems to be doing by providing us with curated music for the best version of ourselves at that moment in our weeks.

Although daylists are a fresh new way to view our music profiles, some might not like the idea of relinquishing control of something so personal to artificial intelligence. It is easy to feel that Spotify’s switch to AI has made a part of our identity about patterns and numbers rather than an emotional connection with the music. The daylists prove just that they can attempt to provide a cute little description of how we’re feeling along with a list of songs based on our collective listening patterns, but there is a clear disconnect between this and actual human emotion.

The best versions of ourselves might be predictable enough to create a decent playlist, but people will always rely on their favorite music for emotions, which is not as easily predicted.

Ella Anderson 11/12/23 Ella Anderson 11/12/23

The Last Beatles Song: What It Means for Music and AI

The revolutionary English rock band The Beatles released their final song last week after using AI technology to complete the 45-year-old song written by deceased band member John Lennon.

The psychedelic soft rock ballad “Now and Then,” dubbed as “the last Beatles song,” debuted at number one on the Billboard Digital Song Sales this week. The song was first written and recorded in 1977 by John Lennon but ultimately left unfinished and unreleased until now.

The legendary band, whose music has been passed down from generation to generation, put their musical stamp on another era of listeners. The melancholic song creates a wistful feeling, bringing new and old fans to a place of nostalgia and joy.

In 1994, “Now and Then,” in addition to several other songs written by Lennon, was given to his former band member Sir Paul McCartney by Lennon’s widow, Yoko Ono. The three then-surviving Beatles, McCartney, Ringo Starr and George Harrison, reunited in 1995 to finish what Lennon had started.

After a one-afternoon session messing around with the incomplete song, adding backing tracks and a rough go-through, the song was shelved due to technical issues, a lack of verses and “being rubbish” according to Harrison. This year, McCartney returned to the project using Artificial Intelligence (AI) to assist in extracting Lennon’s voice from the original demo and since passed Harrison’s guitar parts.

Before the song's release, McCartney tweeted a clarification for the upcoming project. “To be clear, nothing has been artificially or synthetically created. It’s all real and we all play on it,” McCartney said. “We cleaned up some exciting recordings - a process which has gone on for years.”

To produce the final version of “Now and Then,” production company WingNut films isolated instruments, vocals and conversations utilizing its audio restoration technology. They then strung together: Lennon’s vocals, McCartney’s new string arrangement, Harrison’s guitar parts from the 1995 session and Starr’s re-recorded drums using MAL (machine-assisted learning).

The song's release was paired with a music video that featured never-before-seen clips of the Beatles, scenes filmed during the 1995 recording sessions for Anthology, unseen home movie footage of Harrison and new footage of McCartney and Starr performing the new song. Each of these aspects was combined to create a video filled with a sentimental nature.

So, going forward, what does this mean for musicians, dead and alive?

The ability to use AI to isolate vocals and instrumental arrangements from the outdated technologies of the past is a tool that will most likely be used in the future when creating songs. Artists, new and old, can now take inspiration from music that was once inaccessible to modern-day recording software. Will this lead to more songs from deceased musicians? We will just have to wait and see.

One thing is acknowledged at this point: AI cannot fully create music that authentically and emotionally connects with listeners. It can, however, help musicians streamline the creative process when coming up with new concepts for their art, or in the case of the Beatles, mesh the music of the past with the music of the present.

Yet, in my opinion, human musicians will always be more coveted than artificially created music.

Bianca Caputo 8/8/23 Bianca Caputo 8/8/23

Artist Interview: Vial Talks Rage, Catharsis, and New Territories

Indie-Punk band Vial is bringing a new science to how the alternative music scene is defined. Coming together through the most unlikely of apps has sparked a reaction in the Minneapolis scene. It all started in an after-school music program when singer Taylor Kraemer met shredder KT Branscom. After detecting the musical chemistry between the two, they began to look for a drummer and turned to the unlikely candidate, Tinder. After swiping left and right, Taylor and KT came across drummer Katie Fischer, and “The rest is history.”

Their style is quite unique to other bands utilizing the conjunction between bedroom pop and punk, creating a musical style that appeals to those deep in the subculture and indie-music lovers. Thus making their work open for more emotional writing while creating the same emotional releases as Screamo.

Though the band formed through humble beginnings, their rise to fame was anything but such. With the release of their debut album “Loudmouth” in 2020, the band looked to create a way to forge connections with listeners in quarantine through the creation of Tik Toks. Though their viral content did produce quick hits of joy, the band was quick to describe their struggles with the speed of going viral. They shared how creating content began to feel less like a way to connect with audiences and more like a struggle against the algorithm, producing things they knew would do well instead of creating content they truly loved.

Though TikTok served its purpose through dopamine hits and a distraction during the horrors of the pandemic, Vial is enjoying the face-to-face aspect of performing and connecting with crowds in real-time, and they are doing a great job of it. Their “PissFest” show produced an impressive audience that knew every lyric and created a notable moshpit. Vial’s music is excellent, but their stage presence is even more remarkable. Whatever impact their music has on you, hearing it firsthand and feeling their energy is nothing short of emotional nirvana. Screams contrasted with lyrical phrasing in between describing the struggles of our society, subculture, and the Queer community creating an emotional release that is felt in shockwaves through any venue they grace.

Vial is an all-Queer band that continues to impact the scene, drawing attention to trans issues and demanding respect. Branscom stated, “As a non-binary person, I'm constantly looking for representation of my gender identity in music, art, and film,” and that they wanted to create that for younger people in the scene, as that was something the group did not see in the artistic media they experienced. Though the alternative scene in the Twin Cities has improved dramatically in recent years, there is still work to be done.

Fischer wrote the song “Planet Drool” to describe their anger at the disrespect towards them and their bandmates in a scene that claims to be accepting. Eventually, it morphed into something more, an expression that Fischer described as “attempting to give a voice to people who don't usually get a voice or feel the need to quiet themselves in uncomfortable situations,” which is unfortunately a message many femme-presenting, POC, and Queer individuals can relate to.

Consistent microaggressions colored an undertone at the beginning of the band’s career as they were placed as an opener long after gaining ground and used as a token in the scene. What may be small on its own snowballs into an indicator of more significant issues. Assumptions about who can write great music should not be made in a seemingly all-inclusive space. Branscom describes their frustration with the scene and industry in general by perfectly stating, “We shouldn't have had to claw our way to, like moderate success, to be respected, and to be heard and seen.”

Vial’s confidence and strength have allowed them to transcend petty insults, making them a beacon for a new generation of punks. In our interview, the band described how they have found their fans to be a supportive, kind, and polite community in contrast to some other alternative spaces. I witnessed this firsthand at their “PissFest” show; it is an energy that welcomes all in the scene.

Vial is continuing to claim territory, and with the release of their cover, “Territorial Pissings,” I couldn’t stop myself from asking what came next. All Kraemer could reveal was this:

“We’re in the studio. But if you read this, you can’t tell anybody else. But we recorded something.”

So if you’re reading this, keep your lips sealed and wait for whatever is next to come for this promising and proven musical chemical phenomenon.

Bianca Caputo 4/10/23 Bianca Caputo 4/10/23

Conversations with Chase Petra: The Importance of Music-Making

An enigma is a person or thing that is mysterious, puzzling, or difficult to understand—and the only word that can be used to describe notable pop-rock band “Chase Petra”. The band is unlike any seen on the scene in years past, calling to mind the growing pains that the new generation has experienced in a rapidly changing and painful world. Composed of singer Hunter Allen (She/They), as well as drummer Evan Schaid(He/Him), Brooke Dixon (She/They) bassist and vocalist, and guitarist Genevieve Quiquivix (She/Her).

The band came together erratically, forming with Allen and Evan playing music together in middle school. It was not until several years later that it started to take on a more concrete shape. Allen’s life was at a point of crossroads. They were nineteen, struggling to find community, and unsure of their life direction. It was at this point of low mental health that Allen was introduced to Dixon, and, finally (about two years ago), to Quiquivix. With the addition of multiple instruments and an uptick in confidence, the band was able to excel through collaboration and, as they labeled it, straight-up fun!

The story of the band’s name was possibly the biggest indicator of the spontaneity of this band. As lead singer Allen spoke to the band name's inspiration, a novel from the eighties titled “Ender's Game” by Orson Scott Card that featured a character named Petra that was a dear favorite of the singer. When Hunter decided they wanted the character to be the band’s namesake, a friend told them it couldn’t be just one word; since they were next to a Chase Bank at the time, “Chase Petra” became the title defining this angst-powered musical machine of vulnerability.

The group’s music has a sense of vulnerability that has not lost its punch in its rise to fame. Within their music, they return again and again to the frustration and sense of despair that accompanies growing in a world that seems to be against us. The first song off of their debut album “Liminal” is titled “Prologue” and cites the pains of growing up unsure how to move through a world in which Allen didn’t know where they fit. As a high school student, I personally experienced these same pains. During their show at the Whole Music Club, Allen mentioned how they now felt themselves growing past this painful era of their life. During the interview, I mentioned how important this song was for me in my adolescence—because it was. In a time when everything was up in the air and felt difficult to understand, it was important for me to know that others were feeling the exact same way.

Their style harkens back to a multitude of influences—Warpaint, Sonic Youth, the Strokes, Wilco, The Front Bottoms, and early Panic! at the Disco were a few they listed.

Even through growth, the band has remained down-to-earth with singer Allen stating that “Every show we play, I’m like, this is the one where nobody’s gonna be there.” As evidenced by Saturday’s showing, however, this is far from the case. The group has an impressive hold on their listeners, boasting a devoted following of over one hundred thousand listeners on Spotify. All of the members described their fans as kind and supportive and attributed their success to the joy they find together in making music.

Recently, the band released their newest single, “Reliable Narrator”. When they spoke about their future goals for their group, they referenced back not just to their music, but to themselves as an ethical organization. On the top of the bucket list is more touring, raising wages for those who help on tour, and crafting a new excellent album. However, they also listed holistic goals, such as connecting with a larger music community and making new friends on their journey.

This band has remained a favorite for me since the debut of the 2019 album “Liminal,” and I cannot wait to see what they produce next, as they seem to improve with every new release. Because I like to pack every interview with a final therapist-esque punch in the gut, I decided to ask each band member what music-making meant to them. (By the way, if you ever need a therapy dupe, hearing the drummer from one of my favorite bands ever tell me I’m doing a good job being a journalist is just about the coolest thing to happen to me.)

Hunter Allen

“For me, it's always felt compulsory, and just, like, an intrinsic part of life. I can't not write music, I wouldn't be able to process half of my feelings if I didn't. Sometimes, it just feels like, well, this is why I exist. Not necessarily to be in front of people. I'm talking, like, when you're by yourself and playing music and, you know, it's like, why? What else is life for?”

Brooke Dixon

“A lot of the time when, you know, you're deep in the sauce and nothing makes sense anymore, music makes sense. It helps me process my feelings and channel it into something so I'm not just sitting there spiraling, you know? It helps channel it into something constructive—I like the word constructive rather than productive. I think the reason that I have chosen to do music and, like, you know, not done other things in life and dedicated my life to music is because it seems like that's the way that I can give to others something that I have to offer.”

Evan Schaid

“The fact that we get to make our own universe and, like, hearing things about, like, you saying that [Prologue] was your song in high school for that moment, like, things like that, I think, are what music is to me. Someone gets to take your project and make it their own universe in their head. You get to be like those stars, you're in there, you're in their orbit for forever as these memories. I think that's such a beautiful thing. It's like storytelling, you know, you pass these stories on, you pass these things along, and hopefully, I don't know, you get to do that for someone in your own writing—and that's in every field, not just music, but I think that's what music is for me.”
Genevieve Quiquivix

“For me personally, it's always been the way I've been able to express myself. I've always felt like I had trouble communicating with people and, as a trans woman, like, knowing that when I play there's other people like me and also connecting me on that same level—creating that kind of community. It's like a big reminder that I'm not alone in this whole world and stuff like that; as long as there's music, and there's people like us that just enjoy it and want to share it together. I feel at home and I feel like I can express myself freely as a human being in this and the fact that I get to play with everybody here, like, I feel so lucky and so privileged—yeah, I think that's it, I don't feel alone.”

Huge thanks to the members of Chase Petra for a wonderful interview!

Thumbnail image from Spotify

Alessandra Benitez & Kayla Ignatowicz 3/14/23 Alessandra Benitez & Kayla Ignatowicz 3/14/23

Artist Interview: In Conversation with RiotGrrrlDarko

Last week, I had the opportunity to talk with up-and-coming artist Riotgrrrldaarko after seeing her live for the first time at Radio K’s Short Circuit residency, housed in 7th Street Entry. She emerged from the hazy backdrop of the stage in a rhinestone cap sported backwards, heavy platform boots, and an unshakeable swagger—which I later found out was not just stage presence. She is badass through-and-through, from picking up the microphone to picking up the phone for our chat.

Bray’Jana Coleman, publicly known as Riotgrrrldarko, first broke into the scene in 2019 with an unusual start. “It was just joking around!” she laughed, relaying the story of creating some diss tracks with a couple of her friends. Listening back, she realized there was something good on the track—and that she had artistic potential. “I felt like, low-key, I should actually start doing this—I was like, shiiit, I’m actually kind of good!” From there, she decided to start creating music with the help of her then-boyfriend, now fianceé, fellow artist 6RIPS.

Having grown up in a suburb of the Cities and attending school in Minneapolis, Brady recalls being raised in a very balanced manner and was able to recognize her privilege from a very young age. “I got the balance of being in the streets as a kid, being a little dirty, and then coming back home to my suburban-ass neighborhood.” While she allows these experiences to influence her musical style, she made a point to emphasize that she doesn't want her music to come off as a story about struggling as she was growing up, which she recognizes was not the case. She wants people from both urban and suburban areas are able to enjoy her music. Ultimately, her goal is to portray a true and unfiltered version of herself that, hopefully, many can relate to. “My music, I want it to speak to everybody.”

And speak it does. You can tell by her stage presence that Riotgrrrl does not feel pressured to perform inauthentically to get her message across; her shows are memorable because her music is substantive. “I feel like I’m an awkward person by nature,” she smiled, “so I just get up there, yell at your ass and then it’s time to go, pack it up! I try to let the music speak for itself.” She does not feel the need to chain herself to a particular music style, either. She wishes to separate herself from the majority, not because she doesn’t enjoy it, but because she feels “like a lot of people in rap right now sound the same—and I love that shit! But, at the same time, we don’t all gotta talk about the same shit. Like, sometimes I just wanna rap about making a sandwich or, like, some random everyday shit everybody can relate to. Not everybody can relate to, like, fucking and getting money. So I try to really make my sound relatable—authentic.”

She does it all, from rap to punk-pop. In many ways, she considers herself as still finding her sound, though she’ll give anything a try. Right now, she’s into creating music she defines as grime-core—but that certainly does not mean it’ll be the only thing she does from now on.

Hers is certainly a unique stage name. The underground punk-feminist Riot Grrrl movement in the 90’s came together with her love for rapper Meechy Darko to inspire the name Riotgrrrldarko. When I asked her what Riot Grrrl culture meant to her, she replied, “I can be hard too.” She explained that she internalizes Riot Grrrl culture through being tough and standing out amongst the crowd. Simply put, she’s a woman who can kick your ass.

Before starting with her own projects, she was not heavily into the music scene, but she did enjoy supporting underground artists such as Flatbush Zombies and Remo Drive (Minnesota rep!). She would also go to shows put on with local artists without necessarily knowing many of their songs, just to get a feel for the scene. Now that she’s the one performing, she is proud of the army of loyal fans she herself has built. “There are times when there are, like, three shows in a row and it’ll be the same people there, and every show they act like it’s brand new to them—that shit’s crazy because it’s like, you were at the last one three weeks ago. I think it’s crazy that people really wanna see little old me doing my set. I really appreciate the love.”

Music is not the only thing she uses her creative talents for. She also creates her own covers, stating that “every cover I have, I need it to tell a story. I don’t like putting out rushed shit and I don’t like my covers to look rushed. It has to match the story of the song.” She looks to fashion, too, as a way to further her music aesthetic. She describes her style as “going through phases” and, much like her music style, her fashion style is also subject to change. “Right now, I’m really into zebra print everything and pink shit.” She never regrets going through these phases, though; when she looks back at these phases, she regards them as reflecting whatever she’s into at the time. “I like shit that’s outlandish!”

As for her creative process, she can go months without making music, too invested in everyday life. On the other hand, she’s able to draw inspiration from everyday life, often coming up with a line or two she likes and proceeding to write a whole song just from that. Always trying to one-up herself, Riotgrrrldarko gives her music her all and works hard to make every song better than the last. Honorable mention on her new tape is a song she’s particularly proud of.

Outside of her music, Brady is a is a mother of two. She says that this experience has taught her that being a mom does not have to be someone’s whole personality—it's just another facet of a very multi-faceted person. She hopes her kids can look back at her work during this time and feel pride for the things she accomplished while they were growing up. She used her own birthing experience to guide her towards becoming a doula this year: “During my birth, if I had other doulas in the room, not only would it have been more uplifting for me, but the pressure would be taken off of me. It’s like, a community of people in the room serving each other.” She feels that being a doula further connects her with her community—“and I appreciate that, because a lot of fucking things that you get into don’t have that type of community—at all.”

Riotgrrrldarko is definitely someone to watch out for in the Minneapolis music scene. Her music is available on Spotify, SoundCloud, Apple Music, and YouTube. She is also fully booked out for concerts through the next several months; if you like what you hear, you should check out her 7th Street Entry concert on March 25th.

Check out her social media:

Instagram & Twitter @riotgrrrldarko

Special thanks to Radio K for having Golden at the Short Circuit residency event! Radio K’s mission is to support up-and-coming artists locally, nationally, and internationally. Find out more info here!

Varsha Venkatesh 2/16/23 Varsha Venkatesh 2/16/23

Queer Musicians you Need to Know (If you Don’t Already!)

Engaging with art from different communities is a great way to better understand and support underrepresented groups. If you’re looking to listen to some new, queer music, here are four artists you should check out! Their music ranges from trap to funk to psychedelic pop so there’s sure to be something for any mood or occasion.

Omar Apollo

You might know him from his song Evergreen, which blew up on TikTok. Openly gay musician Omar Apollo already has a rich discography at the age of 25. His genre-bending music combines elements of soul, funk, hip hop, bedroom pop, as well as nods to his Latin heritage. Apollo has cited Prince as a major influence in his music and has even collaborated with popular artists like Daniel Caesar and Pharrell. His debut album, Ivory, earned him a nomination for Best New Artist at the 65th Annual Grammy Awards. And, if that’s not enough to get you interested, he’s an incredible dancer and live performer.

For a Latin-infused trap cut off his newest album, Ivory

For a midtempo, nostalgic track from his 2020 mixtape, Apolonio

II. Rina Sawayama

Japanese-British artist Rina Sawayama has been dubbed a “musical chameleon” for her versatile and unique style. Although hard to define, her music can be described as art pop, rock, and electropop, which reflects her own unique, multicultural perspective. Her songs also cover a variety of topics, tackling themes like family (and chosen family), technology, and cultural identity. Sawayama identifies as pansexual and has spoken in depth about how being both queer and Asian impacts her life. Apart from her music, she is well-known for her experimental fashion and style, having been featured in many fashion publications and gracing the cover of Vogue Singapore.

For a dance-rock song about healing from her most recent project, Hold the Girl

For a nu-metal cut from her debut album, Sawayama

III. Dreamer Isioma

Nonbinary Chicago-based musician Dreamer Isioma seamlessly blends funk, R&B, and psychedelic pop to create music that is uniquely theirs. Isioma’s international upbringing, including the US, Lagos, Nigeria, and the UK, grant them a distinct perspective that shines through in their music. Their music also serves as a platform to reach out to others that feel isolated and build community. They also have garnered an online community through documenting their journey with gender expression on Instagram and continue to talk openly about their struggles with gender norms.

For a song that takes a cosmic, free-spirited approach to life

For a track you might already know off their Sensitive EP

IV. Ryan Beatty

27-year-old singer-songwriter Ryan Beatty has collaborated with many popular artists including Tyler, the Creator and Brockhampton, but his talent really stands out in his solo work. Beatty writes music about love, heartbreak, and coming to terms with your sexuality. His songs take a raw, honest approach to the queer experience, talking about high school dances and crushes on boys. Dream pop and R&B influences add to the nostalgic and bittersweet tone, resulting in music that is deeply vulnerable and resonant.

For a track that talks about young, queer love from his debut album, Boy in Jeans

For one of his best features

Kayla Ignatowicz 2/7/23 Kayla Ignatowicz 2/7/23

A Snapshot of Selah C.: Radio K Short Circuit Event Opener

Let me set the scene: the venue is dark and cool, the air not yet hazy from the fog machine backstage. But it will be—and soon. Individuals hang back, holding full drinks and lingering by the edge of the pit. A friend leans over to another friend and whisper-shouts the obvious, the elephant in the room—“I’m so excited to see her!”. As if on cue, the dim lights give way to strobes that illuminate a figure emerging from backstage. She’s clad in an oversized fur coat that she sheds during her first song, revealing a sequined top almost as dazzling as the eager smile she flashes the crowd between her first verses. You’re at your first Selah C. concert and from the moment she picks the microphone out of the stand onstage, you’re captivated.

Selah opened Radio K’s third Short Circuit artist residency event with her ballad BLESSINGS. From there, she thoughtfully wove between slow, sensual songs, lyrical political anthems and high-energy tracks that got the crowd moving. She was seldom performing alone; during her 45-minute set she shared the stage with a 6-piece female dance troupe for a handful of songs, a local male producer for some dynamic harmonies, and an emerging trumpet player for emphasis. A few select pieces even directly encouraged audience participation—in the middle of her rhythmic Double Dutch, for example, she instructed attendees to get onto the dance floor and do the Double Dutch (a dance move she pioneered, mimicking the childhood jump-rope game). She spent a few minutes of the song encouraging the audience to give the Double Dutch a try. Under her tutelage, we all mastered the move before the song was over.

Golden was lucky enough to have gotten the opportunity to have a conversation with Selah C about her craft and what she feels it means to her community.

Golden: Selah, your performance was phenomenal. How did you get your start in the music scene?

Selah: So, I wrote and recorded my first song when I was 10 years old. It was called Don’t Bully. After that is when I really started getting into it and doing talent shows and stuff. I did my first talent show when I was in third grade?

Golden: How would you describe your relationship with music?

Selah: Oh, I would definitely describe my relationship with music as therapeutic. I give my music my emotions and my drive, so for me, whenever I’m making or listening to a song I feel like it’s my chance to really be expressive in ways I’m not able to be otherwise. It’s like my diary: some people write, some people paint, I just make music.

Golden: Some of the lyrics you performed were quite political!

Selah: I do try to incorporate a lot of political ideas within my music! For me, if there’s something that I’m very passionate about or something I feel the world needs to hear, music is like my toolbox for me to be able to communicate those ideas. I’m really passionate about things like equity within education and environmental justice; if I’m able to communicate my knowledge through my music, I’m hoping somebody will listen to it and be tempted to help or spread the message.

Golden: Your concert had a lot of community engagement! Is there a reason you gravitate towards that type of performance?

Selah: When I’m performing, I really feel like it’s important to connect to the audience because those are the people that are coming out to your shows! As far as community involvement is concerned, it’s really important to me to showcase the talent that’s here in the city. There’s so many great artists, especially young artists that are starting to branch out. I brought out a trumpet player named Cyrus and he’s still in high school; the dance group I brought out just graduated from high school last summer. It’s important to me to see the way that youth is rising up and bringing that talent to the surface. Especially in Minneapolis—we’re not really the biggest city people think of when it comes to music yet, but we really do have some of the best talent in my opinion. We just haven’t been showcased to the world yet. It’s only a matter of time before people within Minnesota really start branching out and the country gets to see what we have here.

Golden: Are there any musicians you look up to for inspiration?

Selah: As far as style is concerned, I am a really big R&B/Neo-Soul fan. A lot of people ask me, Are you a rapper? I really love R&B though—when you listen to it, it’s almost like you’re there watching the instruments being played or the people singing; it’s like you’re brought into that space. Growing up, I was really big on Kindred the Family. I love Erykah Badu—she’s by far one of my favorite artists. Sade—she’s more late 80’s, early 90’s, she’s a big one for me. OutKast, from Atlanta. And I really do enjoy Tupac. A lot of the pioneer groups and artists.

Golden: What’s your process like for collaborating with other talent?

Selah: A lot of communication, a lot of transparency. I really try to be thorough with my vision and my ideas. I like to make sure I’m connecting everyone together, too…I’m always checking in on people like, you know, with the show, but then also personally—how are things going? How’s that affecting what you’re doing here? Just really making everything flow together.

Golden: How do you connect to other artists in the Cities?

Selah: Usually through shows, like the Short-Circuit event!

Golden: Have you encountered any difficulties breaking into the scene at all?

Selah: I don’t want to say that it’s been a lot of challenges since I’ve been making music, just a lot of patience and realizing things don’t come overnight. Being a woman in hip-hop, there can be a lot of biases or inequalities because it’s such a male dominated sphere. There might not be men who take you seriously. You have to stand out more, so, like, putting in way more work than your male counterparts might have to. That was one of the biggest things for me: letting people know I have something to say, that I have talent.

Golden: How do you use your style, appearance-wise, in your self-expression?

Selah: I’m really big on my hair especially! I really feel like my curls define who I am, so a lot of the time I use my hair to represent my freedom and authenticity. I also do have a clothing line, Authentikally Me, which launched last year—it’s basically a manifestation of affirmations, so most of our clothes represent positive messages. I really want to empower people when they wear their clothes—like, for me, I like to wear clothes that I feel empowered by.

Golden: Do you have any other words for our readers?

Selah: I just want to say thank you to everyone who supports local artists, thank you to anyone who came out to the show! Support means the world to emerging artists.

Check out Selah C. on Spotify here! Thank you to Selah C. for a beautiful, thoughtful conversation and thank you to Radio K, host of the Short Circuit Event and college radio station working to promote up-and-coming artists locally, nationally and internationally.

Bianca Caputo 2/7/23 Bianca Caputo 2/7/23

Gully Boys: A Grunge Revolution

A new beginning is approaching the music scene in Minneapolis: the Green Room opened its doors in Uptown just last week.

The punk and rock scene in Minneapolis has stagnated slightly during the past years, with venues remaining mainly the same with an emphasis on grunge. However, the grand opening of the Green Room was truly something to behold. The venue boasts an impressive stage with excellent audio quality, several lounge spaces, two bars, and a seventies-nostalgic atmosphere. The opening featured several artists from around the community, including impressive performances from UMN student Colin Bracewell, the Scrunchies, Fénix Dion, and Denim Matriarch, along with the notable grunge-pop band Gully Boys.

Gully Boys is a band that continues to move against the grain to redefine music for the new generation and craft an impressive presence now reaching even beyond the Twin Cities. With impressive hits on their new EP such as Russian Doll and Favorite Son, as well as old favorites like Neopet Graveyard, they continue to dominate the conversation around changes in the scene.

In an interview post-show, lead singer Kathy Callahan listed a multitude of influences, including No Doubt, 90s R&B, 90s Rock, and (regretfully) Panic at the Disco. Though many of their influences are grunge, the band was quick to point out that they are not just a grunge band. They also utilize pop melodies in their music, with impressive guitar work from Natalie Klemond and Mariah Tim.

As a listener, I have found that they innovate in all parts of their work. They take what looks predictable and twist it into a new light you may have never considered. Their music contains an edge, exploring important issues and navigating the changing world we all face. Their music uses anger, excellent instrumentals, and emotional language to bring emotions up to the surface in a way that can only be described as cathartic.

The music is not the only thing extraordinary about this band.

Drummer Nadirah McGill was particularly opinionated about the twin cities scene and the ways they have made their way into the mainstream. During our interview, I asked them how the group's queer identity impacts their music. “I think for me, it's less like, ‘Oh, I'm making music because I'm queer.’ It's more so like, everything that we do, because we are queer people, is already queer,” they said. Within their songwriting process, the band described how their music comes from the struggles all queer people face in coming to terms with their identities and voices. The group continued to delve into their process, speaking about how at times during the process, they felt burdened with rules. At some point, they realized that this is what makes art so beautiful. There are no rules, and this is evident in their music as they experiment with beats, vocal layering, and song structure.

Not all experiences that the band described were positive. The scene in Minneapolis, like most subcultures, is predominantly white, straight, and male. Due to this, the band felt tokenized by the scene and was actively aware of the ways their identities were being used. Drummer Nadi spoke about how they mentally got over this hurdle with a certain mentality:“Okay, if you're gonna tokenize us… we're gonna just, like, blow your face off and actually be good,” they said.

The band continued to place a positive spin, however, describing how the scene has expanded in recent years making room for more girl bands and people of color. McGill finished with a positive remark about their experience, stating that “I do feel really fortunate that Minneapolis does love us, and it's really fucking cool,”

To any aspiring Twin Cities artists out there, the Gully Boys had several pieces of advice:

Allow yourself to suck! (It allows you to improve)
Be vulnerable
Stick together
Make things that bring you joy
Live, Laugh, Love!

All images credited to Nick Greseth

Lily Franz 1/24/23 Lily Franz 1/24/23

How Record Stores are Elevating the Twin Cities’ Music Scene

Record stores are a bigger deal than they may seem—here’s why.

Music is extremely powerful. Music unites, divides, and connects both individuals and communities around the world, including residents of the Twin Cities, the fourth-best music city in the U.S. according to Best Life.

Minneapolis is not only the historic launch site for the careers of iconic artists Prince, Bob Dylan, & Lizzo, but also an active music hub that offers everything from large concerts and music festivals to cozy live music performances and authentic record stores. Keep reading for a deep dive into these record stores, including the top recs and how they each represent a unique piece of the music culture in our city.

Electric Fetus

First of the batch, we have Electric Fetus. Founded nearly five decades ago in 1968 and the highest ranked record joint among three local media sources, Electric Fetus is regarded as “a staple of the Minneapolis music scene.” Prince once was a local at this hotspot–he even celebrated Record Store Day there days before his passing. Electric Fetus not only offers a wide selection but physically dominates the music presence of the city by taking up nearly an entire block.

*Photo courtesy of On The Grid neighborhood guide*

2. Agharta Records

Next up we selected Agharta Records, located on University Avenue in St. Paul. Featuring their “dig room” brimming with discounted deals, Agharta offers an eclectic array of new and classic records. Word on the block says this spot offers “the best selection of used jazz vinyl” in particular.

3. Roadrunner Records

Roadrunner Records takes the cake by buying AND selling—used AND new vinyl. Years ago, Roadrunner also held in-store live music events. Their flashy yellow building on Nicollet Avenue attracts many locals, but you can also find this gem at the Kingfield Farmers Market on Sundays to shop their selection even further.

4. Caydence Records & Coffee

Last but certainly not least, we have a more under-the-radar pick. Caydence Records & Coffee is a triple threat, offering records, coffee, and a live-music venue in the back to all customers. Residing in St. Paul, Caydence supports the local musicians of the Cities by consigning and carrying many of their pieces.

Record Shops are on the Right Side of History.

Minneapolis has an established reputation of fostering music of all genres, including rock, rhythm & blues, folk, soul, gospel, and R&B. In more recent years, EDM, country, and pop have evolved and entered the local music scene. This music hub did not crop up overnight: music-centric establishments have had a presence in the Cities since the 1850s, when Barber’s Hall was built. This groundbreaking concert venue was the first of its’ kind and most notably hosted composer Ole Bull, whose statue now stands tall in Loring Park. Since then, Harmonia Hall, The Pence Opera House, the Minneapolis Auditorium & Convention Center, and The Armory all serve as historically prominent landmarks of the cities’ musical culture. They unite musicians and fans, shaping the music ambiance of the area. Record shops, too, can be considered significant landmarks that bring together artists and music lovers.

The Cities are home to the record stores listed above, but to many more as well. The beautiful thing about this community is that each and every shop plays a role in defining the music atmosphere of Minneapolis and St. Paul. Each vinyl store features an eclectic variety of albums that can suit the preferences of any music guru. Record shops are key to the Twin Cities' music vibe by featuring records from countless groups and genres.

If you’re interested in getting involved, the Twin Cities Record Show works to prove that vinyl is a defining attribute of the music scene here. Taking place six times a year, fans can come out to enjoy records for sale, drinks, and company. The most recent show this past Saturday was held just minutes away from campus at the Minneapolis Cider Company—and admission is free all day!

Thumbnail graphic by Lucy Bowman

Sarah Wojtasiak & Ella Anderson 1/21/23 Sarah Wojtasiak & Ella Anderson 1/21/23

A Conversation with Pit Stop: Radio K Short Circuit Event Headliner

From bird sounds to harmonizing, Pit Stop told us everything we needed to know about who they are & why they rock.

The Short Circuit concert series, hosted by Radio K and held at 7th Street Entry, is off to a roaring start to its four night artist residency. The opening show on January 9th featured headliner Pit Stop and opening bands Buffalo Galaxy and Gut Czech. This event, described by Radio K as a “love letter to the local music scene and the people shaping it”, granted the audience an unforgettable music experience comprised solely of local artists. Minneapolis’s iconic venue, 7th Street Entry, set the tone for an intimate night filled with musical energy—particular that of the bluegrass, country rock, and acoustic indie varieties.

Pit Stop performed various songs from their self-titled debut album: from their lively and upbeat song “I’m Smiling”, to the melancholic “Good at Being Alone” (which highlighted the harmonies of lead singers Sarah Mevissen and Jake Balistrieri particularly well). Midway through the show, the band hosted a raffle for the crowd, where a bottle of the band’s signature hot sauce–“Hot Slop”–was awarded to one lucky audience member. From the moment the band set foot onstage to the closing song, Pit Stop’s concert at 7th Street Entry was both sonically engaging and lively. Golden was lucky enough to have had the opportunity to engage in a thoughtful conversation with the band and various aspects of their musical career.

Golden: So, Pit Stop—where did you get your start? Where did you all meet?

Jake: Sarah and I met in a punk band we played in together briefly a couple years ago…that was how we met. When we started doing this project, the guitar player Pat and I kind of started jamming a little bit. And I was like, hey, my friend Sarah would be a great addition to this team. And that's kind of how we started.

Golden: How would you describe your style of music to someone who’s never heard it before?

Sarah: Normally, I just start by saying it's country rock music.

Jake: Yeah. It's like country with like—it's like rock with a little twang of country.

Golden: Who would you say are some of your musical influences?

Jake: Some of my biggest country influences are Kitty Wells…from the 70s, Townes Van Zandt is a big one. And then old country stuff like Wilco and The Uncles—big influence for sure.

Sarah: We all listen to a very wide variety of music, so I think that helps and comes across in our music. For me, Fred Neil is a huge influence. His whole catalog—his guitar playing, his vocals, songwriting, all of it. I also really like The Stranglers, which are a post-punk band from the late 70s. You know, a combination of that kind of stuff.

Jake: The two part harmony thing—I got into The Louvin Brothers kind of early on. They were a big influence, doing the close harmony type work.

Golden: How would you say your musical style reflects in your clothing or what you wear for shows?

Jake: Well Sarah and I do a lot of the close harmony type thing and we're almost always singing together, so we kind of try to coordinate our outfits a little bit to match color-wise. We used to wear strictly, like, oh, she wears a blue dress, I wear a blue shirt, just to kind of emphasize the two parts together—to kind of draw people's eyes to that set of facts.

Sarah: The style that we have collectively really does match the sound in a way, because we’re not straight-up country and we have that alternative side to it. And, I guess, the way that we dress too—we don't do like the straight up country look or, you know, always in hats or cowboy boots, but have some sort of hint of that in the style. Just more of an alternative kind of look.

Jake: Like, in the same way that we're not completely just straight country, we don't dress straight country. We don’t do rhinestone cowboy hats.

Golden: What has been your favorite band highlight so far?

Jake: Our favorite highlight was probably when we played at First Avenue main room. We opened for Mdou Moctar and Parquet Courts—that was a pretty big milestone. It was the biggest crowd I've ever played…and the most nervous I've ever been for a show.

Sarah: And playing at such a historic place, being there before the show and seeing the whole staff—everyone's just really on point. A well-oiled machine.

Golden: What is your favorite song to perform to an audience?

Jake: I kind of prefer the more rockin’ ones. They're just more fun, you can move around more. People know that we're a country band and come in with that mindset of, like, oh, it's gonna be more mellow, but when we play a more high-energy song I think it catches people off guard, which makes it a lot more fun.

Sarah: Yeah, yeah. Patrick says "I'm Smiling,” and I like playing that one too, because every time it's different in the delivery. There's more openness to change.

Jake: More theatrical.

Sarah: Yeah. And changing up the vocals or the emotion on whatever I'm feeling at that moment. We have a lot of new songs too that are always fun to play.

Golden: Do you have any pre show rituals that you do as a band?

Sarah: We did start listening to bird sounds.

Jake: We like to all get our phones out in the green room, and we all play bird sounds from our phones and create a beautiful atmosphere. I love that great mediation in the jungle.

Golden: What's your process for writing songs like? Do you do it separately and come together as a group, or do you really collaborate on them one at a time?

Sarah: Jake and I write a lot of songs separately, and then we'll send them to each other, send them to some other members in the band. And sometimes we'll practice together beforehand, just like figuring out the structure of it or figuring out harmonies, that sort of thing. Sometimes we just bring it to the whole group. And everyone just fills their parts in and then contribute to how the song is going to progress.

Jake: In other bands I’ve been in, the vocals or the lyrics are the last thing to come, but because Sarah and I are doing harmonies pretty much the entire time, we have to work that out first because you can't just jam on harmony – well, you can, but everyone needs to know the words and stuff. So that needs to be squared away from the get-go.

Golden: What has been your biggest challenge you have had to face and overcome as a band?

Jake: Well, we had our first show two weeks before the pandemic really first started. So the biggest challenge, I guess, was deciding what we were even going to do, if [the band] was ever even going to happen. Yeah…it was just a confusing, tough time. And if we didn't have that first show, we might not have even kept going, but luckily we had one really good go to kind push us through, momentum-wise, when we were still excited about the band—even though we didn't know when we'd ever play a show again.

Golden: What did you guys do during the lockdown to stay connected as a band?

Sarah: We met, that was our pod sort of thing…or that's what people were calling it back then. And, just to stay sane, to have that release, and to see other people in a small, obviously concentrated, group. Having that outlet really helped us a lot with everything everyone was going through mentally during that time. So, yeah, we just played.

Jake: It was something to look forward to—that's when we really wrote our first record. We would just get together a lot, piece by piece, and it was different writing the first record without playing any shows at all. You know, it's kind of an unusual way to go about it. You don't really know how things are gonna go over, but it worked well ‘cause we had unlimited time.

Golden: How has your experience in the Minneapolis music community been and how has it influenced you guys as artists?

Jake: It's been really positive, people have been really cool. And, really, they've embraced us quite a bit. Like, it's cool that we're not the only other country players around—I'm from Milwaukee originally, and I didn't know of too many country bands at the time but, living here, there are several other country players and there's lots for us to do.

Sarah: I've been going to shows for a long time, so it feels really cool to be playing the stages of venues that I've always been going to. There's always been a really great music community here.

Jake:A lot of different genres of band and musician have taken us in, and no one's really pigeonholed us. Our band has been able to do a lot of different kinds of music, punk and all sorts of stuff.

Sarah: I've also been thinking a lot about how a band’s success is not just their own…it really has been a community effort. With people, with other bands reaching out to play with us, like promoters or venue programmers or Radio K reaching out to us. And so, I've been thinking about that a lot and how great it feels to have a bunch of people that really like [the band]. Yeah. That wouldn't exist without other people, you know, believing in it.

Golden: Are there any other upcoming projects that we should keep an eye out for?

Jake: We're hoping to do a little EP in the spring and release some stuff from there, maybe some music videos and whatnot. We're also gonna record our second full-length album this fall!

Sarah: We want to put more out there. And then hopefully a music video for “Smiling”.

Many thanks to Pit Stop for being as wonderful a group to interview as they are to see perform!

Golden Magazine will be featuring an artist from the Short Circuit event on January 23rd as well! Because Radio K promotes local music of all genres, this event will particularly highlight rap, trap and hip-hop. Come find us in the audience there—and get your ticket here.

All images captured by Ash Gustafson.

Omar Apollo