Tag: Stereogum

New Video: The Shimmering, Early 80s MTV-Inspired Visuals for Moaning’s “Artificial”

Comprised of Sean Solomon, Pascal Stevenson and Andrew MacKelvie, the Los Angeles, CA-based trio Moaning have spent the past few years crafting a moody and angular sound that draws from shoegaze, slacker rock and post-punk which has received attention both nationally and internationally from the likes of The Fader, The Guardian, DIY Magazine, Stereogum, and others. 

Building upon the growing buzz that’s surrounding them, the Los Angeles-based indie rock/post-punk trio’s highly-anticipated self-titled, full-length debut is slated for a March 2, 2018 release through Sub Pop Records. The album’s fourth and latest single “Artificial” possesses a decidedly familiar post punk sound reminiscent of Joy Division, as well as contemporaries like Precocupations and others, complete with an anthemic and directly infectious hook; but just underneath the surface, the song bristles with a tense, self-awareness of artifice, superficiality and ugliness. 

Directed by directorial team A Stranger, the recently released video for “Artificial” draws from early 80s MTV videos — and appropriately, it was shot on 35mm film, complete with tight zooms that follows the band, dressed completely in white as they play the song in a house covered in tin foil, filled with fake plants. At various points, the bandmembers faces are distorted and mirrored in ways that are trippy and somewhat disturbing. And in some way, the video continually points out artifice, insincerity and superficiality, while suggesting that there’s ugliness and uncertainty just beneath. 

New Audio: Jay Som Releases Previously Unreleased Single from Her Critically Applauded Debut

Melina Duterte is an Oakland, CA-based singer/songwriter, multi-instrumentalist and producer, whose solo recording project Jay Som received national and international attention last year from the likes of NPR Music, Pitchfork, Rolling Stone, Billboard, Stereogum, Paste, Consequence of Sound, Entertainment Weekly, Esquire, Spin, Newsweek, Exclaim!, Under the Radar and a number of others elsewhere.

Building upon a growing profile, Duterte, recently announced the release of two previously unreleased songs that were recorded during the Everybody Works sessions as a 7 inch single titled “Pirouette”/”OK Meet Me Underwater,” that will be officially released both on vinyl and digitally on January 26, 2018 through Polyvinyl Records. Both of these tracks were made during the spring of 2016 – the first demo stages  for Everybody Works. They were fun to write and record but felt out of place on the track list during the finalization of the album. These tracks remain close to my heart and I’m really grateful they’re finally out in the world,” Duterte explains press notes about her soon-to-be released 7 inch single. And as you’ll hear on A side single “Pirouette,” Duterte specializes in a jangling, hook driven, 90s alt rock inspired sound, reminiscent of The Breeders but with an incredibly bold yet breezy self-assuredness.  

New Video: Dream Wife’s Dystopian Anime-Influenced Visuals for Anthemic New Single “Hey! Heartbreaker”

Deriving their name as a commentary on society’s objectification of women, the London-based punk rock trio Dream Wife, comprised of Icelandic-born, London-based Rakel Mjöll (vocals), Alice Go (guitar, vocals) and Bella Podapec (bass, vocals) met while the trio were attending art school in Brighton, UK — with Mjöll, Go and Podapec forming the band in 2015 as part of an art project conceptualized around the  idea of a band born out of one girl’s memories of growing up in Canada during the 1990s.  And since their formation, the trio quickly developed a national profile, as they’ve received critical praise for their earliest releases and their live shows from the likes of NPR, DIY, Stereogum, Nylon, Entertainment Weekly and others. Adding to a growing profile, the trio have toured across the European Union, opened for Sleigh Bells and The Kills during their respective US tours, and have played a number of the world’s biggest festivals, including SXSW.

Dream Wife’s highly anticipated self-titled debut is slated for a January 26, 2018 release through Lucky Number Music and from the album’s latest single “Hey! Heartbreaker,” the British based punk trio’s sound features stomp and shout in the mosh pit worthy hooks, fuzzy and angular guitar chords and a steady backbeat in a fashion that’s reminiscent of Is Is and Fever to Tell-era Yeah Yeah Yeahs and Elastica, complete with a brassy, kick ass and take names self-assuredness and bratty mischievousness at its core. 

Animated by Joe Prytherch, a former art director of Boiler Room, best known as Mason London, the recently released video envisions a dystopian yet familiar future inspired by anime, Akira, Josie and the Pussycats and Jem, in which the members of the band are depicted as robot performers held in a sleazy bar against their will, where they perform in front of bored customers. But when we catch them in the world of the video, the trio violently escape and lead the police through a breakneck escape from the city. 

As the members of the band said in press notes about the video and its concept, “We were super excited to work with Mason London to bring the world of ‘Hey! Heartbreaker’ to life. Collaboration is integral in our approach to Dream Wife, and we encourage different creative ideas and paths to mix with our own vision.

“It’s uncanny to watch these mechanical, parallel versions of ourselves rock out and then break out. We like to think that in another reality our robot versions are continuing their adventures; perhaps in the forest, perhaps plotting for a robot revolution, perhaps playing wild, secret rock shows to other robos.”

Throughout the past year or so, I’ve written a bit about the genre-defying, world music duo Xylouris White, comprised of Melbourne, Australia-born, New York-based drummer Jim White, who’s best known for being member of the internationally acclaimed instrumental rock act Dirty Three and for collaborating with a number of equally renowned artists including PJ HarveyNina NastasiaCat PowerBill Callahan a.k.a. Smog and others; and beloved Crete-born vocalist and lute player Giorgos Xylouris, the son of renowned vocalist and lyra player Psarantonis Xylouris, who is best known best known for leading the Xylouris Ensemble.

Interestingly, the duo can actually trace their origins to when the renowned Cretan and his ensemble were touring Melbourne in the early 1990s. At the time, White was a member of avant rock band Venom P. Stinger, when he had met Giorgos Xylouris, who would later collaborate with the Dirty There whenever he and his Ensemble were touring Australia. Unsurprisingly, the collaboration with Xylouris and the members of the Dirty Three was based on a healthy, mutual admiration of the elder Xylouris and his son’s work, which managed to influence the Dirty Three’s sound and compositional approach.

Strangely enough, although White and Xylouris had been friends and collaborators for more than 20 years, it wasn’t until 2013 that they decided that they should directly collaborate together, a process that was accelerated when the duo played together at a Nick Cave curated  All Tomorrow’s Parties festival. The duo’s long-held admiration of each other’s work and their friendship have naturally found a way to influence everything about their creative process, revealing a mischievous and deep simpatico in which each musician intiutively knows when it’s time to lead, when to follow backwards and in heels, as the old saying goes. when to coax more from each other or when to hold back– but underneath there’s a jazz-like sense of unfettered and effortless improvisation of two old masters at their craft.

Unsurprisingly, Goats their debut effort together was indebted to their unique creative approach, which Giorgos Xylouris has poetically described in press notes as being ““Like goats walking in the mountain. They may not know the place, but they can walk easily and take risks and feel comfortable. Really, the goats inspired us.” The duo’s sophomore effort, Black Peak continued the goat analogy, although the album’s title was derived from one of Crete’s most famous and beautiful mountains; however, the album, which was produced by Fugazi‘s Guy Picciotto and was “recorded everywhere,” as Xylouris joked in press notes, found the duo expanding upon their sound as the material possesses a subtly modern take on traditional sounds and motifs — at points sounding as though it nodded heavily at classic rock, punk rock and jazz, as you’d hear on album singles “Black Peak,” and “Forging,” both of which are two of my favorite songs off that album.

Now, as you may recall, the duo’s highly-anticipated third, full-length album Mother is slated for a January 19, 2017 release through Bella Union Records, and as Xylouris said in press note about the duo’s new album “Mother is the extension of Goats and Black Peak. Three things, all part of a whole. Goats are mothers, Zeus was raised on Amaltheia’s milk, Black Peak is Mother Earth . . . Mother Earth is the mother of everything.” As Xylouris adds “a theme of the album is the significance of simplicity and a child-like approach. So, we connect mother and child and play instruments as toys. Xylouris White is still gestating.”

Mother‘s first single “Only Love” was a rollicking and passionate stomp that consisted of White’s propulsive and forceful drumming, Xylouris’ dexterous and heavy metal guitar god-like lute playing and an infectious hook paired with Xylouris’ sonorous baritone. And while possessing a rare mix of urgency and a deceptive simplicity, the song further reveals the duo’s unique chemistry, as it features a playfulness as its core. The album’s latest single “Daphne” is a gorgeous yet meditative song that while building up to a explosive climax, manages to be a swooning declaration of love — a love that may be unrequited, but interestingly enough, as Xylouris explained to Stereogum, the song actually goes back to his time with Xylouris Ensemble — or roughly sometime in the early 90s when they first met. And as Xylouris admits, the duo had discussed recording a version of the song featuring their arrangement — lute and drums. The lyrics were written by Mitsoo Stavrakakis and are translated into English below:

It’s a song following us a lifetime
It’s a love song and the lyrics say

I’ve got your love roots in my heart,
And your blossom in my mind

I float in your scent
Because your scent is beautiful

The duo will be embarking on a series of Stateside tour dates to support the new album, and it included a February 28, 2018 stop at Murmrr Ballroom. Check out the rest of the dates below and if they’re in your town, I’d suggest catching these two old masters.
Tour Dates
Feb 23 – Portland, ME – Space Gallery
Feb 24 – Portsmouth, NH – as3
Feb 25 – Providence, RI – Columbus Theatre
Feb 26 – New Haven, CT – Cafe Nine  
Feb 28 – Brooklyn, NY – Mrmurr Ballroom
Mar 1 – Baltimore, MD – Creative Alliance at The Patterson
Mar 2 – Harrisburg, PA – The Cathedral Room
Mar 5, 12, 19, 26 – Los Angeles, CA – Residency at Zebulon
Mar 15 – Portland, OR – Holocene
Apr 3 to 8 – Iowa City, IA – Mission Creek Festival 

New Video: WINDHAND Releases Ominous Visuals for Doom-Laden New Track “Old Evil”

Currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums), the Richmond, Virginia-based doom metal band WINDHAND was founded back in 2009, and with their 2010 practice space, two track CD, the band quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath.  2012 saw the release of the doom metal band’s self-titled debut, which became an underground hit and sold out of multiple vinyl pressings within a few months. 

By the following year, the Virginia-based doom metal band signed to Relapse Records and after a busy touring schedule, they collaborated with fellow Richmond-based band Cough on a split single “Reflection of the Negative,” which was released to critical praise from the likes of Pitchfork and others. Building upon the growing buzz around them, the members of WINDHAND released their sophomore effort Soma to critical applause and attention from Stereogum, Spin, LA Weekly, Revolver, Invisible Oranges, MetalSucks, Metal Injection, Rolling Stone and NPR — with Pitchfork naming the album as one of the third best metal releases of the year. Adding to a growing profile, the band also spent the course of 2013 and 2014 touring throughout North America, Europe and Australia with Sleep, High on Fire, Dead Meadow and Kvelertak, as well as playing a number of major festivals including Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest, before ending that period with a split album with Swedish doom metal act Salem’s Pot, an effort praised by Noisey. 

2015 saw the release of the band’s Jack Endino-produced, third full-length album, Grief’s Internal Flower and unsurprisingly, the album, which featured album singles Crypt Key.” and “Two Urns” further cemented the Richmond, VA-based  reputation for crafting punishing, sludgy, and murky dirges with enormous power chords. 

Now, it’s been some time since I’ve personally written about WINDHAND but interestingly enough, they’ll be releasing a split album with fellow Virginians Satan’s Satyrs, which Relapse Records will release in February 2018, and the split album’s first single is the blistering, forceful and mosh pith worthy “Old Evil” which prominently features thundering drumming, some impressive, psych rock meets metal god-guitar work and soaring, anthemic hooks that belie the lurking evil within the song. 

Edited by by Jordan Vance, the recently released video for “Old Evil” features footage of the band shot as though it were filmed don film negatives, superimposed over equally ominous footage of nuns by Stonehenge, mountains that seem to undulate before the viewers eye, collapsing icecaps and the like. 

With the release of her self-titled, full-length debut earlier this year through Smalltown Supersound, the London-based electronic music artist and producer Kelly Lee Owens has quickly exploded into the international scene, as she’s received attention from the likes of Pitchfork, Rolling StoneEntertainment Weekly, Stereogum and other— and interestingly enough, she’s ending a breakthrough year with a sleek and retro-futuristic-leaning cover of Aaliyah’s “More Than A Woman,” (which you can check out below), reworks of Mount Kimbie‘s “You Look Certain” and Tegan and Sara‘s “Soil Soil,” and a deluxe edition of her full-length debut, which will include bonus tracks and is slated for release on Black Friday.  And to celebrate the release of the deluxe album, Owens and Smalltown Supersound released “Spaces,” a bonus track from the soon-to-be released deluxe album, and the single will further cement the British electronic music artist and producer’s growing reputation for crafting eerily spectral synth pop  — but interestingly enough, the single subtly reveals an artist and producer, whose sound also possesses elements of techno, and krautrock paired with deeply introspective lyrics.

 

Live Footage: Up and Coming Portuguese Act Vaarwell Releases a Gorgeous and Eerie Cover of Radiohead’s “Exit Music (For a Film)”

Currently comprised of Margarida Falcão, Ricardo Nagy and Luís Monteiro, the Lisbon, Portugal-based indie pop trio Vaarwell, derive their name from the Dutch, vaarwell, which in English translates into farewell — and interestingly enough, the band can trace their origins back around 2014 to when the members met while studying music production. And with the release of their debut EP Love and Forgiveness, the Portuguese trio received attention both across their native Portugal and elsewhere for an minimalist and ethereal sound; in fact the trio has been included in 2015’s FNAC Best New Talent Compilation, named Tradiio‘s “Artist of the Week,” played at the renowned Portuguese music festival NOS em D’bandana and were commissioned by by French designer Philippe Starck to write and record a track for his exhibition at the Groninger Museum during Eurosonic Nooderslag Festival.

Building upon a growing profile, the trio released their highly-anticipated full-length debut Homebound 456 earlier this year, which received airplay and praise from the likes of BBC Radio 1’s Huw Stephens, Stereogum and Crack In The Road among, and others Recently, the band released the third single off their full-length debut — and interestingly enough along with that, they also released a gorgeous cover of “Exit Music (For A Film) off Radiohead’s critically applauded, seminal album OK Computer, which emphasizes the song’s plaintive ache and dread while revealing a subtly different take on a familiar song, as the Vaarwell rendition is based around a somewhat fuller arrangement featuring ominous synths. 

New Audio: Fuck Buttons’ Andrew Hung Releases a Primal New Single

Worcester, UK-born, Bristol UK-based electronic music artist, multi-instrumentalist and producer Andrew Hung is arguably best known for being one half of renowned electronic music duo Fuck Buttons with Benjamin John Power, an act that can trace its origins to when Hung and Power began collaborating together to create a soundtrack to a film that Hung had made but immediately after forming Hung and Power had started playing live whenever possible and soon began gathering a cult following for a sound that employed the use of a variety of instruments including Casiotone keyboards and children’s toys such as a Fisher-Price karaoke machine — and the result was a live sound that Time Out Magazine once described as an “adrenaline pumping, ear purging slab of towering, pristine noise.”

Their limited edition 7″ single “Bright Tomorrow” was released to critical praise from the likes of Drowned in Sound, Pitchfork, Mojo and Stereogum, and building upon growing buzz, Hung and Power played critically applauded live sets at 2007’s Supersonic Festival, Truck Festival and Portishead’s curated ATP Festival; in fact, after those sets, a number of media outlets named them as a Hot New artist for 2008 with outlets like The Observer calling their sound “a joyous racket of swirling atmospherics and percussive gunfire,” in an article highlighting them in a new, contemporary wave of intelligent, literate British pop music.  Since then the duo released three critically applauded full-length albums — 2008’s Street Horsing, 2009’s Tarot Sport and 2013’s Slow Tarot; however, over the past few years the duo have focused on various side projects and production work: Hung started a band Dawn Hunger with Clarie Inglis (vocals) and musician Matthew de Pulford. But he’s released a solo EP, Rave Cave and has co-produced Beth Orton’s Kidsticks. Power has released three critically applauded albums with his solo recording project Blanck Mass — 2011’s self titled debut, 2015’s Dumb Flesh and 2017’s World Eater.

Hung’s solo full-length debut Realisationship is slated for an October 6, 2017 release through Lex Records and the album’s latest single “Animal” is a tense and forceful track that finds Hung exploring a more organic, lo-fi-leaning sound featuring a gorgeous string arrangement, buzzing power chords, slashing synths, forceful electronic beats and drumming and Hung’s primal, punk rock-like howling. As Hung explains in press notes “Animal is a warning that oppression brings about consequences; we have bred fear and now we are reaping its effects. We cannot address the external without first addressing the internal.”

Now, if you’ve been frequenting this site over the summer, you’d know that JOVM mainstay act Widowspeak will be releasing their third full-length album Expect The Best through Captured Tracks Records next week. And as you may recall, the album’s first single “Dog,” as Widowspeak’s Molly Hamilton told NPR is “about the compulsion to move on from things and places, even people when you’re not necessarily ready to. Sometimes I get caught up in ‘the grass is always greener’ mentalities or cling to an idea that ‘I’d be happy if . . .’ and make a drastic change. Then inevitably, I feel restless a few months later and it stars again.” While sonically, the song will further cement the duo’s reputation for crafting moody and hazy guitar pop that channels Mazzy Star, the song possesses a restless and ambivalent vibe as it captures an easily bored and frustrated narrator, who desperately yearns for more and more and more.

Expect The Best‘s second single“When I Tried” is a slow, churning blues with layers of jangling, guitar pedal effect guitars paired with a propulsive yet simple drum pattern  which Hamilton’s aching yet ethereal vocals float over, and much like its preceding single, captures a bored and frustrated narrator, who yearns for more and more — and yet feels hopelessly stuck and confused. Interestingly though, as Hamilton explained to Stereogum “I didn’t go into this record trying to make every song about feeling stuck, or about self-doubt or anxiety. Those feelings aren’t really what you want to proclaim to the world or make a whole record about, even if it’s the truth. But, in the end, it ended up making more sense to be honest. ‘When I Tried’ is about when I was having a hard time starting things, or finishing them, maybe due to my own expectations of what it would turn into or maybe due to me doubting that I’d even be able to make it happen at all . . . I wasn’t sure what the motivation was anymore. Not specifically related to music, or creative work, but to everything. I wanted to get out and be social to take my mind off it, but I had a hard time keeping that up, too. It’s hard to keep up the effort of trying.”

“The Dream,” Expect The Best‘s third and latest single manages to continue with the permanently restless and unhappy vibe of someone who has picked up and left things behind with the hopes of something better, only to find that she can’t ever escape herself, and that perhaps as a result, things never really change; in fact, the song’s title, along with the album’s title possess an ironic duality — that being hopeful in a bleak world means expecting terrible things and knowing how to deal with them or to survive, and that dreams can become waylaid or averted. And yet, one has to keep on trying because — well, anything else is death, right? Sonically speaking, the song is a  lush and sublime, dream-like reverie of a song in which Hamilton’s ethereal crooning is paired with jangling guitars, twangy pedal; but right underneath the surface is a familiar ache of reality slapping you in the face yet again.

The band recently announced updated tour dates, which include a handful of new American dates and a European tour, which will have them stop at one of my favorite cities in the entire world — Amsterdam. And if you’re in NYC, they’ll be playing Rough Trade on October 13, 2017. Check out the rest of the tour dates below.

 

Tour Dates
09/08 – Boston, MA – Great Scott
09/09 – Burlington, VT – ArtsRiot
09/11 – Toronto, ON – The Garrison
09/12 – Detroit, MI – El Club
09/13 – Chicago, IL – The Empty Bottle
09/15 – Minneapolis, MN – 7th St. Entry
09/17 – Des Moines, IA – Des Moines Social Club
09/19 – Denver, CO – Hi Dive
09/20 – Salt Lake City, UT – Urban Lounge
09/21 – Boise, ID – Neurolux
09/22 – Portland, OR – Mississippi Studios
09/23 – Seattle, WA – Barboza
09/24 – Vancouver, BC – Biltmore Cabaret
09/26 – San Francisco, CA – Swedish American Hall
09/27 – Visalia, CA – The Cellar Door
09/28 – Los Angeles, CA – Pico Union Project
09/29 – San Diego, CA – Space Bar
09/30 – Phoenix, AZ – Rebel Lounge
10/01 – Santa Fe, NM – Meow Wolf
10/03 – Austin, TX – Sidewinder
10/04 – New Orleans, LA – Gasa Gasa
10/05 – Birmingham, AL – Syndicate Lounge
10/06 – Nashville, TN – The High Watt
10/07 – Atlanta, GA – The Masquerade
10/08 – Asheville, NC – The Mothlight
10/09 – Durham, NC – Motorco Music Hall
10/10 – Washington, DC – DC9
10/11 – Philadelphia, PA – Boot and Saddle
10/12 – Kingston, NY – BSP Kingston
10/13 – New York, NY – Rough Trade NYC
11/14 – Amsterdam, NL – Sugarfactory
11/15 – Utrecht, NL -Db’s
11/17 – Birmingham, UK -Actress & Bishop
11/18 – Glasgow, UK -Nice n Sleazy
11/20 – London, UK – Oslo
11/21 – Brighton, UK -The Hope
11/23 – Rotterdam, NL – Rotown
11/26 – Berlin, DE -Volksbühne
11/27 – Hamburg, DE – Hafenklang
11/28 – Copenhagen, DK – Vega
11/29 – Stockholm, SWE -Obaren
11/30 – Oslo, NO – Revolver
12/01 – Gothenburg, SWE -Oceanen
12/02 – Lund, SWE -Mejeriet
09.08 – 10.13 (except 09.13) w/ Clearance
bold = newly confirmed

 

Inadvertently over the past week, week and a half or so, I’ve focused on a handful of JOVM mainstay acts, who have released new material including Summer Heart, Tame Impala, Surf Rock Is Dead, METZ, The Afghan Whigs and others, and that streak will continue a bit longer with new material from another mainstays act, Widowspeak. And as you may recall, the act, which is currently composed of its  Tacoma, WA-born, Brooklyn-based founding members Molly Hamilton (vocals, guitars) and Robert Earl Thomas (guitar) can trace its origins back to 2010 when the band formed as a trio featuring Hamilton, Thomas and Hamilton’s longtime friend Michael Stasiak. As a trio they released their critically applauded 2011 self-titled debut, an effort that had album single “Harsh Realm” featured in an episode of American Horror StoryWith greater attention on the group, the then-trio recruited Pamela Garavano-Coolbaugh for their subsequent tours; however, by following year, Stasiak and Gravano-Coolbaugh left the band.

While in the middle of a massive lineup change, Hamilton and Thomas began working on their Kevin McMahon-produced sophomore effort Almanac, an album that was released to critical applause and growing national attention; in fact, the band was named one of Fuse TV‘s 30 Must-See Artists at 2013’s SXSW. And if you were frequenting this site back then, you would have come across a couple of posts featuring the acclaimed, Brooklyn-based duo. Up until earlier this summer, some time had passed since I had personally written about them but as it turned out the members of Widowspeak had been working on a new album, Expect The Best, which is slated for an August 25, 2017 through renowned indie label Captured Tracks Records. Album single “Dog,” as Widowspeak’s Hamilton told NPR is “about the compulsion to move on from things and places, even people when you’re not necessarily ready to. Sometimes I get caught up in ‘the grass is always greener’ mentalities or cling to an idea that ‘I’d be happy if . . .’ and make a drastic change. Then inevitably, I feel restless a few months later and it stars again.” While sonically, the song will further cement the duo’s reputation for crafting moody and hazy guitar pop that channels Mazzy Star, the song possesses a restless and ambivalent vibe as it captures an easily bored and frustrated narrator, who desperately yearns for more and more and more. Expect The Best‘s latest single “When I Tried” is a slow, churning blues with layers jangling, guitar pedal effect guitars paired with a propulsive yet simple drum pattern  which Hamilton’s aching yet ethereal vocals float over, and much like its preceding single, captures a bored and frustrated narrator, who yearns for more and more — and yet feels hopelessly stuck and confused.

Interestingly though, as Hamilton explains to the folks at Stereogum “I didn’t go into this record trying to make every song about feeling stuck, or about self-doubt or anxiety. Those feelings aren’t really what you want to proclaim to the world or make a whole record about, even if it’s the truth. But, in the end, it ended up making more sense to be honest. ‘When I Tried’ is about when I was having a hard time starting things, or finishing them, maybe due to my own expectations of what it would turn into or maybe due to me doubting that I’d even be able to make it happen at all . . . I wasn’t sure what the motivation was anymore. Not specifically related to music, or creative work, but to everything. I wanted to get out and be social to take my mind off it, but I had a hard time keeping that up, too. It’s hard to keep up the effort of trying.”