Based out of New York City, rising dark indie punk pop artist D’Arcy has toured in over 40 cities throughout the US and is currently working on her new album with Sonny DiPerri (Nine Inch Nails, Radiohead). Her new single “Crazy” is out now – take a listen below. SPIN caught up with D’Arcy to talk about who inspires her, what her biggest challenge is, where “Crazy” came from, and more.

Come and vibe with D’Arcy below! For more SPIN Sessions, head over to SPIN TV.

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Who is D’Arcy & how did you come to life?
The identity of “D’Arcy” came to be through hunger I had to create music that was influenced by, but separate from, my personal experiences and history. She feels very much “me” and also entirely “not me.” I wanted to feel free and fresh. And I do.

Tell us about your sound – where does your style originate from and what have been your biggest visual, social, and sonic influences?
I have a lot of influences, and a lot of them are not in the music space. Merce Cunningham and John Cage are big ones. I’m also very interested in Butoh, which is a really interesting type of Japanese dance that I studied a bit in school. Techno music and the city of Berlin. Patti Smith. Jimi Hendrix and Janis Joplin. David Mamet. Nietzsche. David Foster Wallace. Sadie Benning’s short film “If Every Girl Had a Diary” from the 90s. FKA Twigs. Cigarettes After Sex. My dogs. It changes a lot but these are some staples right now.

How has your songwriting/production process evolved through time?
I think I used to try and sound more like other people. I would come into the studio and say “I want to make a song that sounds like X.” Now I go into the studio and I say, “I want to make a song that sounds like nobody.” And even if that song ends up being just an acoustic guitar and a vocal, it retains an honesty that can otherwise be corrupted by trying to sound like other people. There is a big difference between being influenced by other artists and trying to sound like other artists. The challenge, and exciting part, is finding your own voice by absorbing and synthesizing different types of art and then generating your own, completely unique sound and style. In terms of production, acquiring my synthesizer was a big catalyst for starting to create a new sound. I feel like my knowledge of sound is ever-expanding thanks to the Prophet Rev2.

What ideas, processes, etc. have you been exploring lately to generate inspiration or new musical concepts?
I am trying to be a sponge and just absorb everything I can. Usually that means I am in my house alone listening to music or reading a book or watching something. But lately I am becoming very excited about meeting new people and having experiences out in the world. I think it’s important to have both phases and they both really influence how I take in inspiration and write based off of that. Maybe it’s to do with the weather in NYC now, but I am currently feeling very energized and inspired by people and the city.

How do you define and perceive success? What’s your journey been this year in the pursuit towards it?
Success for me is being able to create the best art as I possibly can for as long as humanly possible.

Do you create for yourself or for your fans?
Absolutely myself. I really try not to think about how things will be received when I am making them, otherwise I tend to make things I am not very proud of. Of course it is very exciting when my music is well received and connects to other people. I have to be kind of in a bubble when I am creating something from scratch, even if I am working with other people. Once I know the material inside and out, and can perform it, the performance aspect feels much less self-centered and more collaborative and giving.

What has been your biggest challenge so far as an artist?
Trying to not care about instant gratification and tangible results when sometimes it feels like it’s all that anybody cares about. The biggest challenge as an artist for me has nothing to do with art itself. It’s about all the “business” around it.

What inspired your latest song “Crazy”?
Love.

What made you want to become an artist?
There’s a really great clip somewhere on YouTube where David Bowie talks about creating art. Basically he says that it’s not always a pleasant process, and often excruciating, but for some people it’s just an absolute necessity like breathing or eating. For me it very much feels that way. I can’t not do it.

If you had to give a title to the current stage you’re at in your career, what would it be?
“Levitation.” Also that is one of my favorite songs. (By Beach House.)

In what ways do you wish to inspire up and coming artists/producers that are aiming to get their creative work out into the world?
Hmm. I think the most important thing is to inspire somebody to be themselves. There are too many copycats and not enough originals. It gets very boring. Be yourself, be weird, there are absolutely no rules. Stop thinking that there are rules, or that there is “one way.” I hope I can inspire other artists by embodying this ethos myself.

What’s next for D’Arcy?
I will be making a movie!

Take a chance now and manifest something: ______________.
Manifesting that I am currently making a movie!

Any last words for the SPIN-verse?
Thank you.

To see our running list of the top 100 greatest rock stars of all time, click here.

Consisting of two members and a diverse array of contributors, CAPYAC always finds a way to include unparalleled visuals to ad dimension to their music. Always genre-bending, the duo captivates their audiences with a bit of jazz and funk, along with a mix of more modern sensibilities. Check out our interview and recorded session below. We think you’ll agree that CAPYAC is bringing a profoundly authentic approach to songwriting, musicianship and live music.

SPIN caught up with CAPYAC to talk about inspirations, fashion, their amazing visuals, and more.

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Who is CAPYAC & how did you come to life?

CAPYAC started as my (Potion’s) production moniker on SoundCloud in March 2013. P Sugz joined the following year and we produced bootleg remixes and original tracks furiously. In the early days, we were playing 1-4 shows every weekend in Austin, TX, mostly at friends’ houses. Real punk life. We had a rule that we’d debut a new song every weekend around that time. Friends started hopping on the project in Austin, and I’d say the band contains around 20 members now, with very fuzzy edges. Not all the members are musicians — we’ve got dancers, performers, art directors, VJs, etc.

In these new videos, we’re showcasing an ensemble we are calling the CAPYAC Friendship Alliance, which contains roughly a dozen people. We hope to go on tour with this group, but since no one believes us when we say we have a ten-piece band ready to go, we had to film a few songs first. All of these songs were done with very minimal overdubs — I think we replaced 3 things across the whole project, mostly to fix bleed from performing in one room — so the video is very close to how we perform live.

Tell us about your sound – where does your style originate from and what have been your biggest visual, social, and sonic influences?

Before CAPYAC, Sugz & I had a folk band, a jazz band, a punk band, a funk band. CAPYAC was my third attempt to release electronic music, and I always kept the sonic influence very wide. I listen to Steely Dan, Sophie, and Art Tatum back to back, I have no idea where our music comes from. I think it is the music critics’ job to decide what our influences are.

Visually we’ve both been big fans of surrealism, and Dadaism before that. We formed an art collective in Austin around 2011-2012 with a bunch of friends, renting a studio in Austin, mostly making art for ourselves. I want to refrain from listing names because I will inevitably forget a few. I can only say that Snowy Bing Bongs Across the North Star Combat Zone is the single most important piece of visual art I’ve ever seen.

Come and vibe with CAPYAC below! For more SPIN Sessions, head over to SPIN TV.

How has your songwriting/production process evolved through time?

We’ve gotten better at everything. Most importantly, we are thinking, seeing, hearing, feeling with more acuity than ever before.

What ideas, processes, etc. have you been exploring lately to generate inspiration or new musical concepts?

Writing songs without a computer. Previously most of our music was written to tracks (“toplining”), but recent songs like “Best Friend” have been written in a more traditional way, just the two of us sitting at a piano and working through the song linearly, and then deciding how to produce it after the whole thing is written. This results in completely different music, as you might imagine.

How do you define and perceive success? What’s your journey been this year in the pursuit towards it?

I don’t think about this. No one should be thinking about “success.” I try not to compare myself to anyone. I think we’re just doing what excites us, really. I’m not in pursuit of anything other than trying to outdo myself. There was a time when I looked at the Spotify numbers, charted our growth on Instagram, that kind of thing. But it was only toxic, I gained nothing from it. Success for me is the moment I’ve completely forgotten about success.

What inspires the surrealism and theatrics incorporated in your overall artistry?

We are really just being ourselves, I don’t think we could be doing things any differently. It comes from wanting to put on a good show, from recognizing that when hundreds or thousands of people are giving you their attention, you have the power, and the responsibility, to make their lives better. Ideally to change the course of their lives permanently. The performance gives the music context. Without it, you have no idea what we’re trying to say. Skits and improv comedy have been part of the show since day 1. Streaming our music is like watching a movie blindfolded.

Does your music inspire your fashion or visa versa?

Everything inspires everything. My walk to the coffee shop inspires my taste in shoes. My childhood home inspires my taste in art. My daily routine inspires my taste in music. My parents informed my politics, which inspires my fashion. My fashion selects my friends. My friends (and my neighborhood, and my biology) inspire my taste in food (which inspires my taste in music). When everything is connected, I don’t find any point in singling out any one connection, and prefer to live in a vague, multidimensional graph of experiences.

What individual elements do each of you bring to the unification of the group?

Come to a show and you will see for yourself! A person is a lifetime of experiences, a Gestalt of the thousands of days that made them who they are. If you want to know what instrument they play, or how they play it, watch the CAPYAC Forever Alliance videos. The rest is up for you to judge.

What was your inspiration for your last album?

The albums that came before it. We wanted it to be better than all of them.

If you had to give a title to the current stage you’re at in your career, what would it be?

Our last album was marketed as our second debut album, and our next album will be our third debut album. We are constantly beginning. Always starting from scratch. Always trying to pretend that no one cares who we are. I hope we’re still “up-and-coming” when we’re in our 80s.

In what ways do you wish to inspire up and coming artists/producers that are aiming to get their creative work out into the world?

There’s nothing more important than ignoring what everyone else is doing. Don’t compare yourself to anyone. For the love of god do not make “___-type beats” (except to practice of course, like how a jazz musician might transcribe a good solo to learn a few things). Don’t compromise, and trust your gut more than anyone else. It’s the only chance you have at doing anything original.

And if you aren’t already inspired, already motivated, already feeling an irresistible calling towards music, then your calling probably lies elsewhere, and you should not waste any time trying to identify it! Go stare at some trees and ask yourself what you would do with your time, even if it earned you no money or recognition.

What’s next for CAPYAC?

We are excited to premiere the CAPYAC Friendship Alliance, and play shows as this ensemble around the country. We’re producing big events in Austin and Los Angeles. We’re launching a quarterly club night called Milk Club in Austin and Dallas. We’re working on a new album. We’re throwing lots of dinner parties at our house. Thinking about starting a label to release all of our members’ side projects. Building community around art is what it is all about.

Take a chance now and manifest something: ______________.

You should never tell anyone what you wished for! This is the only rule of wishes!

Any last words for the SPIN-verse?

Start using Bandcamp.

To see our running list of the top 100 greatest rock stars of all time, click here.

Derek Simpson is an optimistically simple being in the best sense. Not one to overcomplicate things, rather enjoy the curiosities that life has to offer. Through music, playful inquiry, keeping things fun and explorative, Simpson is relinquishing perfectionism and relishing in receiving his wisdom through creativity. Even though he lives simply, it is not to be confused with being simple minded. His recent LP, Signs, carries a multitude of introspective scenes that outline his inner thoughts, embellished by his mesmerizing guitar playing. These conversations between his sentiments and the music make for a tasteful cocktail made of all the feel-good human stuff.

SPIN caught up with Derek Simpson and took a look at his latest musical concepts, how he feels about Signs, what’s next, and more.

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Who is Derek Simpson & how did you come to life?

Derek Simpson is a three-hundred-year-old grass-blade whose origins & purpose are unknown.

Tell us about your sound – where does your style originate from and what have been your biggest visual, social, and sonic influences?

My style originates from having listened to The Love Below on my Walkman when I was six or seven years old until the CD was too scratched to play. That was my first musical love affair, but everything I’ve taken in since has had some sort of impact on what I make.

How has your songwriting/production process evolved through time?

I invite more people in these days. It’s been a 10-year process of learning how to relinquish control and remain playful. That process of writing/recording/producing/mixing is the most fun its ever been to me right now.

What ideas, processes, etc. have you been exploring lately to generate inspiration or new musical concepts?

I’m sampling older recordings I never finished on these newer recordings which has provided so many new possibilities. I’m sticking to the general rule of keeping only what’s needed, becoming my own personal Rick Rubin. Also sharing the songs at various stages of completion with other artists, giving each of them the opportunity to work on something if they feel drawn to it, & getting a sort of crowd-sourced opinion on certain decisions has kept this new thing with some strong inertia.

How do you define and perceive success? What’s your journey been this year in the pursuit towards it?

I feel successful when I’m practicing balance, engaging with my own curiosities, & making things with other people. I’ve just been creating a life where I do each of those things every day.

You’ve recently released your record, Signs. Paint to us the universe surrounding this project. What themes are the driving force to this album?

To me personally, Signs is a hypnotic exploration of intimate relationships & communication. Any flowery language I’d indulge in would just do a disservice to the work, listen if you’d like.

What track was the most challenging to record? Which one was the most enjoyable? Which had the most to say?

Honestly, the recording process was such a blur since it was primarily in my current bedroom during the entirety of 2020, a year that came with global stress & loss. I’m sure I was writing the album in an attempt to create a sense of calm during a time that felt apocalyptic. I remember loving the day I recorded the guitar on Kid The Moon. Also the few days it took to make U-Turn were really exciting, I hadn’t made anything primarily dub-influenced before & just love how it came out.

If you had to give a title to the current stage you’re at in your career, what would it be?

“Hot, Broke, & Happy To Be Here”

In what ways do you wish to inspire up-and-coming artists/producers that are aiming to get their creative work out into the world?

To do just that: get your creative work out into the world. Also keep it groovy, be the change, eat your veggies, make love, all the classics.

What’s next for Derek Simpson?

The band is playing shows and keeping the Signs spirit alive for a while but otherwise keep ur ear 2 the streetz n find out baby.

Take a chance now and manifest something: ______________.

One day there will be no cars. I guess that’s not manifesting anything it’s just a loose fact running totally wild uhh, ok.. I will be a positive influence in many people’s lives that I know personally, and my output will be a positive influence in the lives of those that experience it.

Any last words for the SPIN-verse?

Keep spinnin’ please & thank you!

Take a look and listen into Derek Simpson’s world below. For more SPIN Sessions, head over to SPIN TV.

To see our running list of the top 100 greatest rock stars of all time, click here.

The Zephyr Bones are the Barcelona based band making big waves in today’s Modern Psychedelia era. Much like an elegantly rising tide, their career moves at a fluid and abundant pace. They’ve just released a record, Neon Body, that takes the listener through a reflective journey through the band’s lens as they musically express what it means to be human in a digital era. This LP is coming from collectively mature minds at play who have become confident in the imprints they want to leave in the music space. Their sound as uniquely articulate as their vision, is undeniably inviting, constantly leaving one searching for more. SPIN took a pause with the five man band and spoke about their origins, songwriting process, pursuing success, and their most recent LP, Neon Body.

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Who are The Zephyr Bones and how did you come to life?

The Zephyr bones are Carlos, Marc, Brian, Joss, and Alises. The band “officially” began in the year 2014 when our first EP was released, Wishes/Fishes, but it spiritually started in the South Pacific, in Chile, where the two singers used to live. Back in 2012, Brian returned to Chile for holidays (he moved to Barcelona in 2010) and met his old friend Joss and started to play again.

Musical chemistry and connectedness were the main components of their friendship. It’s hard to explain when you have that kind of bond with someone, it’s something similar to telepathy.

Two years after that encounter, Joss was landing in Barcelona willing to bring The Zephyr Bones to life! It took us two years to find our sound, write songs, experiment and, of course, find a good name and people to play with. By that time we had a whole different formation. The two members that have always been there during the band’s history are Bri and Joss.

Tell us about your sound – where does your style originate from and what have been your biggest visual, social, and sonic influences?

Our style is called Beach Wave. We coined that term by ourselves, we wanted to make psychedelic indie but with a wet, dreamy feeling. That is why we came up with the name –– when we started all this surf imagery was very present in our lives as we used to skate a lot too. When you ask about cultural references I would say Stacy Peralta would be one of them. Our name has something to do with him! when we saw the movie, Lords of Dogtown when we were teenagers, it blew our minds. It is not that good of a film, but we connected with the spirit of those first skaters of the 70’s California.

Social references could be Robert Smith, Lenin, Ornette Coleman, Salvador Allende… all of them have got something in common: They challenged the establishment in some way or another. Robert Smith has been very clear about abolishing the monarchy, for instance –– he said he would rather cut his arm, We agree with him!

In this album we expand the Beach Wave sound into a more glow-y, upbeat, and darker sound; we wanted to sound a little bit more to the city than the ocean, a big sonic reference for us would be Captured Tracks’ bands DIIV, Wild Nothing, etc… some classic references would be Pink Floyd, Sonic Youth, or The Flaming Lips. During this album, we were listening to a lot of 80s FM music, Stevie Nicks,  Foreigner, Todd Rundgren’s Utopia, The Cars, ABC. Some electronic artists as well like WhoMadeWho or Mall Grab molded our taste and vision during the composition of this album.

How has your songwriting/production process evolved through time?

In the beginning, there was just Brian and Joss writing, producing, and recording the tracks but on this album, we wanted to make a change and evolve into a hive form of creation. The lyrics are still made by Bri and Joss but the music, vibe, and musical concepts of the whole album were made by the four of us.

Recording in a studio like big boys meant a step forward for us, recording a trumpet solo on “Verneda Lights” meant also progress; we always had the dream of a brassy solo on a song. We recorded that in our studio not having too much of an idea of how you should be recording a trumpet but when you put your heart and soul into it, the result is always positive.

What ideas, processes, etc. have you been exploring lately to generate inspiration or new musical concepts?

An idea that we have been exploring lately (and can sound very obvious) is the idea of silence; how a song needs to breathe, how you can find the whole on emptiness. This is probably some sign of maturity, when you start playing, you play as loud as you can and all the time. There’s nothing terrible about that but you get to a point when you realize that if you don’t have anything good to say you better shut up! You are contributing much more to a song when you don’t play and let the others shine. You need to be conscious of what a track needs, not just your ego. Getting that clarity, objectiveness, is hard, only experience can bring it to you.

How do you define and perceive success? What’s your journey been this year in the pursuit towards it?

Success is just an idea, a convention as well as happiness is a social construct. You can’t have a universal definition of success because it changes through time and it can be very subjective. For us, it means putting out music that is meaningful for us, staying true to ourselves, and well, selling some records is also part of what success means, going to another country and having people who want to see you.

You’ve just released your record, Neon Body, which traverses through a rhythmically dreamy, psych-rock universe – What mission were you trying to accomplish with this project, and what emotions does this album capture for you?

One of the main aims in the creation of this album was to move away from that naive imagery of our first record. On this album, we wanted to sound more enigmatic and mysterious, something more mature and progressive. Also in the past, all of the music was written by Joss and Brian – on Neon Body the four of us were into the process of songwriting, trying to chase the concept, the sound we wanted to achieve. The sensations that are captured on Neon Body are the topics of human emotions.

In what ways has this project allowed you to creatively/musically expand?

We recorded this album at Ultramarinos studio with Santi Garcia and Borja Perez and it is the first time we recorded in a professional studio. For that, we had to push ourselves to be effective instrumentalists, you have to be professional and enter into the recording room with no doubts. Also, the fact that the process was collective played a big part. Music is communication, is interaction, and even though there are different modus operandi for artists, we think that interaction with your comrades is essential. We learned that with Neon Body.

On this album we also included more synths and electronic sounds, we played with more sharp rhythms and structures, and had the bravery of combining disco and post-punk on the same package, we learned that different genres can coexist in the same boat.

What track was the most challenging to record? Which one was the most enjoyable? Which had the most to say?

“So High” as we recorded the drums in two parts to create this characteristic “motorik” beat the track builds on top of. Also, it is a different track that stands out from the general line of the album. It was challenging to get the rhythm right and stick to it as we were trying to emulate a drum machine so making the bass and the drums stay tight and precise was fun and tricky.

Psychedelic music and the psychedelia/counter-culture movement can be known as an era of exploring existential curiosities – what are some existential questions you think about? Have any been explored in your music?

The concept that is relevant throughout this album is very existential with dichotomy. Musically, there are two sides to this album, one of them is more electronic, and the other is more organic, more groovy, less geometric.

If something makes us humans it is that we have the skill of inventing concepts, myths, realities, and with the digital revolution at its peak, it seems like we spend half of our lives sleeping, and the awake part is divided between interacting with the real world and the other is being into our phones. Neon Body is a metaphor for that, our lives are getting electric and each day more and more.

If you had to give a title to the current stage you’re at in your career, what would it be?

We are living in a state of mental effervescence. We have a lot of inputs and outputs from all directions, diverse influences, and a thriving cultural scene in Barcelona. We are introspecting, exploring, and getting to know ourselves and where we want to move next. We are in a moment of exploring what we can achieve.

In what ways do you wish to inspire up and coming bands aiming to get their creative work out into the world?

Believe in yourself and the work you do. Not all the effort leads to a reward, but hopefully, you will find happiness if you put all your love and dedication into your craft. Take a breath and don’t worry, everything comes to you at its due time, sooner or later.

What’s next for The Zephyr Bones?
Working on new songs and ideas – you need to be aware that the market is constantly changing and flowing, that is to say, that as you gain new fans you also lose some others.

Take a chance now and manifest something: ______________.
Surround yourself with people who appreciate you.

Any last words for the SPIN-verse?
It has truly been a pleasure to do this! We hope you enjoy the album as much as we enjoyed doing it, and see you soon on stage!

Do yourself a favor and blast the The Zephyr Bones Session below on max volume. For more SPIN Sessions, head over to SPIN TV.

To see our running list of the top 100 greatest rock stars of all time, click here.

There comes a time when all you can do in life is to surrender to the experience, regardless of how difficult it may get. sir Was is a prime example of looking inward long enough to consciously address complex emotional conversations,  and turning all of that soul searching into something beautiful. His latest project, Let The Morning Come, is a diary into which Joel Wästberg relentlessly pours his emotions out, opening up the door to a series of questions and realizations he’s carried in his life up until today. After going through an ultimate trial that compromised his physical existence, he’s gained a new life that is too precious to waste away. As he found solace in music, he also found new artistic ground that’s launched his career in a liberated direction. SPIN caught up with the man behind sir Was as he intimately spoke about his relationship to music, working on his latest LP, fighting for his health, and much more.

Who is behind the identity of sir Was and how did you come to life?

It’s me, Joel Wästberg. I was working as a musician, touring and doing sessions, and on busses, trains and airplanes I would always work on my own stuff. It was sketches for songs, projects that never were finalized until around 2014-2015 when I found myself in a period where a tour had ended, a love relationship had ended and I wasn’t sure
about anything. It felt like a breaking point in many ways. For some time it had slowly dawned on me that I needed to take my own musical ideas more seriously or I would become a bitter and frustrated person to be around.

Tell us about your sound – where does your style originate from and what have been your biggest visual, social, and sonic influences?

When I heard D’Angelos Voodoo when I was around 17, I was completely floored. That groove and sound was something I’d never heard before. I still go back to that album and get the same kind of feelings.

Also, almost 10 years later, I heard Dudley Perkin’s album A LIL’ LIGHT (produced by Madlib) and that also was a big thing for me. Suddenly rap spoke to me. I heard the words, felt the words, it resonated in me. That album also led me to J Dilla. But I started out as a saxophone player and was active up until my early 30’s. I was very serious and as a teenager I listened to a lot of Charlie Parker, Miles, Coltrane, Weather Report etc. Alongside with that I listened to music that my parents had lying around. Chicago (Chicago II), The Beatles, Stevie Wonder, Joni Mitchell etc.. Vinyls they had at home basically… I also liked Rage Against The Machine’s album from 1992 and for a short time I played guitar in rock band with some friends.

As I got older, while I studied at the jazz program at university, I also got in contact with postmodern stuff like John Cage and Morton Feldman alongside music from Mali, South Africa etc. A lot of different flavors basically.

How has your songwriting/production process evolved through time?

I am not sure but I feel like I’ve become better at finding the core of what I want to express and peel off the “unnecessary” layers. I am not sure that’s necessarily true but that’s what I’m aiming for.

What ideas, processes, etc. have you been exploring lately to generate inspiration or new musical concepts?

For my latest album Let The Morning Come, I’ve been more focused on the recording process, getting the sound right before it’s in the computer. Room, microphones and preamps. In general, just working on letting any musical idea flourish before my judgmental mind comes in and kills the idea with some negative “what is this pathetic idea?!”
way of thinking. I have listened to so much music and still do, so I have many influences mixed together. I just want to see what comes out without trying to sort and put them in different boxes. It’s more fun that way, and the only way I know.

How do you define and perceive success? What’s your journey been this year in the pursuit towards it?

For me personally; If I can keep on doing what I like without having to get a day job that doesn’t interest me I would say that is a success, a huge success.

You’ve just released your record, Let The Morning Come, which sonically and lyrically sets a vulnerable, yet at times, somberly optimistic tone that hints at the album’s great amount of depth –
Paint to us the universe surrounding this project. What themes are the driving force of this album?

Well, I started to make this album in a playful way, just trying things out and after a while I realized I was making an album. I was singing about love, pain, fear, and relationships with people around you and with yourself. It felt good. I was on to something. Then I got the information that I was carrying a hereditary disease that manifests in strokes.
Obviously that had a big impact on me and inevitably it would affect the themes of the lyrics. Pretty quickly the first shock turned into an intense feeling of being alive. It might sound a bit pretentious but I actually felt more aware of the things in life that I get to enjoy.

It also led to some important honest conversations with people close to me. Conversations I had dreaded for many years but that I knew I needed to have. I experienced a sort of high and the songs just came flooding one might say. A couple of moths later I had a stroke. It took some months to recover but today I’m fully functioning. I’m lucky that the stroke wasn’t bigger than it was. I hope the album is life affirming to listen to, something that brings joy and inspiration to the listener.

What track was the most challenging to record? Which one was the most enjoyable? Which had the most to say?

I wrote the last verse on the song “One Day” from bed. I still had brain fog after the stroke so that was a bit challenging to record.

“I Wanna Feel Like That” was really fun. For a long time I’ve been aiming to write something you can dance to, I don’t know if I’ve succeeded but I hope it’s at least somewhat danceable.

What track had the most to say? Hard question, but I would say “Time To Let It Out” or “Spend A Lifetime.”

If you had to give a title to the current stage you’re at in your career, what would it be?

“Work In Progress”

In what ways do you wish to inspire up and coming artists/producers that are aiming to get their creative work out into the world?

Learn from others but most importantly, follow your instinct, your gut. Listen to what makes you happy and follow that feeling. What you yourself might perceive as a flaw might actually be your unique voice. Try not to worry too much about what others might think of your work, because it’s impossible to know anyway! Give your ideas a chance before deciding they’re useless. And most importantly, have some fun. By the way, this is what I tell myself everyday.

What’s next for sir Was?

In these weird pandemic times it’s hard to know for sure but I’m looking forward to keep making music and play live shows.

Take a chance now and manifest something:

YOLO

Any last words for the SPIN-verse?

Thank you for having me.

Melt away the day with sir Was’s Session below! For more SPIN Sessions, head over to SPIN TV.

To see our running list of the top 100 greatest rock stars of all time, click here.

Manics are a duo that have been making strides in making their dream of producing limitless music a reality. As founders of Popgang Records, they’ve been on an adventure that has forced them to take on an all around executive perspective, which has evolved their creativity to new heights. Letting go of the common obsession to produce a “perfect” record, Manics made sure to let soul drive their most recent record, Pastel Palace to fruition. Sonically and visually exploring the disco, punk, and dance universes  has resulted in a liberating and undeniably groovy record. Read on as the humble duo speak with SPIN about their proudest song on the album, how graphic design influences their musical career, what they have coming up and more. Stream Pastel Palace here.

Who are Manics and what do you stand for?

We’re a production duo currently based out of Los Angeles, composed of Baby J (Jordan Deherrera) and Tygrbyt (Chris Sanders). We started out DJing together and working on remixes, then moved into original production and eventually live performances. The project is an ever evolving sculpture of our vast range of dance music influences. We’re also the founding artists of Popgang Records, where we aim to support and release underground artists from a variety genres, subcultures and identities.

Tell us about your sound – where does your style originate from and what have been your biggest visual, social, and sonic influences?

Our sound pulls influence from classic disco, house, modern electronic music and new wave/post punk. We’re both graphic designers and the visual language of Post Punk and Straight Edge Hardcore have had a huge impact on the branding of our project and record label. Xerox is god. The DIY aspect of punk as well as its stance for open mindedness and equality has always had an impact on our art and music.

Talk to us about a pivotal learning moment in your career.

The pandemic was a huge learning moment. We got to slow down and refocus on what we wanted to do as artists and as a label. We were producing a lot of events prior to COVID and then everything stopped. We relocated to LA, built our dream studio and started working on what we wanted to, rather than what we had to. It also gave us a new appreciation for live events and the community that comes with them. With things coming back, we’re so grateful to be back producing events and releasing music that we’re excited about.

In what ways have you pushed yourself beyond existing self-imposed limitations?

Our album was a big push for us. We’ve released 2 EPs and countless singles since we started this project but an album always felt daunting. We were coming up on the 150th release for Popgang and wanted to make it special so we decided to hunker down and finish up the WIPs we had started over the last year. Giving ourselves that self-imposed due date though was really helpful in making it happen.

Your most recent release, Pastel Palace, is rooted within a “bass disco” universe – Tell us about the conceptual creation of this project. What made you decide this was the right direction to take for your debut?

The direction for this album felt very natural for us. We wrote these songs over the course of a year which gave us time to write in different styles and pull from our favorite influences. When we decided to finalize the album these 8 songs felt cohesive but still hit all of the corners of dance music we love. We also wanted to make sure some of these songs could fit into DJ sets, which means having the bass front and center.

Which track are you most proud of? Which was the most difficult to complete?

We’re most proud of “Golden Teacher”, It was challenging yet fluid and we kid you not was almost a 48 hour session of nonstop recording and experimenting. The goal to create an instrumental track that takes the listener on a journey and the creation of such was quite the journey of its own.

As we’re integrating ourselves back into an open world, do you have any other exciting ventures besides music you have your sights set on?

All of our ventures are in music right now haha. Running the label is a full time job for both of us and we’re starting to produce events again!

Is there anything on the horizon that you can share with us?

We’re gonna be releasing new music in the fall so stay tuned for that!

What do you wish for the future of electronic music? In what ways would you like to see it evolve?

We hope to see more genre bending, it’s always exciting to see what less experienced and new producers are doing. There’s an open minded purity in creatives who are not confined by knowing too much about how things are “supposed” to be done.

Any last words for the SPIN-verse?

Thank you so much for taking the time to talk with us an keep an eye out for our family of misfits on Popgang Records. Everyone we have the pleasure of working with right now are truly creating some of the funnest dance tracks we’ve heard. We are releasing new music every week, so make sure to follow @popgangrecords to keep up with those as well as our upcoming events.

Party it up with Manics’ Session below! For more SPIN Sessions, head over to SPIN TV.

To see our running list of the top 100 greatest rock stars of all time, click here.

The Lazy Eyes are the psychedelic wonder-boys hailing straight from Australia that without a doubt, should be on your personal ‘Ones To Watch’ list. As if blooming from the sunkissed meadows, their sound is in its most organic state, showcasing the raw talents of each of the band’s members. Their most recent release, EP2, is a coming of age love story; an ode to life as they know it. There’s pureness to the way they craft each of their songs, due to the sheer commitment and belief in their sound exploration that’s nothing more and nothing less. With a perfect balance of grit, etherealness, curiosity, and sunshine, they’ve set a high bar, quickly cementing themselves as beacons in modern psychedelia. With their laser sharp focus and clear determination, it’s only a matter of time before the world catches on.

SPIN caught up with the down-to-earth band and picked their brains about their new EP, the road to success, existential questions they can’t stop thinking about, and more. Catch their most recent release, EP2, here.

More from Spin:

• The Lazy Eyes Do It All Themselves—No Matter How Long It Takes
• SPIN Daybreaker: Peach Fuzz
• SPIN Daybreaker: 16 Songs for Your Next Road Trip

Who all are The Lazy Eyes and how did you come to life?

The Lazy Eyes are Harvey, Itay, Leon and Noah and we came to life after meeting at a performing arts high school a few years ago and sharing an interest in the same music and enjoying awkward jokes.

Tell us about your sound – where does your style originate from and what have been your biggest visual, social, and sonic influences?

I think our sound is just the amalgamation of all the subconscious things we’ve been inspired by over the years, applied to our songs. Just recently we were working on a new song in Lindfield Studios and we noticed we were adding in some things that we would never lean into before and we really enjoyed doing it. Harvey’s been getting super into dub music, so we added this beat repeat thing but then also there was a little high synth drone we put in that gave us old-school Outkast vibes? Anyways, I think what I’m trying to say is that what we’re listening to is always changing and that’s what keeps us happy.

What does your typical songwriting/production process look like? Is there a set formula or does it consistently evolve and shape-shift along with your ideas?

Harvey and I write the songs for the band, sometimes together sometimes separately. The recording process really changes up based on the song, we used to do all the layers just Harvey and I, now we’re experimenting with live band recording which has been so fun and rewarding. In any sense, playing the songs live gives fertile ground for each of us to speak our own musical voice through our instruments and let that seep into the arrangement. Usually over time things just mutate until they reach their final form.

How do you define and perceive success? What’s your journey been like this year in the pursuit towards it?

Yeah, it’s been super confusing this year! It’s hard to gauge your own success when suddenly a lot of the things that you thought would lead you there are no longer a viable option. I guess you just have to find happiness in other places. For us, lockdown has brought us really close as friends and with our close team, too. It’s super lucky to always feel like you have someone to talk to who’s in your boat, and in a little way, isn’t cultivating that feeling with another person already the biggest success of them all?

You’ve just released your second EP, EP2, which presents a collection of pure psych-rock/pop singles – what track challenged you the most to record? Which one was the most enjoyable? Which had the most to say?

Thank you! I think EP2 centres around the recording of ‘The Island’. It’s the first track Harvey and I started producing when we went into the project. We really wanted to challenge ourselves to be really creatively open to any ideas or sounds that we thought would work in a recording, so it ended up sounding a bit like a tapestry where one thing could come in for a few bars and then vanish forever, or the scenery would suddenly change. ‘Bon Voyage’ by Melody’s Echo Chamber really influenced us to think that way. ‘Nobody Taught Me’ was the most straight ahead to get down, just a simple little Grandaddy-esque rock number! ‘Where’s My Brain???’ on the other hand, was not, haha! We really struggled to capture the bashy yet precise feel of the guitar solos. So we ended up recording them together in the room and head banging to nail the vibe down.

Psychedelic music and the psychedelia/counter-culture movement can be known as an era of exploring existential curiosities – what are some existential questions you think about? Have any been explored in your music?

Oh man, now that’s a question! Lemme get my bong out real quick, just joking. To be really honest, we’re just like any other friend group of young guys going through this weird world. We deal with the same existential doubts as everyone else! “Will I find true love?”, “Will the band make it?”, “Will I ever be able to smooth out the air bubble I trapped under my phone’s screen protector?” The truth is, nobody knows the answer to these questions, and that is the beautiful thing, that at least we’re all in awe together.

Definitely I think that there are a lot of themes of love that come out in Harvey and my songs, and we chat about the occasional Tinder swipes and stuff in practice. It’s just natural to vent about, right?

If you had to give a title to the current stage you’re at in your career, what would it be?

“Built some good roots, got some decent tracks, just keep swimming, just keep swimming”. I think that actually sums it up. In a way we’re all workaholics for this band, because we really enjoy it and get satisfaction from playing and hanging out with each other. We keep to our little insular bubble and keep on making things that we try to make the best we possibly can, and then we just put them out into the ether and hope they stick.

In what ways do you wish to inspire up and coming artists/producers that are aiming to get their creative work out into the world?

Just start! If you know what you want to hear in your head, nothing technical is going to stop you from getting there if you put enough love and energy into it!

What’s next for The Lazy Eyes?

Nothing. EP2 is our last release ever. Go stream it now before we change our minds and delete it forever 🙂

Take a chance now and manifest something: ______________.

GLASTONBURYYY

Any last words for the SPIN-verse?

Thank you so much for having us! We really enjoyed filming our spin session, and hopefully it gives you some good head spins when you watch it.

Check out The Lazy Eyes’ exclusive live session below. For more SPIN Sessions, head over to SPIN TV.

To see our running list of the top 100 greatest rock stars of all time, click here.

Equal parts musical shape-shifter, limitless creative beast, badass, humorous and undefined, Genesis Owusu is a little bit of everything and everyone. This Daybreaker has come onto the scene with a monstrously diverse and impactful project, Smiling With No Teeth, which has quickly positioned him as an ambitious artist with mass potential to be a true pioneer in today’s music scene. Part of what contributes to the charm of Owusu’s sound, is his philosophical approach towards music making. This can be witnessed through dynamic and layered storytelling, along with purposeful and soulful delivery of the inner thoughts being explored within each song. There’s an invitation for the listener to join in the conversation and surrender to the experience with him, indulging in the universe known as the human perspective. Each track is saturated in unapologetic emotional expression, conveying the value of individuality that Owusu strongly prioritizes; a key as to what makes his work so memorable and timeless.

SPIN caught up with the rising visionary about the significance of his debut album, his artistic ethos, building creative courage, and more. Listen to his latest release, the deluxe version of Smiling With No Teeth, Missing Molars here.

More from Spin:

• Genesis Owusu Finds ‘Light’ Ahead Of Sophomore LP, Struggler
• 22 Artists to Watch in 2022
• SPIN Daybreaker: Peach Fuzz

Who is Genesis Owusu and how did you come to life?

Genesis Owusu is me, and my parents did some shit that I don’t wanna talk about.

Tell us about your sound – where does your non-conforming style originate from and what have been your biggest visual, social, and sonic influences?

My style just comes from my upbringing. Being a Black kid in an extremely white city, all the kids at school wanted me to either be 50 Cent or Eddie Murphy. But I am Kofi Boateng Owusu-Ansah, baby. Everything I do is three-dimensional; Genesis Owusu isn’t a character with a catchphrase or a caricature of anything, I am a fully realised Black man who will celebrate that Blackness at every turn without being restricted by it. My style developed as a protest to whatever anyone else thought I should be. My biggest influences have been my dad, Pharrell Williams, Kanye West, Malcolm X, anime, a 2002 Xbox game called Jet Set Radio Future, and flared high-waisted pants.

What does your typical songwriting/production process look like?

The process is to throw out whatever feels comfortable and to dive into some new shit; what’s done is done.

How do you perceive success? When did you realize the magnitude of your impact within the industry?

It’s super important for everyone to recognise that the definition of success is nebulous and individual. I don’t think winning a Grammy will make me feel successful, even though that’s the case for some other artists, and that’s okay. Success for me is being able to make whatever I want with no boundaries or restrictions, and being able to live comfortably from that. As for my magnitude in the industry, it’s still a hard thing for me to recognise, especially after being inside for so long and for so much of my reception to be relegated behind a phone screen, not being able to see much of it in real life. It was pretty eye-opening selling out a 22-show tour around Australia. Even then, I forget about my reach outside of Australia these days; I’ll post on Instagram about something coming out at 6pm, and I’ll get a bunch of replies asking which timezone I’m talking about.

You came out with a sonic boom with Smiling With No Teeth, and now, Missing Molars. These projects are undeniably an eclectic array of genres blended with finesse, that manage to still tell a clear and cohesive story  – Can you elaborate a bit on this universe you created and the ideas you were reflecting through your songwriting?

I tried to achieve a lot with these projects so they’re kinda dense. Essentially it’s a foray into my demons (depression and racism), my sense of self internally and how I fit externally. These demons are personified into characters known as the Black Dogs, with their own personalities and motives, and they both encompass different halves of the album, interacting with me as a separate character, and interacting with each other as well. These topics of depression and racism are ones that are so ferocious, yet for the longest time, no one would want to address them with me. They had to be sugar-coated and watered down so people would feel comfortable enough to dive in. This is why Smiling With No Teeth sounds the way it does, and is titled what it’s titled; it’s sonically upbeat, funky, fun and sexy so much of the time, sugar-coating the lyrics and the layers going on under the surface, pretending things are okay when they’re not and presenting a fake, incomplete smile – a smile with no teeth.

You’re a true testament to building a career without needing to define yourself by constricting your artistry to fit inside of a box – To what do you owe credit to for building your creative courage?

Knowing why I do what I do is the most important thing to me in that regard. I have to remind myself of it from time to time when things get a bit hazy. Simply put, I do what I do to express the entirety of myself. The weird, the wonderful, the disgusting and depraved, all of that. Sometimes it’d be more financially or socially beneficial for me to stick to a certain lane, do what I know works well and play it safe, but that’s a direct contradiction of who I am, and I would feel like a fraud for doing so. I’m creatively courageous because I wouldn’t be able to live with myself as an artist if I wasn’t.

In what ways do you wish to inspire up and coming artists that are aiming to get their creative work out into the world?

I would hope to inspire them to be them, unapologetically.

You’ve quickly piqued the interest of the music sphere and it’s safe to say that all eyes are on you – what’s next for Genesis Owusu?

Who knows? It’s all a rollercoaster and I’m in the front seat with the rest of you. That’s what makes it exciting.

Take a chance now and manifest something:

The pandemic is going to cool down very soon and my world tour is gonna be poppin’.

Any last words for the SPIN-verse?

George Bush doesn’t care bout’ Black people.

Check out Genesis Owusu’s electric live session below. For more SPIN Sessions, head over to SPIN TV.

To see our running list of the top 100 greatest rock stars of all time, click here.

If Tim Atlas were an element, it’d be air. As swift as his style, Tim delivers music that gently invites listeners to explore his inner thoughts along with their own. There’s an ease and warmth to his sound that is achieved through his songwriting and composition capabilities, which allow him to create immersive and wholesome projects, such as his recent EP, QUOTA. This project showcases and capitalizes on his talent for storytelling and grooves, each song blending seamlessly to the last. Aside from perfecting his craft, Tim is on a constant mission to keep evolving his art to the next level in order to keep connecting to what makes him the strongest – his fans. Read along as the soulful singer-songwriter opens up about the origins of QUOTA, how he found inspiration in the midst of the pandemic, VR technology in music, and more. Check out his EP here.

More from Spin:

• SPIN Daybreaker: 22 Songs to Escape From It All
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Who is Tim Atlas and how did you come to life?

Hi! I’m an artist/producer from the Bay Area currently living in LA, and I came to earth by way of my immigrant mother and my adopted father. I like to think I had a pretty well rounded upbringing in a musical sense. My dad played guitar and sang at church, my mom loved karaoke and started listening to Christmas music before Thanksgiving & after New Years, and my sister locked herself in her room listening to RnB slow jams. On the opposite side of that wall would be me with my grandpa’s ancient acoustic guitar attempting to play songs like Beat It or Tears in Heaven. Fast forward to 2021, I’m still that same kid mesmerized by music writing songs in my bedroom.

Tell us about your sound – where does your style originate from and what have been your biggest visual, social, and sonic influences?

I think my sound is just a result of all the phases I’ve had in my life so far. From trying to form a hip hop/jazz act to screaming in rock bands to stealing indie music from my friends iTunes library. I don’t think too hard on “the sound” and it sort of formed itself. When this project started to take shape, I loved Feist and I loved Phoenix. Aesthetically, sonically, these were my favorite sort of soundscapes. And today, I’ve only leaned into a lot of those elements and the things that I love to hear in music. So along with those acts, i found a love for older funk bands like The Gap Band or Hall & Oates. Visually, Prince always comes to mind with his ownership of colors. Purple is such an extension of his artistry, so I really like to take a color or a color palette and commit to it.

What does your typical songwriting/production process look like? Is there a set formula or does it consistently evolve and shape-shift along with your ideas?

Always evolving. It also depends on the setting, the people I’m with. For me, it’s just important to shake things up because I tend to get too comfortable with a specific process and the songs all start to sound the same. So sometimes I’ll build out the production to establish a vibe and then eventually write lyrics, and other times, I’ll just pick up a guitar or a keyboard and close my laptop because I feel myself too focused on a screen and a grid.

Was there a definitive turning point in your career? When did you realize the magnitude of your impact within the industry/community?

My definitive turning point was when we made Compromised. It was a moment where I felt truly fulfilled in the art I was making & it was only validated by the streams at the time. I’m continuing to grow as an artist, but at that moment, I felt like I could make music like that forever.

You released an EP last Friday, major Kudos to you. – Tell us about QUOTA. What does the title signify? Where did the inspiration for this collection of work arise from?

Hey thanks. QUOTA refers to the shared experience we all had in the last year. The span of emotions and spiritual growth we all faced & the light we can sort of see towards the end of this era feels full circle. I wanted to make a record that represented different phases of the last year and a half, and so this record has some pop leaning, some indie leaning, some funk leaning.

You are quite the believer in cutting edge music technology such as, VR, that allows artists to creatively expand on their vision while also connecting to their fans in an authentically innovative way – Can you elaborate more on your experience with VR and in what ways you envision it will take music to the next level in 3-5 years?

Being an artist doesn’t stop with the music. Technically, you could still make music and not go down the artist path. So as an extension of my artistry, I thought creating something immersive and engaging would only allow people to view this record as a world and as an experience. Things like VR & NFTs & other digital mediums are just more canvas space to paint. I hope these things just become more accessible to artists in the next few years so they can better tell their story.

In what ways do you wish to inspire up and coming artists/producers that are aiming to get their creative work out into the world?

I hope I can inspire other creatives to be bold in their choices – to try new things & do away with the fear of vulnerability because hard work and good art eventually doesn’t go unnoticed. I think I’m preaching to myself when I say this.

As we’re coming through the other side of the longest & darkest tunnel, how are you planning to propel your career forward in 2021?

During the release of this EP, I’ve been in the studio making the follow up so I’m really excited for people to experience this one and eventually witness the growth I’ve incorporated in future releases. Also really looking forward to touring and getting to meet some of the people that have supported my music 🙂

Is there anything on the horizon that you can share with us?

Not going to get too specific with this one, but we’re looking at some US shows in the near future, some alternate versions of songs from QUOTA, and as always, more new music in the queue.

Take a chance now and manifest something:

I will travel to at least 3 countries in the next year!!

Any last words for the SPIN-verse? 

Thanks so much for having me & supporting this record. Means the world. Hope you see some of yourself in this.

Check out Tim Atlas’s exclusive live session below. For more SPIN Sessions, head over to SPIN TV.

To see our running list of the top 100 greatest rock stars of all time, click here.

sad alex: a vibrant and spunky soul that lights up the room with her unapologetic spirit. Self-referred to as “the happiest sad girl,” she lives up to that identity through her music. She uses her craft to empower the world to embrace themselves in all of their strangeness and encourages an acceptance of one’s own complexities. Her outlook is one of a genuine drive to become the greatest version of herself and inspire others to partake in a fun, yet vulnerable environment. With admirable character, sad alex ignites the music scene with the power of duality. SPIN sat down with sad alex as she dives into her musical style, career milestones, upcoming projects, and more.

More from Spin:

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Who is sad alex and how did you come to life?

Wow. sad alex is me. My name is Alex Saad, I am Palestinian. My friend and Creative Director Justin came up with it and it’s great.

Tell us about your sound – where does your style originate from and what have been your biggest visual, social, and sonic influences?

It’s a culmination of all of my interests and loves. I grew up with a lot of emo and angsty music but always loved classic pop acts like Vanessa Carlton, Kelly Clarkson, Sara Mcloughclin, etc. so it’s sort of a blend of all of these influences. Visually my brand I guess derives mainly from my drawings and that’s just something I always did. It’s funny, originally I drew my artwork because I couldn’t afford to hire someone, but now it’s become part of who I am. 

What does your typical songwriting/production process look like? Is there a set formula or does it consistently evolve and shape-shift along with your ideas?

It 100% shape shifts right now. I used to just start with something I’d write on piano and then sing on top of it but lately I’m getting inspired by all different types of media and it’s impacted the way I write without a doubt. I’ll read something in a book or hear a line in a show and it becomes a concept for a song. It’s always a constant changing evolution, but that’s where I’m at right now.

Was there a definitive turning point in your career? When did you realize the magnitude of your impact within the industry/community?

Oh man, well, I don’t want to over-inflate my sense of self, but I was recognized for the first time on the street recently and that was a pretty profound and wild moment for me. Even beyond that, it always means the world when artists and writers that I respect, reach out and have a positive insight on something I’m doing. It’s super validating and it’s cool to see that people appreciate the things that I’m doing.

In what ways do you wish to inspire up and coming artists/producers that are aiming to get their creative work out into the world?

It sounds stupid but it’s so important to be honest with yourself about your natural self, sound, identity, whatever instead of looking to be or sound like something or someone else. We’re all a little weird and different in our own way and I wish everyone would embrace that within themselves. I know that when I did it made all the difference for me.

As we’re coming through the other side of the longest & darkest tunnel, how are you planning to propel your career forward in 2021?

Well I haven’t been able to tour at all because the majority of the existence of my project has been during COVID, so wild. I’m planning to get on the road before the end of the year and it’s so exciting to take what I’ve been doing in the studio and on the internet and connect it with people out in the physical space.

Is there anything on the horizon that you can share with us?

Yes of course, my next release is a song called “one that got away” and features Mike. (formerly Mike Stud) and I’m so excited for people to hear that one. Beyond that, I’m going to do an EP this fall so keep an eye out for that.

Take a chance now and manifest something: ______________.

Peace in the Middle East

Any last words for the SPIN-verse?

Drink more water. Try mezcal. Reach out to someone you love and let them know. Also eat a really good turkey sandwich while you’re at it.

Check out sad alex’s exclusive live session below. For more SPIN Sessions, head over to SPIN TV.

To see our running list of the top 100 greatest rock stars of all time, click here.