Interview With Coasts


Tell us a little about your latest release that you’re supporting on your world tour with The Hunna?

Chris: It’s quite different to our first record, I think we had quite a lot of time to sit on our first record because it was written over the course of such a long time and had so many different influences. When we listen back to it now, it feels like we put the 10 best songs that we wanted to put out on it so it’s very hard hitting and euphoric-very in your face-where the second record has a lot more moments when it’s reserved and contemplative so it feels like a totally different record. We still feel like it has our personality in it though. I really love it. “Come On Over” is one of my favorite songs on it. It feels like a bit of a mature step up from the first record.

Do you feel like the second record was a natural juxtaposition to the first record or did you set out to release something different as you were writing it?

Chris: We never thought too hard about what we wanted it to sound like. We just wrote the best songs that we could write, really.

James: There was no intention to change and make things completely different. Some bands do it and do it well, but-

Chris: I think it would have been too early for us to stray too far from our sound and alienate fans that we’ve already made.

Do you feel like you’ll stray further in the future?

Chris: I imagine so!

James: It’ll only be a natural thing though.

Chris: We already have so many ideas and have things written for our third record. Who knows, maybe one day we’ll really stray and become a psych band or a jazz band.

You’ve been touring extensively over the past few months through many countries, how do you feel touring affects the writing and recording process for new music once you get home?

Chris: Obviously you’re influenced by everything in life so us doing these intense 4 months of touring is going to impact what I personally write lyrically. We don’t have a deadline for when we need to write our third record by so it’s not like we’ve been furiously writing on tour. We’ve got a month and a half when we get back from tour and all Summer while we aren’t playing festivals where we’re going to be writing as much as possible. I think it naturally informs it. We went to Australia for the first time and it was a great experience so I’m sure that’ll make it’s way into our lyrics.

As you mentioned, your first record was written over a long period of time and most of the songs on it had been previously released through singles and EPs. Do you feel as though you are an album centric band or is there the possibility of releasing more singles/EPs in the future?

Chris: We want to be a prolific band and release music and keep people’s attention so I feel like you have to do that nowadays with how young people are consuming music. We will always do single releases leading up to a record, but I don’t think we will be releasing 9 out of 10 songs leading up to a record again.

David: We’re releasing a song every 6 weeks at the moment as we lead up to the B-Side of the second record. It helps to keep people interested.

It’s been quite a while since you’ve toured in the States, do you feel anything different this time around? Is there a different vibe, are you excited to bring new music? How do you feel?

Chris: We’ve been itching to get back for a long time. The last time we were here was 2 years ago so it’s been far too long. We were building up a great fanbase here but because of some nonsense we weren’t able to make it back. Hopefully it won’t be another 2 years before we come back.

James: There’s hopefully some plans to be back out later this year. It was never anyone’s intention to take this long to come back.

David: We always love it out here and have amazing fun.

Chris: Our music works very well here and we do have a good call for it but it’s all about building on that now so we have to keep coming back and playing for people.

How has this tour been treating you?

David: It’s been amazing, I’ve really enjoyed it. It’s been cool going out with The Hunna over the last 4 months, we’ve known them for so long so it’s great to be on tour with old friends. And I feel like our music is different enough so it’s not the same thing all night.

James: We’ve been to some places that we really love and seen some familiar faces as well, which is cool to see older fans sticking around. It’s just great to go back to some old venues we’ve played as well as new ones.

How has the writing for the 3rd record been coming along? Is it done being written or are you still in the creative process?

Chris: We’re still in the creative process but we’ve written loads and it will probably be recorded this year. As I said, we want to be prolific and keep releasing music, and we still love the album format, but we do listen to singles and playlists so we need to be apart of that.

With the current trend of music consumption, do you feel as though it’s affecting the music industry in a negative way or just adding another dimension to it?

James: I think it’s just adding. It’s tough because listening to more and more music is never a bad thing, and being able to access it more easily is always a good thing. It just means that for people like us, we have to give more music.

Chris: The main thing is people’s attention spans aren’t there. You have to keep telling people that you’re there or they will forget about you.

David: I think it’s good though. Hardcore fans will still listen to your entire record, but you’re also able to touch base with new people who may not have went out to buy your entire record through singles. Hopefully someone will hear your song on a playlist then add it to their own and so on.

James: We’ve all got Spotify and Apple Music and there are so many bands that you hear of when they release a new single and it’s now so easy to type their name in and hear the new single and make a decision then whether you like them or not. And I feel like I’m spending a lot more money on music than I did before because I used to buy maybe one album a month or go without for a month but now I’m subscribed to something so I feel like I want to listen to more music.

Are there any goals that you want to set for yourselves before the end of this year?

James: Just to keep playing, really. The same as day one.

Chris: We just want to keep going. Keep getting better at writing and playing and grow our fanbase. It’s as simple as that. We want to be as big as we can be, obviously, and play arenas at some point, it’s just all about placing things to make it happen.

What is one thing that you would like for fans, new and old, to hear from you or take away from Coasts as a whole?

James: Give us a chance! We’re nice guys! Come see a show! That’s something that we’ve always been happy about and proud of. Everything always sounds different live-better I think.

Chris: We write music to make people happy so if you’re happy, we’re happy. Come see a show. We pride ourselves on our live show.

Interview With Coasts

Interview With Lostboycrow


What made you decide to release your first album split up into EPs?

It was kind of just the sign of the times combined with wanting to try new things- to find new ways to tell a story. We live in a world where a lot of people are trying to push a single. It’s a streaming world where it’s songs that we listen to and it’s kind of this vicious circle where people are only listening to singles and that’s then producing less artists and more songs. I don’t want to deny my surroundings and my outlet- Spotify is a huge part of what I do- so I wanted to keep the model of releasing singles but I wanted to tell my story and give people something to really latch on to. And I think that is vastly important and a lost art. People still really care about albums and will always love albums and I wanted to make an album so I found a way to release it in a way that made sense with what we have been doing. And now we’re recording more albums.

Do you feel there was a progression either in sound or in process between the 3 EPs? If so, in what ways?

Definitely. Some of the songs were written with some overlap. Some of the 2nd and 3rd EPs were written at the same time but I knew even while I was writing that something was definitely the 3rd EP because I wanted the 2nd one to be where lyrically all of the songs fit under the umbrella of nostalgia and romanticizing the past and people of our past. I wanted the sound to be a little more experimental and leave you feeling a bit stranded and thinking ‘What exactly is Lostboycrow now?’. That was the story, so I kind of wanted the music to match and the 3rd is a progression of that.

Some of your songs contain the same line or lines that seemingly overlap, do you consciously do this to link your songs together? Do you feel it’s important to build bridges between your songs lyrically/sonically/visually?

Yes to all those things! It’s not like I tried to necessarily put the line ‘Where it all goes’ in ‘Spin The Globe’ or anything but I think that the songs and the lyrics show themselves to me the way they want to be a certain way and it just calls for it. Maybe where people might think that’s weird or dismissive I embrace it and I think it’s such a cool thing. I don’t hear a lot of people do it and I don’t know why but a big part of my story is connecting the songs with those phrases and those themes that are essentially who I am and what I’ve been through. It’s something that I’ll always do and I love doing especially in this world of songs and playlists and no artists. I just want to create worlds for people to live in and I think when you connect everything lyrically, and not just visually or sonically, it reinforces everything that you’re doing. It feels to me that way and it makes me feel like everything I’m doing is connected and a part of me and I really like it.

Would you ever consider making a fluid EP/album?

Absolutely! I would love to do that.

One of the focuses of your songwriting is storytelling, do you feel as though the use of other languages (such as in ‘C’est La Vie, Cindy At The Window, etc.) more effectively portrays the story you’re trying to communicate?

Yeah! Sometimes it’s for other people and sometimes it’s just for me. ‘Cindy At The Window’ was about a very specific person and a very specific time in a very specific place, so I wanted to use the language from that person, that time, and that place because I think that’s a beautiful sort of time stamp. It’s not something that a lot of people do, and maybe rightfully so you never want to butcher someone else’s language, but I think part of music and art is understanding people and connecting with people so even if it’s just me learning one phrase I think it’s a cool way to connect. I hope to one day be fluent in many languages; in my life I think that’s important.

In ‘Church With No Ceiling’ you tackle the topic of struggling with your faith, and in the past you have covered and spoken out about other social/political topics through action and music alike. How important is it to you to be able to use your platform to bring light to these things and possibly help some of your fans who are dealing with these as well?

It’s the whole point to me. It’s the whole reason that you get back on the road when you know it’s going to be tough. I want to make this music in such a way that you can bring it to people and you can create these worlds and environments for people to love and connect with each other for reasons they don’t even understand. That’s why art- music specifically- is so powerful. We’re all a part of this thing and we don’t really know why and we don’t have to have any flags or affiliations or these things that I find so trivial, dividing, and sometimes hateful. It’s just about this common thing that we all love. It’s not that we’re all here for Lostboycrow, it’s that we’re all here celebrating our own stories and I just happen to be the one singing. We get to do this all under the banner of music which is free from what you think God is, what you think another person should be doing with their body, or whatever. Music is pure and unadulterated at it’s purest form when it’s sincere because it transcends those things.

Almost every song of yours that you’ve released so far has it’s own cover art. In the past you used a lot of warmer/brighter tones, but with the release of your 3rd EP you stepped towards cooler/muted tones. Is that an intended color story being built throughout your career so far? If so, what is it meant to symbolize?

I think it was in tandem with the music. When I first started releasing music I liked using a lot of blues and I would use blue over the eyes to kind of represent the filter of how I see things. When I started releasing the first EPs of ‘Traveler’ it was intentional to have the pink and the more vibrant schemes and pastels to kind of match that story. As it’s progressed, the colors have definitely played as much of a part of the story as anything and it will continue that in the next albums.

You have just embarked on the 2nd part of your Spin The Globe tour in support of your latest release. What is the most important part of touring for you?

That’s tough! The tour in and of itself is so important to me because once you get out on the road and interact with people, you take it with you into the studio and into the living room when you’re writing songs. You’re still writing from the place you were writing from before but with that you really think about what you want to sing when you’re right under the sub with your hands up in the air. What am I going to want to sing every night and not get sick of? I think that helps me be more sincere about playing in front of people. But also, just getting to myself and the people I travel with. It’s like a family road trip.

What is one thing that you want to accomplish before the end of 2018, musically or otherwise?

So many things. I want to learn to french braid my own hair, I think I want to get hand tattoos, and put out another album.

What would you like to be the main takeaway for fans/new listeners from the Lostboycrow project?

That there are no set boundaries and rules to what your passions are. And I hope in some small way I can reflect that or empower people with that. I’m very grateful to be able to show up and play music to anybody anywhere and be able to write music. Whether your medium is music or watercolor or anything it comes from a very sacred place that society will never be able to wrap it’s head around. It’s nice to make money off these things and it helps us to keep doing them but that doesn’t validate you. It doesn’t mean that if you are making money you’re an artist, and it doesn’t mean that if you’re not being paid that you’re not validated as an artist or a poet or a songwriter. I think it’s important to explore your passions no matter what because they’re there for a reason. It may be easy for me to say that, but money won’t validate you, that’s societal, and art is a lot bigger than that.

Interview With Lostboycrow

Perception Tour Review


Currently on tour with NF, Nightly has shot themselves into the public eye with their live show; taking their small stage equipment and arena-level energy to a whole new level.

Thunderous bass ushered Nightly onstage and right into their new single “Miss You Like Hell”. The highly anticipated track set the high-energy tone for the entire night, sliding seamlessly into the title track of Nightly’s debut EP. Surprisingly to some, tracks from Nightly’s debut EP “Honest” are outnumbered by newer, unreleased songs in their setlist. I feel as though this was a smart move to be able to give a brand-new experience to established Nightly fans and NF newcomers all the same.

Cousins Joey Beretta and Jonathan Capeci have obviously found their groove both in song and stage presence over the past year and a half of touring. Perfectly planned lights, extended intros/outros to tracks, and casual yet lively energy leave your chest pounding as the last notes of “XO” ring out every night.

Although they have a handful of tours under their belt, Nightly has, so far, been a band that lives on the internet. Over the almost 2 years since they released their first single, Instagram and Spotify have helped them hold their own in the alt-pop universe. But all that is about to change. I can only hope that this tour opens up an abundance of doors for them and that I and all other Nightly fans will be able to walk through them together.

Perception Tour Review

Olivver The Kid – Annie


Hearing Bryan Sammis’ crooning voice sing “Waiting for you when you’re ready.” perfectly echoes every fan’s sentiment towards the return of Olivver The Kid. A nearly 2 year hiatus has ushered in a new era of the project with 2 new singles to welcome you back. The latest of the singles, ‘Annie’, was released just days ago to the eager ears of listeners.

Both ‘Annie’ and ‘Bitter’ carry what we’ve all loved from Olivver The Kid’s past while also closing the car door and driving us into the new dawn of the project. Production has always been one of the strongest and most interesting points of past releases from Olivver The Kid, and that still shines strongly in these new tracks. Deceptively simple, ‘Annie’ is a track that holds immense emotion in even it’s smallest nuances. Progression from basic chords in the verses to a rolling instrumental during the chorus, using background vocals as a sonic bridge between lines, and repetitive lyrics scream for this track to played on repeat for hours on end.

The biggest punch to the heart from the release of ‘Annie’ has to be the voicemail woven into the track- an homage to Olivver The Kid’s first release, ‘Freak’. Being able to seamlessly integrate fragments of life into a song without it sounding forced or cliche can be extremely difficult, but Sammis has perfected it multiple times through past releases, and has taken this opportunity to highlight it once again.

The impact of Olivver The Kid songs in the past has always lied, for me, within the presentation of each song/release. Whether it be the concept and fluidity of ‘The Boy Who Cried Wolf’, or the raw emotion displayed in the countless b-sides that have flowed out throughout the years. Sammis has a way of bringing you in and holding your heart in his hands as the music plays on- and I am gladly handing him back everything I have with the revival of this project.

Olivver The Kid – Annie