Tidal Tracks put on their “Friday Detention” show March 6 featuring Los Frills, Integra Pink and The Grinns.
Los Frills
Integra Pink
The Grinns
Categories
Tidal Tracks – Friday Detention
Categories
Old, fat dog / Killarney
Both poems originally published in 317’s zine.
My old, fat dog has dreams of him running
And I keep on hoping that you’ll keep on coming
Baby, please don’t be the Marr to my Morrissey
*
For just this once
And perhaps for many more
Bring it to me
*
I know that dusk is a summer concept
And you live for the time between heavenly bodies
But now’s the time
Moses
*
Just this once
Run for Me.
**************************************************************************
We got off the bus to look at the river
And there was an orphan
*
Well, he wasn’t an orphan,
But he was a child.
And he was playing the accordion.
Categories
over winter
A photo essay of winter break in a place where it snows.
Categories
Life Imitates Art – a silly video
My twin, Charlotte, and I went to Nara’s exhibit in London at the Hayward Gallery and I finally got to edit some footage I took of us recreating Charlotte’s favorite pieces with one of Nara’s favorite songs playing over it.
Categories
Walkin’ Home
A poem video for Click to View.
Categories
home for thanksgiving
A photo essay, including a few published by the Daily Trojan magazine.
Categories
Walking Home
Who are these teething tots
What are these tiny tendons tying me to these teething tots
Wailing for their walters
Weeping for their walters
Crying at the altar
Who are these people when I’m tossing my head up at the sky
My nose is in the air
My neck is too tired to hold it up
Head full of thoughts
It’s weighing me back like a bowling ball
Head up at the sky
Heaving big old sighs
But nothing I’ll do
Nothing I’ve done
Just things, other people
Whirling around me
Waiting at the walters
Waving at the altars
Throw my head back and sigh
My back of the head touches the tops of my shoulders
My overalls come undone
I’m a working woman walking home
Writing poems
When does it ever stay still
I don’t
I know it doesn’t
But you gotta think sometimes it does
Gotta think that you’re anchored with kisses at this point
You gotta think your feet are anchored to the ground with squeaking shoes
When you sigh they hold you down
Head up at the sky
Heaving big old sighs
What are these teething tendons
Four bands and a dancing consensus of people came together under the same moon Dec. 5 for Bajo el Mismo Sol, a benefit concert organized by Los Angeles-based promoter Tidal Tracks. The show at The Paramount in Downtown L.A. aimed to raise money for CHIRLA, or L.A.’s Coalition for Humane Immigrants Rights, a nonprofit dedicated to encouraging and implementing “a just society fully inclusive of immigrant rights.”
“In light of everything going on politically, not only in L.A. but in the country in general, we had this idea to throw a benefit show supporting our immigrant community,” said Valeria Gonzalez, a founding member of Tidal Tracks, in an interview with the Daily Trojan.
The show comes eight months after the group’s first charity show in April earlier this year, which raised money for Children’s Hospital Los Angeles. Tidal Tracks aims to serve its audience rather than solely entertain it, opting for causes close to its mission statement of uplifting marginalized voices within the greater L.A. community.
“We are trying to show up for the Los Angeles community, and that’s where we are, that’s who we’re trying to market to,” said Elena Ballesteros, another original member of Tidal Tracks, in an interview with the Daily Trojan. “We like doing benefit shows because it also shows we are doing what we know how to do in helpful ways for our community. I think that approach has been working, and we’ll stick with it.”
With a slate featuring four Latine L.A.-based bands and tables of merch for each to boot, the Paramount was filled with Angelinos ready to bask in a safe space not only honoring those affected by the recent raids from the U.S. Immigration and Customs Enforcement that targeted Latine immigrants — documented and undocumented alike — but championing the rights of immigrants across California.
Beyond cultural and geographical identity, each group was connected with pepperings of “Fuck ICE” and “Viva la raza,” with Mexican flags covering the venue.
“I think the intersection of art and culture, and especially now, music coming into philanthropy is super important,” said Luis Tadeo, the Director of Marketing & Public Relations for CHIRLA. “We, as a [nonprofit] organization, are so used to doing private galas and dinners. And to be at the heart of L.A., where many of our community is from, doing a show with people who look just like me, who are maybe going through what I’m going through, means a lot.”
Bajo el Mismo Sol kicked off with Los Frills, a Santa Monica-based band for fans of Backstreet Lovers and The Growlers. Their warm tone reflected the growing crowd of friends, families and concert lovers, setting the theme for a night of togetherness and good ol’ fashioned indie rock.
“The community is great,” said Izaak Salinas, brother of Los Frills’ drummer, Izaiah Salinas. “I mean, I know some of these people that have been coming to shows a lot, so it’s good to see them all.”
The next band’s reputation preceded them — or rather, their name did, as a pixelated animation of a spinning rat lit up the backdrop of the stage before Los Ratónes Atomicos started their set.
Offering up a quick “Fuck Trump” before diving in, the group brought cultural pride to the stage with a modern, Los Angeles twist that defined the night. Bree and Marcelo, attendees who heard about Bajo el Mismo Sol after attending a benefit for CHIRLA, decided to check out the other bands as fans of the headliners, Ear Ringers, but stayed for the cultural celebration of immigrants.
“Especially what [CHIRLA and Tidal Tracks are] raising money for, especially with what’s going on, especially with immigration — at the end of the day, I think people need to realize that [immigrants] aren’t harmful people,” Bree said. “These are people that contribute to the community, and they make America what America is.”
The Santa Ana band’s sound transforms the rhythm of a tradition like salsa into memorable basslines and the presence of trumpets in Latin music into the language of guitar riffs; that sonic storytelling translates well into their melodies and chord progressions, leading the night into a more moody — yet still energetic — direction.
Tough Front of the San Fernando Valley picked up Los Ratónes Atomicos’ rock thread but with more of a grunge angle, opening with their debut single, “Pools of Water.” Andrea Lopez, the group’s frontwoman, spearheaded their well-timed, tight instrumentation with killer guitar work, while the rest of the band balanced out her softer musicality with a punk tang.
For fans of Japanese Breakfast with a touch of Grouplove, Tough Front brings a sense of restraint to their sound that lets the music breathe: With songs like “Butterfly Effect” and the band’s take on The Strokes’ “Someday,” their voice reframes melancholy with colorful body and clean silhouettes. Their energy was contagious, the set ending with the drummer having the crowd spell out the band’s name with their bodies à la “HOT TO GO!”
By the time the East L.A.-based Ear Ringers hit the stage, the audience was crackling with static between bodies and joy between community members. With five instruments on stage and a deafening crowd, it was the loudest the night had been thus far, with the most voices ringing out on and off the stage yet.
Hit after hit sparked a mosh pit among the audience, including 2024’s “Friendzone” and their latest single “Tell me.” However, the energy that permeated the set until its explosive end didn’t stop frontman Miguel Estrada from drawing attention to the purpose of the show, remarking on how it warmed his heart to see everyone come together, especially as a child of immigrants.
“I’m a strong believer that any social justice movement needs to have art and culture move before we can move any political or policy change,” Tadeo said. “And so the fact that shows like this are being put together, and bands are coming in, donating their time, in some instances, to bring the community together: In this case, fundraising is super powerful, and something we need to see across the city, across L.A., across California and across the country.”
All of the images are taken by me, don’t steal! – Anna
The hyperpop duo indigo forever featuring the likes of Wxmell (Maxwell) and wsteaway (Tea) recently released their eponymous first album in October, a genre-bending emotional journey exploring the trials and tribulations of love and change. The band reveals their motivations, methods, and meticulous plans for the future in this written interview.
How’d you get into music?
Wxmell: Well, if we’re looking far back – I took Taiko classes (a Japanese bass drum) in elementary school , which I suppose was my first introduction to drums and rhythm. I attribute the foundation of my musical taste now, to my older brother – who was always blaring early 2000’s dance music from his room. (think Cascada or Alice deejay era dance music.) Before the EDM explosion of the 2010’s, rave culture had this dangerous & mythic aura surrounding it that my 10-12 year old self could only fantasize about. Think shuffling, scene haircuts, rainbow LEDS, everything.
wsteaway: Music has always been a pretty major factor in my life! I first grew up exposed to music through my parent’s listening, and in elementary school I started to learn how to play the violin. Throughout all of middle and high school I played viola in my school’s orchestra, honor orchestras, and was a part of my local youth symphony in high school. I’ve always been fond of writing poems or journaling, and with time that evolved into full-on songwriting. In 2020 I picked up bass playing as a hobby, as I’d already known how to play guitar from teaching myself throughout high school, and wanted to expand my musical horizons a bit. Around this time I also started dipping my toes into the music production world, and had a few friends back home who I’d work on music with. One of these sessions made me realize that I’m actually capable of writing a song if I wanted, and since then I’ve been taking more time to focus on making music of my own.
Who were some of your major inspirations?
wsteaway: A few of my lifelong inspirations are Teen Suicide, Death Cab For Cutie / The Postal Service (shoutout Ben Gibbard), and Daft Punk. Each of these artists/bands have musical projects that have altered the way I consume and appreciate music. Teen Suicide’s Sam Ray is a huge inspiration to me because of his talents under so many different artist aliases. Ben Gibbard’s carnal songwriting and interesting melodies always strike my soul. Daft Punk’s Discovery is one of my favorite albums of all time, and the concept for Interstella 5555 was SO interesting to me as a kid, and a piece of media I’m incredibly inspired by today. More recently, Ecco2k’s music and presence as an artist have been very inspiring to me. E is such a special album, and the way Ecco2k presents himself authentically is very inspirational. FKA Twigs’ music and image inspire me in a similar way. In high school, I loved her earlier projects; her music videos and music were just really weird compared to some of the other stuff I was consuming. That authenticity and artistic approach to her music is very inspiring.
Wxmell: Naturally, watching videos on Youtube of deadmau5 and Skrillex led me to my dream of one day becoming a “superstar DJ.” In middle school I used to burn Deadmau5 songs onto CD’s and take them to Best Buy to fake dj on the display turntables. I even made a deadmau5 head one halloween! Then, on Christmas my mom bought me some cheap numark CDJ’s, where I could finally teach myself how to DJ. I definitely had NO IDEA what I was doing, but I’d close my eyes, and put my hands up and imagine a crowd. That was enough to fulfill my childhood fantasies of being up on a stage.
What has gone into this album? Tell me about the process behind building it.
Wxmell: Many studio sessions at pirate studios. Plenty of silly vocal stimming, sandwiches, late nights and hanging with your bestie. Zoom calls about which artist to commission, 7 bazillion hours mixing, 14,000 hours choosing a kick drum, and 2 years of fine tuning songs. One of the tracks, Bloodsxcker, had over 50 different versions in the span of 2 years.
More examples of hard work include: keeping ourselves sane, programming LED’s for our live show, scheduling and recording tiktoks, and just deciding when this album was done. I recall many times where I would send Tea a revised version of one of the songs and they would say, “ I literally can’t tell the difference.” I went a little crazy, and even damaged my left ear for a bit. It’s all a labor of love, but I definitely have obsessive perfectionist tendencies that I struggle with. My girlfriend calls it “being a Virgo.” I call it “making awesome art.” Whatever! It was all worth it because the project is extremely meaningful to us and for it to have resonated with people is an incredible feeling.
wsteaway: Two whole years have gone into this album. A LOT of money to Pirate studios. Tons of Trader Joe’s salads and wraps and Kombucha have fueled it. I have three different journals that I’ve gone through in the process of writing and refining the album because I prefer to write with a pen on paper. Not all of the writing in them is specifically for the album, of course, but it’s been funny to try and find lyrics for a song and realizing it’s from a journal from two years ago. A countless amount of memes and inside jokes have been shared and created in the process of making this album. Lots of songs that will probably never be released (pour one out for the boys, rip). A whole lot of myself has also gone into this album, and it’s been wild to look back at my growth as both a person and artist with the development of indigo forever.
Can you explain the narrative aspect of you album and that component of your band? How does it contribute to your artistry and how did your characters come about?
wsteaway: In regards to the themes of the album, as a whole, indigo forever is very much about relationships. I think it’s funny actually, because the album sort of just came together over time, rather than us sitting down and being like, “Okay, we need one song that does this and one song that does that, and everything will be cohesive because we planned it to be that way.” I naturally write about my own personal experiences and feelings because it’s the easiest way for me to actually understand them, even if I don’t realize exactly what I’m writing about when I first come up with my lyrics. With indigo forever, a lot of the themes are about different types of love: love for myself, for the friends around me, to and from my parents, and the lack of it or misunderstanding of what it’s supposed to be as a whole. My songwriting is very personal, as it’s my way of reflecting and connecting with how I’m actually feeling.
When it comes to our characters, Gen and iRi, they’re mostly inspired by Max and I’s appreciation for animation and digital media. We took the time to create mood boards to map out how we wanted our characters to look, which was easy as they’re like extensions of ourselves. When we got the first draft of the characters from @bubbltek, I remember losing my mind and being so stoked about them. They’re a really fun way for fans to visually connect with our project, and I’m excited to see how they evolve with our project.
How’d this band start?
Wxmell: Tea did a write-up for one of my tracks, “e-boy” with Jagro, Sebii, Belis & Bby Goyard. I followed them on instagram, saw they had a similar appreciation for the music and art I liked, so naturally I DM’d them to work. We also had a few mutuals so it didn’t feel completely out of the blue. When I work with people, I look for a few things. A deep passion for music, similar taste in art (do they like Bladee?), and a good sense of humor. Tea fit all of these qualities, and every studio session felt less like work and more like two kids playing with paint.
How did the indigo forever aesthetic come about?
Wxmell: I think me and Tea both have a deep love for animation.I think seeing Yameii Online live, being fans of Hatsune Miku, and the idea of having fictional characters be extensions of us was really cool. We created a vision board of what our characters Gen & iRi should look & act like. We sent the ideas to @bubbltek, and he created them perfectly. I remember seeing the characters for the first time and being beyond stunned.
wsteaway: Max hit it right on the head. I’ve always been fond of animation, preferring it over live-action media as a kid. We both have this appreciation for it, as well as fantasy-like worlds and environments (for example, we’re both fans of “Skyrim” haha). When it comes to the visual aesthetic/presence we have online, we’re really just doing shit that we think looks cool. I love having the freedom to put on whatever outfits I like for our TikToks and shoots, and this personal style from the both of us is super reflective in our characters, Gen and iRi.
How would you describe indigo forever’s unique sound?
wsteaway: It makes sense that our music sounds the way it does because of how we approach making it. When I make my own stuff, it’s very instrument-forward: I’m playing guitar, bass, viola, and whatever other instruments I’ve managed to get my hands on because I don’t really know how to make a song on a computer like Max does. So we’re just blending our approaches to music making in a fun and collaborative way. We put our own personal tastes into it, and these tastes have some overlap as well, which is what makes it work, I think. I love the idea of mixing genres and blending aspects of different sounds to create something refreshing, and Max makes it really easy to do that.
What are your plans looking forward? What do you want to accomplish as a band?
Wxmell: We plan to do more shows! Personally, I think our album is best experienced in person. I’d like to believe that the emo and dance music influences translate well live. There’s so many themes many can relate to in our (mostly Tea’s) writing & to deliver them with some really loud bass drums and guitars is pretty awesome. World tour could be cool, maybe some new music. This era of indigo forever is still fresh, and I want to show as many people as possible this cool album we made.
On a cultural level, I’d love to spread the message as an Asian person (or any POC) that you can make any genre of music and that you shouldn’t be afraid to be weird or seen. As Asians, it’s easy to feel awkward or self-conscious, and we need more musical role-models that aren’t just DJ’s who throw cakes at people.
wsteaway: YES to more shows! After our album release show, I remember being so hungry for more. It’s one thing to listen to the whole album, but Max is completely right–it’s a different level when experienced live. We also want to keep making new music, of course, and expand out into different sounds or avenues with the songwriting (less depressing and emo, for example).
As a band, I’d love to create and foster a community of people that are in it all for the love of the music. The idea of connecting with people that can relate and attach themselves to what we make is so special, and definitely a goal of mine. I’d also love for people to have the inspiration to do what makes them feel good, similarly to how I approach the way I present myself. I put on my silly little outfits and dance the way I do on stage because it’s freeing! I think this ability to inspire others to do the same, in whichever way they seem fit, is a goal that wasn’t exactly planned for this project, but sort of comes from the nature of how we approach being indigo forever.
***
As a first-year undergrad, I’ve spent most of my year trying to figure out the lay of the land – the best restaurants, the quickest routes, the best way to spend a Friday night. So far, there’s been a pretty consistent pattern in some of the best nights I’ve had in downtown Los Angeles: Sawyer Rabin performed. Whether it was as a solo act, an accompanying instrument, or a modern-day trans Paul McCartney, Sawyer Rabin brings life to the Los Angeles songwriting scene, especially with the recent debut release of his new live EP, “things i meant to say.”
As a fan of Rabin’s live performances, I wanted to take a closer look at what preceded his EP’s release while also getting a peek at what’s next for Sawyer as a rising artist.
According to Rabin, his journey with music began from the moment he entered this world: “[My dad] tells the story that when my parents first brought me home from the hospital when I was born, he sat me on the kitchen counter, got out his guitar, and started to play scales.” Though he wasn’t forced into music, Rabin started piano lessons at a chipper five years old, eventually also picking up bass and acoustic guitar.
From a young age, Sawyer was ready to perform – his first stint on stage was performing with the Galavantics, a group of SoCal kindergarteners. “We played venues as big as the House of Blues in Anaheim, which is still crazy to me, considering how bad we sounded,” Rabin recalled. “I think the cuteness sold us.”
Despite those adorable beginnings, Rabin never had a doubt that the stage was the place for him: “I think I always took music seriously, it was never a hobby for me. If you had asked me what I wanted to be when I grew up at 5 years old, I would’ve said something along the lines of ‘I want to be like Taylor Swift because I want to write my own songs and play them in stadiums.’”
He even considers his call to music to be something larger than him, as music was present in his home – whether it was blasting Taylor Swift’s “Fearless” album on his iHome or listening to his father’s college band’s discography and eventually going on to perform with them at reunion shows, Rabin has never known a world without music. “I’m not religious by any measure, but there is something spiritual about my musical journey – how strongly I felt called to do it and how seriously I took it from a young age.”
With music being so central in his life, it also acts as an emotional outlet. Though Sawyer would later go on to major in Popular Music Performance and Music Industry at the University of Southern California’s Thornton School of Music, songwriting started as something to help process the hardships of being a young, queer artist with massive dreams:
“Music has helped me long before I even started transitioning. In every aspect of my life, music helps me process and tell my story. I don’t even journal, songwriting is the only way I can process what I’m feeling. So when I did start transitioning, music was a huge part of becoming comfortable in my own skin. It took a really long time, and it was a painful process, but I now feel like I’m on the other side of that pain. I lost myself for a long time during that period, and the only reason I didn’t lose it completely is because I stayed connected to myself through music. It’s the one through line I have through my entire life. I don’t necessarily write trans or queer anthem songs, rather my transness is a lens through which all my songs are written.”
Now that music has taken the academic and professional forefront in Rabin’s life, he’s found that receiving a degree in music despite already being naturally talented can change an artist’s perspective on the craft – for the better. “Until now, I hadn’t really had proper music lessons ever in my life,” revealed Sawyer. “I have become more polished as a musician, multi-instrumentalist, and songwriter than I ever dreamed possible.” He specifically lauds USC’s faculty, saying that they have pushed his artistry into a new level, though being around other artists has particularly had a massive impact on Rabin’s creativity. “Being at music school also means being around like-minded people. I am constantly feeling inspired, and that drove me to be consistently creating. I have met unbelievably talented musicians who I know are going to be my friends and collaborators for the rest of my life. They push me to be better every single day.”
Since arriving at USC, Rabin has been involved in several musical projects as a solo artist, supporter and collaborator. Beyond ‘things i meant to say,’ Sawyer is a founding member of an “infamous” Beatles cover band at USC (of which I have been to several shows and enjoy thoroughly), plays keys for friends WALLIS and Sophia Jane, as well as playing keys, guitar or providing backing vocals for fellow students’ projects. Rabin credits his environment for the flux of creative fulfillment he’s been experiencing since starting his first year, saying, “I’m lucky to be surrounded by such amazing talent at USC and even more lucky that they ask me to be part of their projects.”
Despite performing at various venues around Los Angeles throughout the year with covers and originals, ‘things i meant to say’ marks Sawyer’s debut as a solo artist on streaming platforms. Featuring three original songs performed live, the EP is seeped in emotion and passion that the dynamic live format bolsters to make the listening experience even more impactful; however, the EP is live for more than simply stylistic reasons. Wanting to avoid perfectionism and further procrastination, Rabin decided to start with what he knows best – live performance. “I had this crippling fear that I’d release something and wish I hadn’t, because of how much better I could be. I had a realization that I will never be a perfect musician, and I will always be striving toward peak performance… The studio makes me uncomfortable and stressed, because making a recording feels very permanent, whereas playing shows all the time you get lots of opportunities to play it better. It’s a relationship I am still perfecting.”
With Rabin’s EP marking the beginning of what will likely be an illustrious career, he looks forward to “fine tuning [his] production ear” and “recording as many songs as possible” within the near future. Surrounded by other talented artists and knowledgeable faculty, Sawyer Rabin has concluded that as an artist, the best thing he can be is his most authentic self. “I remember when I was first transitioning, and I was freaking out because I thought that me being transgender was going to limit the opportunities I could get,” Rabin recounted. “I called my mentor in a panic and quite literally asked him if I should even go through with transitioning. He told me that the most important thing is for me to be the most authentic version of myself I can be. Only then will my true artistry shine through.”
Because songwriting is a fundamental aspect of how Sawyer lives, he recognizes what he enjoys in other artists and therefore reflects those traits back on his own writing, saying, “The truth is what listeners gravitate toward. People are looking for vulnerability in artists, to validate feelings of their own.”
When asked if he had any advice for artists like him that want to seriously pursue their musical dreams, Rabin said the best advice he could offer is to “politely push,” advising to “keep nudging bookers, management, agents, venues, to try to get what you want” as you look for professional opportunities. “It will rarely be a yes, but sometimes it will, and then another door opens. It is kind of like a chain reaction, and it is imperative that you continue to push through despite the rejections.”
Sawyer Rabin shines within the numerous talented artists of USC and the greater Los Angeles area with his passion and fervor for his craft and I look forward to listening to more of his music in the future. If you’d like to keep an eye out for his future releases or performance around USC’s campus and LA, follow him on instagram here: @thisisabandname.