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before and details that may or may not have relevance for the day ahead, and in the midst of it all, I hopped into the car and listened to "Cherries."
"Cherries" is an exercise in therapy; the 18-year-old Chicago-native/LA-transplant believes “music is intended to be an emotional journey." Sonically, “Cherries” really cleared the air for me, mentally speaking. The EP starts off with “Nevermind,” which immediately gave me impressions and sensations of a sonic palette that was not what I had anticipated, and I was pleasantly delighted by it. Opening with a subdued guitar riff, Joy appears to be embarking on a bit of joint therapy as she slowly makes her way through the verse. This is only to say that the emotion in her performance really stands out. Her confidence shines again as she declares that she's “not the one.” As we make our way through the song, it feels like she offers up more and more of her vulnerability, which for me is summed up with the following line: “but I wish I was.” It is so hard to allow yourself to be vulnerable, especially for a young artist. However, being vulnerable is a key to forging real connections with people. Joy’s music is pretty focused and mature stuff. There's something about the choice of snare drum that really gets me going with this song it's a digitized sound that seems to have the tail end cut off of it and it smacks you in the face as the song progresses, much in the way moods like these tend to smack our hearts and minds.
read, and sophomoric. A big part of that tendency is probably because singing about love is one of the oldest lyrical topics in existence. However, Joy manages to jump over the trap, avoiding the pitfalls that consume so many singer-songwriters by remaining vulnerable, confident, and witty. “Carbon Copies” shows Joy flexing her artistic skills and mature perspective. More importantly, it displays a contagious confidence. She crones, "you think you're too good for me…” but ends with “I'm too good for you," really nailing the hook. The sonic atmosphere of this track takes a thicker, darker turn than the previous two.
This EP kind of culminates with “Cherry Bomb,” and some of you out there might say, “of course, obviously,” but I wasn't sure at first. Joy pushes the pop to another level with strong instrumentation and, frankly, another song of gorgeous vocals that really puts me in an ethereal and dreamy mental headspace that allows me to shed stress. I say that it “kind of” culminates the EP, considering the energy and dynamics of the track. The final song, “Posiedon” is also a strong pop-offering, but I felt myself a little emotionally winded after “Cherry Bomb.” I had to listen to it twice in a row, because I wasn’t really ready. My favorite line is "one heart broken, one heart to go." Posiedon is simultaneously majestic and powerful. It is aptly named and a fitting end to the journey. Joy leverages her voice with uncanny control and efficiency. I feel able to identify some of her influences I’m familiar with, such as Lorde and St. Vincent. Her music excites me because she is clearly making a conscious effort to blend and make something authentic. Her delivery feels sincere. The former GRAMMY Camp attendee has successfully achieved her goal of allowing the listener to “get inside her songs and recognize moments in their own lives.” I couldn’t have said it better myself, but will try. For me, this type of songwriting is of the highest level. It takes effort and, more importantly, a real “touch” or “sense” for what we’ll call “word-play” when it comes to lyrics. New listeners of Julianna Joy will cherish experiencing “Cherries.” This is music to leave your lover to. This is perfect music for when you have a long drive ahead. “Cherries” is ripe to accompany heavy moments and can lead the listener to catharsis. It has a home in every hopeless romantic’s Spotify library. The self-proclaimed “author with musical abilities” has already become a seasoned songwriter. “Cherries” creeps down into the psyche of each listener. 
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Lucy establishes her beautiful voice among the instruments, taking wonderful rhythmic turns alongside the instrumentation before allowing them to bloom and expand pushing the song forward. "Needless" follows, showing the band's maturity and attention to detail. It is declarative, yet vulnerable, a perfect offering to follow the first exposition. These types of production decisions are those that make heavily profound albums.
It takes time to set up emotion, and as with any solid album, even more time to take the listener on a journey. The Knights Project takes time with their songs without wasting a drop of it. Guy Hayes joins for vocals on "Mollusc," and is a pleasant surprise. Hayes harmonically snuggles right next to Lucy, paying great attention to detail. The Knights Project moves throughout The Shoreham Sessions with focus and control. "Lung" gives a bit of a surprise with its change throughout, and again, it is very welcome and well-placed. Lucy's lyrical maturity can't go unnoticed. As I make my way through the sessions, I long to know a bit more about her influences. "The Land of the Dead," with its phantoms, gives me a bit of personal imagery. Rather, I mean I derive my own personal meaning from it, which is something all artists should hope for. That's not to say that listeners shouldn't pay attention to messages, but it sure helps songs stick in people's heads when they can attribute new meaning. That is a difficult task to accomplish; it takes wit. The Shoreham Sessions is as sharp as it is beautiful; it will disarm and decompress listeners. Each note peels away another layer revealing a deep, well-thought-out, sincere recording worth sharing with loved-ones. 
Their debut EP, What Is Living Above the Light, is a waking dream, pulling the listener into an ethereal soundscape. "Nebulou" makes an appearance on the 6-track EP, followed by what has become another favorite track, "Now and Ever." The track is a continuation of the otherworldly vibe, deeply drenched with delay, but adds the driving support of a kick drum to move the song forward. Hannah's vocals are syrup poured over the track: thick, sweet, and rich. She sounds both fresh and familiar, fabricating a nostalgia that you can't quite place.
Regarding instrumentality, I feel like the execution of the horns is perfect. Tonally, Hanoi Ragmen are adventurous without being "extra." At times, I find myself thinking I am hearing completely different instruments, but alas, it is simply a wonderful, creative job with the horns in the song and mix. This song seems right at home on stage, with infinite spacing for solos or "rides" as they are often referred to. There is almost a thematic quality to the progressions the Hanoi Ragmen employ, representative of a mature collective that has an understanding that songwriting is and should be comprised of more than one fun element. Hanoi Ragmen provide us with a layered insightful piece. Isaac Adhoot, Kostia Howard and Marian Morton deliver strong horn parts, which, alongside a solid rhythm section, give a certain swagger that you just can't fake.
"Creatures" is a track, recently released via 72RPM Records, with Rachael Dunn (SirenSong) providing vocals. Beginning with a driving rock beat and crunchy guitar, Joy adds spacey layers to the composition as Dunn's bright vocals make their entrance. The song starts out sonically sweet, but the lyrics create a creepy gotta-get-outta-here vibe, becoming more and more haunting as the atmospherics expand and float into outer space.
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Rachael Dunn
"Quarry" is the second single from the forthcoming record. The song begins with a lush sonic scape; electronic elements swirl around a lazy, but but driving beat. Jeter's vocals compliment the atmospheric track - an added calmness to an already mellow sound. "Quarry" is both relaxing and playful. It's a peaceful song for those who need a break from the daily grind. Jeter sings an invitation to the listener, "if your head is heavy, come float with me," and I suggest you join her.
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Who are your biggest influences; who inspires you?
I’m very inspired by the female R&B electro-soul genre. Artists such as Kehlani, Ariana Grande, Kiana Lede, Lolo Zouai, Ella Mai etc. I think these artists have the perfect combination of deep lyrics, strong vocals and badass attitudes. I try to mix this with my more introverted, dark and weird beats, where I talk about how sad I am, haha. When I wanna have more fun with music, the old school late 90’s/early 00’s girl bands give me my strength and inspire me to make girl power anthems that are not just “for me.” Why did you start making music? It’s the cliche - you guessed it: I’ve always made music. I started the Fjer alias in New York when I lived there for 5 years. This is where I came up with the name, released my first EP, found the people to work with and really started to believe in myself. It was so inspiring being around people on the constant grind. I felt accepted in a different way and started sharing my music on a bigger scale. I really owe it all to New York, for beating me down and building me back up. That city is nuts. Your LP "You Again" was released at the end of 2018, what influenced the sound and songwriting for the tracks? One of the first songs I made for the album was the song "You Again." I wrote it because I always had this voice in my head telling me I wasn’t good enough. Then I really loved that theme and started writing more songs about different insecurities in life, love, my career etc. All of a sudden I had like 5-6 songs about this in different shapes and forms. Besides my own production work changing a lot I also had a revelation when I started working with producers Lennart Rasmussen (Kill J, etc) and Peter Anthony Red (Lucy Camp, owner of the label Quintic, etc). They helped me morph my sound into something a little more polished and approachable. I collected songs for the album over three years and all of a sudden it just felt like it was ready to share. You've also released a new music video for the single, "Roll Call." How was that conceptualized and completed? "Roll Call" was always such a fun song to me, so I really wanted to make a music video that reflected the vibe I had when I made it (with Peter Anthony Red). I was very inspired by the style of music videos and concepts from the late 90’s/early 00’s - artists like Destiny’s Child, TLC, Britney Spears, Missy Elliot, etc. That Hype Williams-era of golden videos. Then I started tracking down different items from that time online and in second hand stores. It was honestly the prep for the vid that took the longest. Try to track down an inflatable couch and UFO pants in 2018, haha. I got my girls, Alida Tull and Emilia James, to come over and be by my side - to really get the girl power vibe out. We had so much fun shooting it and I think it comes across in the video. What's your songwriting process? Very different from what kinda mood I’m in. Currently I do a lot of quick beats and instrumentals, 30 minute or 1 hour challenges for my self. Just to get something out of my head. I also write notes on my phone constantly when I get ideas for lyrics. I hum melodies and record them on my voice memo app. And most of the time it just all comes together when I sit down and try to collect some of the ideas. I also love collabing with other producers - the songs always come out completely different than if I made the beat. That mix of processes is so important to not just repeat yourself all the time. Is there a hidden meaning in any of your music? Nope, not really. I write very personal lyrics, they’re almost always about something I’ve experienced. If they’re more abstract it’s usually cause they’re about a fantasy, dream or about something I picture someone else thinking. What are your future plans for your music? I’m releasing singles and videos from the album this year and then I might drop a new song or two in the fall. Just creating right now and trying not to get too tied up in projects. I wan’t this time to be free and open, and if I wanna drop something - I’ll do that. Tell us something quirky about yourself. I have a cat name Buffy (like the Vampire Slayer) and I make a mean dolphin sound. Lol… that’s really lame.
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Photos by Peter Anthony Red
"Your Enemy" is SHAR's latest single, released in February this year. The track begins with ambient industrial sounds, which mutate into an atmospheric layer as the composition builds. A synthy bass sound pushes the song along, accentuated by kick and snare hits, waiting for SHAR's vocals to enter. When the vocals do come in, they are accompanied by keys, causing the track promptly bloom into lush harmonies. "Your Enemy" gives off some serious trip-hop vibes, resembling a stylistic blend of Massive Attack and Glasser. Listen to this track when you find yourself wanting to relax and deal with the nuances of a love/hate relationship.
Tomorrow we will see the full release of his new album, Abloom, on Shore Dive Records. For today, we'll enjoy the single, "Joab." The song begins with a twangy pop-rock guitar riff that instantly generates a nostalgic 90s atmosphere and sets an upbeat pace. A steady rock beat, playful bass line, and Phil's vocals arrive to propel the track forward. Additional acoustic and electronic elements come in and out of the track, pushing and pulling to accentuate lush sonic layers. "Joab" is a song to listen to on a rainy summer day, when rays of sunlight sparkle through parting clouds. The Raft will leave you with a feeling of nostalgia and the urge to take a road trip.
What should we know about your new project, KARLYPSO?
KARLYPSO is a departure from Kinky Karl, sort of an exploration of my roots and what has sonically been growing inside me the past year. I plan on releasing a KARLYPSO EP this summer. Who are your biggest influences; who inspires you? My biggest influence is Bjork! My biggest inspiration would have to be John Lennon, we definitely need more "Lennons" in the world today. As far as KARLYPSO goes, my influences vary: Ex:Re, Cigarettes After Sex, Mazzy Star, and Chillwave music in general. Why did you start making music? My father was a musician and I was raised with musical instruments around me. I guess it's in my blood, but from around the age of 13 all I wanted to do was experiment with new sounds and make music. I was in choir in elementary and one day they had kids from high school come and show us different instruments. This one girl played the Adams Family theme song on bassoon and I had made my choice, so from the 6th to the 8th grade I played bassoon in band at First Colony Middle School. After that I moved in with my Dad and he bought me a Jimi Hendrix Fender Strat replica and taught me guitar while my uncle taught me piano. Then I went off on my own unique way of approaching music and instruments. Your single "Rat Race" was recently released, what influenced the sound and songwriting for the track? Rat Race was inspired by events in my life that I wanted to communicate through music. The sound was influenced by Ex:Re and the song writing was influenced by Cigarettes After Sex, as well as the vocal style. You're active with visuals to go along with your music - how do you conceptualize and complete your videos? Usually my songs have colors and emotions attached to them. I guess being an artist, I am naturally thinking about those things while making the songs. Sometimes I have a set vision but most of the time I get on the computer and spontaneously start working to let the song show me what it wants to be. Completing videos is always challenging because as an artist I just don't know when to stop or if it is complete, that is probably one of my biggest challenges. What's your songwriting process? I always make the song first, listen to it for a week and then the lyrics come to me naturally. Sometimes I will have a lyrical idea and make a song for that, but that is very, very rare. Is there a hidden meaning in any of your music? Yes! What are your future plans for your music? I plan on trying to make my own label to support artists like me who are being ignored by main stream media as well as start some kind of team to promote events and artists, etc. As far as my music, I would like to reach as many people as possible and spread good vibes/love/knowledge to try to heal the world in my own unique way. What would be your first question after waking up from being cryogenically frozen for 100 years? Have ya'll resurrected Jimi Hendrix, Janis Joplin, and Jim Morrison yet!?
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