#so quickly dominated the conversations surrounding this ep

[valkugo]

i actually hate how the average viewer sees lochlan and talks abt him. there's such a lack of compassion and understanding, such a need to completely villainize him for the fucked up situation and feelings he ended up having bc of a dysfunctional environment that it makes me sad.

people will see a kid getting groomed in multiple ways (intentional or not) but not necessarily see him as a victim and then turn around and make him the predator and "the one who is actually the weirdo, not saxon" bc what? he follows the advice he has been groomed into without actually being harmful & he enjoyed kissing saxon? a kiss that he was pushed into as a joke?

the need to find one entity to blame the *evil* on that ends up being the most vulnerable person just pisses me off to no end. the "spit the pill" theory still disgusts me so much, i can't help it, sorry.

[doomedandstoned]

Prog-Doom Trio APE VERMIN Blast New EP, 'Arctic Noise’

~Doomed & Stoned Debuts~

By Billy Goate

Album Art by Steven Yoyada

One of the most impressive release years on record was 2018, when all the big dogs of doom dropped new albums. It was a tough year for a fledgling band to make its big splash, but somehow APE VERMIN made us all turn around and take notice, birthing a massive full-length debut 'Sonic Monolith' (2018) -- still a favorite among doomers. Now, we herald the return of the North Carolina heavyweights with an extended play record, 'Arctic Noise' (2021).

Having already crossed the 2-3 year threshold that seems to either make or break many a promising band, Ape Vermin seem here to stay as they near a half-decade together. Originating in 2017, Brett Lee (guitar, vox), William Deal (bass), and Charlie Burleson (drums) dub their style progressive doom. Through firmly grounded to the storied tradition of deep, reverberating doom, these guys are explorers who like ancient man simply are searching for new horizons.

“Our records are stepping stones for us,” frontman Brett Lee states. “We put our heart and soul into them and where Sonic Monolith had a very drone-type feel with an avalanche of groove, this new EP is a little more over the edge, and more melodic at times. We wanted this EP to represent the celebration of echo, death, and rebirth.”

Based in the small town of Valdese with barely 5,000 souls to speak of and nestled near the Catawba River 'neath the looming mountains, Ape Vermin have developed a club weilding style that's also surprisingly spiritual. Their bio depicts their artful style as comp[ose of "juddering riffs, thundering drums and otherworldly concepts that underpin the sheer mania of their music, along with hypnotic riffs and nimble fretwork" which gives"genuine virtuosity to the sonic vistas they create." That, my beloved Doomers & Stoners, I can firmly endorse.

And now to the record before us. We first encounter on Arctic Noise a song called "Megaliths Of Echo." Warping pedal effects and feedback are interrupted by a declamatory guitar lead accented by bass and drums, establishing our main theme. If you listen carefully, a story is being told in the music alone. Chugging riffage erupts with a stampede of rhythm bringing us caveman-like grunting, "Arctic Drone! Asteroid Explode! Shadow! Behold! Echo! Unfold! Astral Fate, Colossus Awake!"

Something momentus has happened, and suddenly the mood shifts down to a Cathedralesque riff that reminds me of that chilling moment on "Tower of Silence" when Lee Dorian announced, "The circle of time has stopped...sun no longer shines." And we're but five minutes into this gigantic near 17 minute slab of ice core.

Fire in the arctic! To celebrate this guilt. We've been surrounded, By the ice! We've killed the martyr, to set free this realm. We've been surrounded, By the ice!

Fire in the arctic! We've been surrounded! We've killed the martyr! The stone has fallen!

It's clear that someone's doom has come. For a moment, you can see it in your mind's eye, perhaps a churning in the gut, as the Neanderthal DNA still abiding inside has a sudden flashback to this momentous day in prehistory. What is happening? No one knows. Confusion abounds. All one can do is stand, watch in awe, and contemplate their fate.

We fade in the end, You've been holding the earth, We've been mining the sun, You will fade in the end.

I talked last night to frontman Brett Lee, who shared: "These songs were written during an intense emotional period." You can see the lyrics both describing some long ago fantastic calamity and also doubling as a metaphor for the bewilderment that comes with change and uncertainty, which all of us know far too well in recent days due to pandemic pandemonium.

Open the door, To find reason to kill, Locked up inside, For 10,000 years.

Something is encased in ice, and thawing. An ancient spirit lies within with the raw instinct for survival. It grabs us in our weakest moments and shouts, "Live, god damn, you, live!" The emotion laden writhing of the axeman seems to stir up such sentiment as I listen. Then a reminder of my own mortality.

We fade in the end, We echo.

We have such a short time to live. Our time is now. Let's attack it with the same uncouth gusto of our forebears, who struggled to survive in the ice and snow. The words of Led Zeppelin's "Immigrant Song" comes to mind in these closing minutes:

We come from the land of the ice and snow From the midnight sun where the hot springs flow The hammer of the gods Will drive our ships to new lands To fight the horde, sing and cry Valhalla, I am coming

Ancient Ruin takes the stage next, with a Near Eastern sounding motif with an attractive hook accompanied by tribal beat and voices singing in Forming The Void like harmony, "Orion." Following this is a vicious drum dominant slog and once again, we hear from our gruff caveman, who exclaims:

Fading out, Cosmic temple Riding out of this hell fear thy brother, meet thy maker Feel the darkness in my soul.

It's clear a religious ritual of some sort is underway, perhaps in response to the inexplicable disaster of the opening number.

We finish our adventure with the namesake track, Arctic Noise, which could very well serve as a Part B to the previous song. The riffage here seems more curious and wandering. A tale is told 'round a cave sheltered camp fire as cold, vicious winds blow about.

Arctic samurai, Astral vision May the arc of life BURN! Ancient avalanche echo All hail noise

I am the wretch I am the fiend Out of the void and in the machine I am the failure I am the one Out of the rapture and into the sun.

A searing solo breaks through that reminded me of one we'd hear on the first High on Fire record, only it begins feeling kind of wobbly and wounded, as if in pain. It quickly becomes seized by adrenaline and expresses itself in a confident, warm-blooded tone. I haven't said enough good things about the drumming so far, but it really shines in the second half of this song, and of course William Deal's basswork is as hearty as ever. The song ends on a cliffhanger, as if to say: "To be continued."

"I leave a lot of imagination in the lyrics," Brett told me, but dispels any notion that this is thematically linked to their debut LP, 'Sonic Monolith' (2021). He ended our conversation with an intriguing footnote: "Although deep in the lyrics in the debut album and also this E.P may you unlock what is to come next!"

Next did you say? That's something to look forward to, for damn sure! What better time than now to become a fan of Ape Vermin and revel in their dirty, gritty doom and fuzz-loaded stoner vibe!

I would be remiss were I to compliment the extraordinary album art by Steven Yoyada (who also penned the remarkable cover for our recent Doomed & Stoned in Denver compilation). Gaze upon this moment frozen in fantasy and you'll discover that it, too, has captured something of the record's soul.

Arctic Noise by Ape Vermin will be officially see the light of day on May 7th via Koloss Records (pre-order here). Fans of Conan, High on Fire, and Mastodon are you listening? Good, because Doomed & Stoned is rocking this mother in its entirety today.

Give ear...

Arctic Noise by APE VERMIN

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[clubpassim]

Women in Folk - The Ladles

Hey there!

Katie here, excited to bring you a very thought-provoking conversation with The Ladles!

The Ladles, Katie Martucci, Caroline Kuhn, and Lucia Pontoniere, formed in the Fall of 2014, in the New England Conservatory dorm rooms. Interestingly enough, they formed for a reason similar to what we're discussing: They were the only three women undergraduates that year in the Contemporary Improvisation program at NEC. “Being in such a boy’s club[...]”, they said, “[...]we naturally gravitated towards each other and started hanging out, singing Joni Mitchell, knitting, and playing music together. We decided to perform at a friend's house concert, and the rest is history!” The group has been performing together for about four years now, though individually they’ve all been playing for the better part of their lives, starting to sing and play as young children. When asked who their biggest musical influences were, they responded with Mountain Man, Meredith Monk, and The Boswell Sisters; all artists with rich harmonies that have played a part in helping The Ladles form their own rich and beautiful harmonies. That, paired with their varying musical backgrounds, has shaped their sound into the unique blend they’re known for having. The band is currently working towards the debut of their first full-length album, ‘The Line’, coming out on July 12th! “We are super excited about this, as we've only got an EP recorded and we really want to share these songs”.

They will be doing an album release tour around the northeast beginning on July 11, 2019. To stay up to date on the progress of their album, tour dates, etc., make sure to follow them on Instagram, check them out on Facebook, or visit their website! And be sure to come hear them play at Club Passim on Friday, July 19th, 2019 at 8 pm. You can buy tickets online here.

The next portion of the interview was focused on their experiences as women in the folk community.

[full interview under the cut]

Club Passim: Talk a little about your experiences as a female artist/all-female group in a heavily male-dominated music genre.

The Ladles: Well, to begin with, we felt it right away when we all arrived at New England Conservatory and realized how few women were in our program. It can definitely create a divide, and it's easy to feel judged for how you play and what you play. There's a sense of needing to prove yourself. Styles of music that include more improvisation tend to be more male-dominated. This is because we believe men are allowed to make more 'mistakes' than women in our society. We don't have to look very far to see examples of this. Improvisation is all about making mistakes and being vulnerable; you figure things out as you go and you will make a fool of yourself. But because women don't have that same sort of leeway, they often shy away from that level of exposure.

We're sure many women can relate to the experience of feeling pressure to present as "perfect." As we have continued to grow as musicians and The Ladles has grown as a band, it's been easier to let go of perfection in favor of taking risks and learning new things. In those moments, we certainly make "mistakes" but also feel more creative, authentic and fulfilled.

CP: Do you notice a difference in how you’re treated by other artists, venues, audiences, and industry professionals before vs. after you play?

TL: We definitely have. Condescending comments like, "Wow I'm surprised at how good you are!" We literally have had people say that. But the vast majority of audiences and venues are very supportive and treat us with respect.

CP: Do you feel you are viewed differently on stage by men v. women?

TL: I think this varies more person-to-person, rather than men vs. women. Of course, there is a measure of objectification that is inherent with performance, whether you are female or male. That being said, the presence of the "male gaze" is undeniable (obviously among straight males) when you are a woman being viewed on stage by a man.

CP: Often, all-male bands have a heavy female fanbase that buy merch, go to many shows, support, etc. Do you feel you have the male gender's support of your music in this same way? Why or why not do you think that is?

TL: Our fanbase is pretty equally male and female. The men who enjoy our music respect us as musicians and genuinely enjoy what we have to offer. In our generation, there is generally more awareness among men of respecting women (at least in the lovely bubble that we live in, in the northeast). But honestly we see it throughout the country - even in the deep south where Lucia is living these days - things have changed a lot between our generation and our parents’.

At the same time, one cannot ignore the violence and oppression that women face en masse. The abortion laws being passed in various state legislature around the country are a good indicator of the ways in which women continue to be policed. Women in every profession have to deal with these questions of respect, creative/intellectual worth, body image, and entitlement. Femme musicians just have the added experience of navigating that in public, on stage.

CP: Incredible classical artists such as classical pianist Yuja Wang use their performance attire as a way to express themselves. This provocative style of dress has been viewed as “distracting” from the music. What are your personal thoughts on women using fashion and sex-appeal as a means of bringing in more audience members and assisting in selling their music?

TL: Performers should be able to dress and act however they want! They are creating a performance, and that includes a visual aspect. If a woman is using her sex appeal, go right ahead girl! The bigger issue here is that sex appeal and skill are not mutually exclusive. A woman can be an incredible musician and not fit society's typical (and ridiculous) standards of beauty and be overlooked and ignored. On the other hand, a woman can be an incredible musician, fit some of those ridiculous standards of beauty, and therefore not be taken seriously. There's no "right" way to do this, so just be yourself and wait for everyone else to catch up.

CP: In your opinion, how can men be more aware or informed about women in the music industry?

TL: Men can include women in their projects, they can support their femme friends' shows and projects, and they can examine their own experiences! Really just talk to your female friends and listen to what they say about their experiences.

CP: What do you do in a situation when you feel disrespected by the artists/co-workers you’re surrounded by?

TL: Try to address it, as quickly as possible. It can be super hard, but it's important for both parties. Sometimes people aren't even aware that they're acting in a way that feels disrespectful to you. Learning to trust your gut and to vocalize those feelings is hard work, but really the only way to bring about change in a work environment and step into your power.

CP: What message do you want to display as a woman in folk music?

TL: We think it's important to stop making subsections of musicians - "Women in music" "All female band"  etc. We don't want to be defined as "female musicians", we just want to be musicians! We should be able to transcend that label. It can be creatively limiting to put yourself into a box that labels you a certain way. We are happy to talk about our experiences as women living in a society that still takes issue with women living public lives, in fact, it's absolutely essential dialogue that can be informative for women and men. But why not ask men to examine their experiences as well? How have they benefited from sexism? What has been easier for them because of their gender? What do they not understand about life as a femme creator? What is their experience of working with women? Establishing that expectation, that men should be examining their experience and including women in their work, is necessary for us all to move forward.

CP: What words of wisdom/encouragement do you have for aspiring women in folk?

TL: Build community and be true to yourself and your music! If there's emotion and intention behind music, it's always good music. Who cares if anyone likes it or not? If it feels like a true expression to you, then it has merit. There's a wonderful letter from Martha Graham to Agnes de Mille that captures this idea beautifully:

“There is a vitality, a life force, a quickening that is translated through you into action,
 and because there is only one of you in all time, this expression is unique. 
And if you block it, it will never exist through any other medium and be lost. 
The world will not have it. 
It is not your business to determine how good it is, nor how valuable it is, nor how it compares with other expressions. 
It is your business to keep it yours clearly and directly, to keep the channel open. 
You do not even have to believe in yourself or your work. 
You have to keep open and aware directly to the urges that motivate YOU. 
Keep the channel open.”

Thank You, Katie, Caroline, and Lucia for your thought-provoking answers. My favorite points you made were how improvisation-based genres are usually male-dominated and the reasoning behind it, and that it is everyone’s job to help establish the expectation that both men and women should reflect on their differentiating experiences with sexism in the workplace, and then talk about it more.

Thank you for reading, and stay tuned for the next installment of the ‘Women in Folk’ blog!

- Katie

Want to hear more from The Ladles? They will be performing at Club Passim on Friday, July 19th, 2019 at 8 pm. You can buy tickets online here. 

PC: Elizabeth Maney

[bassismybf]

Mick Jacobs sits down with Canada’s rising start RALPH

Accented with golden accessories and a sleek blonde cut, Raffa “RALPH” Weyman exudes a cool confidence that may intimidate a stranger. But in conversation, Weyman is inviting and chatty, eager to share anything from her genre (“Synthpop disco soul”) to her morning routine (coffee and a crossword).

A string of releases over the past two years has led to a six-song EP, debuting this week, and notice as one of Canada’s rising stars, so she’s been keeping busy.

Seated at the Alchemist in Los Angeles’ Koreatown neighborhood, Weyman told me about her plans for 2017, her studio routines and quirks, and why travel is a much needed form of inspiration.

------------

I like the collar you’re wearing, it’s a nice touch

This was a gift to myself for just achieving some things that I felt good about. My friend owns a designer consignment shop in Toronto, and this came in. I wasn’t even thinking about buying it, I just put it on.

Then this woman, a regular customer, decked out in head-to-toe designer who always comes in and tears everything apart, sees the collar on me and goes “Oh my god, what is that? I’ll buy that right now!” And all of a sudden I was like “You know I think I might get it…” She continued trying to buy it off my body and I’m like “hehe, no.”

And now it’s one of my favorite pieces.

And it comes with a great story. So what are some of these goals you reached?

The fact that I have an EP that’s done and is coming out in a few days, with six songs that I feel very strongly proud of, I think that’s incredibly gratifying. People will ask me “Oh, is this uncomfortable, listening to you own music?”. To be honest, no, I really enjoy all the songs. They were crafted with a lot of thought and enjoyment.

We are already two months into 2017. Your EP is done, you’ve been travelling, how are you spending your time here in Los Angeles?

Overall, it’s nice having a break from your routine. Here I’ve done lots of hiking, eating well, and going out late. Sometimes it’s nice to just say yes to every house party.

The nice thing about LA is you’re always meeting new people, and you never know who they’ll be. Toronto is big, but it’s small if you’ve been there a long time. Going to new places, writing and talking with new people, and making connections has been great. I spent much of this week in the studio writing with different producers. I have my last writing session this Monday. While here I actually wrote my favorite song that I’ve ever written.

So, when can we expect to hear that one?

Ooooh, I don’t know! Right now it’s just a demo, but ideally it would be an album song, the next hit after the EP has had its time. That, if anything, is worth being out here.

I’ve seen that you’ve Tweeted about working with people who’ve worked with major acts like the Spice Girls in the past. How do you choose who you work with?

Well, creatively, when it comes to aesthetics like videos and photography, I’m very lucky in the sense that Toronto (I’ve lived in Toronto my whole life) hosts a very large network of creatives who are really good at what they do, and who are willing and eager to help out and assist on a project if they feel driven and are motivated behind it. I’ve been able to pick and choose who I get to collaborate with on photography and music videos. My best friend just directed the “Tease” video, and our friend Jackson shot it, I had other friends style it. My little brother even assisted on the video, and my older brother directed the first music video that I made for “Trouble”.

Do you think that your music reflects that friendship in how it sounds?

A lot of the people that I’ve collaborated with on the songs I haven’t known them going into the room. When you go into a room with a producer, often it’s you’re two strangers, who were hooked up through managers or friends of friends.

It’s important for me to spend an hour-and-a-half talking to that person, getting a sense of them, letting them get a sense of you. Because you’re going into a room like “alright, here are all of these personal experiences and stories that I’m going to share with you, and we’re going to put it into writing that everyone will hear.” This is a very personal experience, and I feel the songs reflect how I’ve become friends with the people that I work with.

Of the songs on the EP, three of them are with one guy, three of them are with another guy. Both of those producers I’ve cultivated nice friendships with, and I don’t think the songs would be what they were if hadn’t been able to feel comfortable with them.

Is this going to be a very personal EP in terms of what you’re going to talk about?

I think every song that I write has an element of personal experience. Even if it’s a song about dancing with my friends, in order for me to write songs that I connect with, I have to insert something personal into it. But things like that also depend on you as a listener. Some people aren’t picky about lyrics, so they’ll listen to a song and go “Love the beat, love the vibe” that’s it. And that’s cool; as long as you love it and feel good. But I do appreciate when people are like “I love this line, I really connected with this song, that’s me in that line.”

What are your favorite lyrics that you’ve written?

One of my favorite lines is in a song that isn’t on the EP, one that may or may not get released. it was “I’m beginning to think that I’m complicated/Do I get-off on manipulation”

And that’s a very personal line for me, which I didn’t even realize how personal until I wrote it. I was seeing someone who was incredibly kind to me, and I knew that there were more feelings on his end than on mine. But it was so nice to be cared for so deeply, that I kept putting off.

Is this the person in “Cold To The Touch”?

No, actually not. But a lot of lines in “Cold…” are my favorite because each blog that picked up that song had interesting interpretations. The point of the song is that I’m not trying to be an asshole. We’ve all had people who are not honest to us, right? By no means have I always been the person who’s controlling in a relationship; it takes two to tango. You’re in a situation where you like someone, and they’re like not really texting back quickly and you’re like “Just tell me you’re not into it! Don’t make me suffer!” So the point of the song was that I had been in that situation and liked the person, but I realized there was a bit of an imbalance.

What can you tell us about the thoughts and feelings on this EP?

Each song is about relationships with yourself and others, and that each is hard and requires you to dive into yourself and see how it affects you.

When writing songs I try not to gear them towards any specific group. I want my parents to show it to their friends and have it speak to them. As I write I try to avoid gendered pronouns because I want the men I love in my life to be able to identify with my messages as well. I want it to be a universal message that transcends your background, age, sexuality, etc.

When working with a producer or in the studio, what’s your process when it comes to songwriting and inspiration?

It’s different every time. Sometimes I’ll go into a session with an idea, and see what I want to write about that day.

But it also depends on the producer. Two days ago I was in a session with a producer who is so talented, but weirdly needed me to guide the session, which I’m not used to.

How did that feel?

It was good. It was a learning experience because I’m not used to a producer giving me so much control. I’d say “Okay, why don’t we do another take?” and he’d respond “Okay, sure! Let’s do another five then.” All of a sudden I felt I was producing the song myself, which is great because it’s really important to know that. As a young female artist I’m constantly striving to get better at producing my own shit and be comfortable with things like terminology. To go into a session and be able to say you want road sound on the keys, a three-six BPM.

There’s a book called The Art of Production that an uber driver in LA told me to read, and I have been meaning to just sit down and get more familiar with terminology so I can convey exactly what I want.

As you mentioned, you’re a young female artist working with many different male producers. We know that sexism, still alive and well, is something women musicians often face. Have you encountered it at all?

You know what, I’m super lucky. I have thus far only worked with male producers, and they’re lovely. I’ve never felt uncomfortable ever. Yesterday, someone pointed out that I’m going into a room with a strange man who you’ve never met before. But I’ve never felt uncomfortable.

I trust the team that I have behind me to hook me up with producers with good recs. They know me, and won’t put me with someone isn’t going to vibe with me. Also, being managed by a female just makes me feel more comfortable.

Yes, I am surrounded by men in music, and that’s the industry, very male-dominated. But I make a point of also finding, spending time with, and supporting females in music too. Toronto’s great because there are a lot of women in music there who are very supportive of one another. It’s important to feel that. Maybe they’re not running the labels yet, but one day…

We hear a lot more about the Toronto music scene because of—

Drake… *Laughs

And you obviously come from a different side of that, from a background connected to a lot of different creatives in the area. How would you describe your Toronto scene?

Toronto has a very diverse music scene. Right now it is very urban, which is maybe not the best term, and there’s a ton of folk, which is big in Canada in general. For me personally, these two groups are the biggest music scene; that’s where many of my friends, in terms of musicians and creatives slip into.

When people come and visit Toronto, I always refer them to go to this thing called Practice. Because Toronto has so many exceptional musicians, these guys came up with this concept where every Tuesday at this venue, the Drake on Queens Street, they have an onstage live jam. It’s just a bunch of musicians who’ve never played with each other before, no preset songs, and the cast rotates. People will show up with basses, saxophones, and the guys running the event will just call up each musician to form an impromptu band, who then create songs onstage in front of a full audience. You’ll only ever hear these songs once because they’re jams, and the talent is just amazing. I go to these all the time, and am a big supporter of it. When I sing there, I get twelve bars and to just freestyle, sing whatever comes to you. You get a chance to see a bunch of different kinds of artists working together and mixing their style with whatever is happening onstage.

Have you written a song based on something from Practice, and do you get spontaneous when you write?

Kind of. One of my favorite things to do at the end of crafting the structure of the song, I always get the producer to play me the track and I just sing whatever comes. Sometimes it’s harmonies that I hear, oohs and woos and ahhhs. When you hear these in my songs, those little punches are not preconceived, I just came up with them during these run-throughs.

*Laughs. You never know what you’ll do and if it’s going to work. I remember when I first started doing that there’s a part of you that feels stupid going “WOO.” But, going back to cultivating that relationship with a producer, sometimes they’re like “Just do it! Whatever you want!” And sometimes I’m flat, sometimes the harmony is terrible; it’s not a reflection of me as a bad artist, it just doesn’t always work out.

Yeah, because you can’t always be in tune.

And you have to have a sense of humor about making music. For example, sometimes an instrument player will do a guitar riff and it’s just doesn’t land, and you laugh about it. It’s important to maintain a sense of fun and casualness.

Also, it’s important to eat during a session. If you don’t eat, you get grumpy.

What’s your studio food?

I always have a protein or granola bar in my bag, or an apple or banana. I love me a good protein bar, I have one in my bag right now.

One of the first times I worked with one of the producers on the EP, Derek Hoffman, I was running a bit late. I texted him saying “I’m so sorry I’m late!” His response, “No it’s okay! Do you like smoothies?” Uh, yeah, I fucking love smoothies.

So I got to the studio and he just randomly guessed what he thought I’d like and it was a banana, coffee, almond butter smoothie, which is all of my favorite things in a container. That was the way that we formed out relationship, smoothies while we worked together.

Who’s a dream collaborator for you?

I want to have someone come on and do a rap, a little verse or something. I grew up within a hip-hop community back home. My brother did hip-hop for a long time, I listened to a lot of hip-hop and R&B and I love it.

I don’t think you would listen to my music and go “Oh yeah, a rapper, that’s what she needs.” But I love the idea of having genre overlap. There’s an artist in Toronto called Daniel Caesar that I’m obsessed with. I would love to collaborate with him.

Also Anderson Paak. That’s like the dream, though, *laughs. Daniel Caesar is a little more reachable.

What else does 2017 have in store for you?

I’m excited to do another music video. Doing these vids has been a positive experience, sort of an expression of myself that I’m making with people I admire. When it comes to music videos, for the most part it’s been an idea we’ve come up with together. I would love to work with my best friend again, who did the “Tease” video. I’m looking for another video with more views and more responses. I love that people connect with the images, and the goal is to have them connect with your vision.

I think that’s a very Beyoncé way of thinking, the visual and audio combination as a means of expression.

RALPH is very much me, it’s a joy to do photoshoots and come up with concepts.

In 2017 I’m also pumped for shows. 2016 was a lot of writing and putting out songs, which is exciting in its own way when you’re watching your stuff unfold over a computer screen. I’m looking forward to working with my new band, and getting some more face-to-face interaction with fans who are listening to and talking about the music. I’m hoping to have a more IRL presence in 2017.

Oh, and travelling. Hopefully coming back to LA to work on some more music. Travel as a whole is nice because you’re somewhere new with a purpose and direction not just floating around.

So will we be seeing a tour from you this year?

That’s the goal. We just did a show with my new band at the Royal Ontario Museum in Toronto, which was cool playing amongst a bunch of dinosaurs. And then I have my EP release party on the 22nd of March.

We have some other festivals in Ontario, hopefully some shows in Montreal. I love performing, and now that we have a body of work done, we can go out and do it.

Would you say you prefer the studio or the stage?

I’ve always loved the stage. As a kid I was a really big personality, and always was the one who would play the lead if we did a skit. Last year we opened for Oh Wonder, and my bandmates were shitting themselves. I remember being thinking that this is the show I’m going to get nervous for; but you know what, I never did.

RALPH’s debut EP arrives this Friday.