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The Aquadolls' Bleach 7"

"Bleach" and "Runaway" are two songs from The Aquadolls' upcoming album that will be dropping in full later this summer! 

"I've been working on recording and mixing every single day since February of this year and cannot wait to get the finished product out. I dropped these two songs as a little preview for what's yet to come.

"Bleach" is a song I wrote summer of 2016 while on a US tour. My boyfriend dumped me in the middle of tour and all I could think was, "How the f*ck am I

going to get through this?" To keep my sanity, I took to my pen and paper and wrote down all of my thoughts. Good, and mostly the bad. I was hurt beyond belief, but was traveling across the country playing shows to people I've never seen before. It was a curse and a blessing all in one. "Bleach" came from the hurt inside of me. It was me spitting out all the bad thoughts in my head and turning something disastrous into something that empowers me. I took a bad situation and made it into music.

 

I wrote "Runaway" last summer while crushing on someone. My paranoia of f*cking up the potential idea of me dating this person had me playing games with them, and it drove me insane. I was always on my toes and felt like I couldn't be myself without scaring them away. The lyrics focus on how I get in my head because I'm scared of showing how I feel in fear of rejection. 

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Peep The vids below:

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*Upcoming Shows*

July 25th - The Locker Room at Garden Amphitheater - Garden Grove, CA

Tickets: https://www.ticketweb.com/event/dog-party-garden-amphitheatre-tickets/8510195

 

July 26th - A Very Rare Shop - Los Angeles, CA

Tickets available at door

Photos by Michael Haight

You can Download Bleach 7" on Soundcloud or Bandcamp

Be sure to creep on their instagram and twitter

 Check out their *MERCH* Support local bands!

Marxoxo

Finally! Our long awaited interview with Bae Area Glitter Pop Star, Marxoxo! Be sure to check out his album Velvet on Spotify, Soundcloud and Apple Music; you can also creep up with him on Instagram and Twitter.

XOXO

CreeperMagg Presents:

Baz Francis & Magic 8 Ball


In 2017, Baz Francis released his solo album called ‘Face That Launched A Thousand Shipwrecks,’ which is full of ballads about the ups and downs of love and relationships. ‘Saving Graces’ is a song that explores self-acceptance and how others perceive oneself as well. The spoken words at the end of some of the songs allow listeners to see into Francis’ personality and add a charming quality to them. In contrast to Francis’ former band ‘Magic Eight Ball,’ many of the songs are more ballad-based, slower tempo songs that are more melancholy rather than narrative that his former band explored. ‘Revenge Of The Animal Kingdom’ is an ominous song that exposes how others will no longer deceive Francis, the song later transitions into heavier guitar sound creating a more grungy vibe. Overall ‘Face That Launched A Thousand Shipwrecks’ is a myriad of tracks about heartbreak and learning lessons from it. There are also themes of overcoming the chaos that love brings into one’s life, such as in Track 11 ‘Bird On The Wire.’ The album ends with an acoustic version of ‘Pulling The Other One,’ which allows listeners to focus on Francis’ vocals and reminds listeners that there is a certain playfulness that is associated with deception.

'Baz Francis of Magic Eight Ball (2017)' by Angel Dean Brown.png

"

I think every kid wants to be a pop star or has fantasies as to what that feels like, but for me the difference between the fantasy and the reality came when I discovered the Manic Street Preachers at 15 years of age. I’d stay up late to watch them on TV and practice along to their records with James Dean Bradfield as my invisible tutor. Within a year I had my own band, Mansion Harlots and started performing live here and there, which although small affairs to most other people, were huge deals to me at the time and gave me the bug to keep going in that direction."

'Baz Francis performing live at The Viper Room, West Hollywood (USA), 2nd October 2017' by Andrea Duarte.JPG

Ultimate goals in this career?

"Simple as it sounds: to keep making and recording music that I love, touring new and interesting places with it, and making new friends as I do so. In order for me to do these things I need the support and love of others, so if I continue to receive the kindness that I have done over the years from people who enjoy my songs, then I don’t really feel that I can ask for too much more than that.

I first performed live in public in 1997, so this year marks 20 years of me doing what I love, it’s just that now I’m playing farther afield and hopefully better too! I always try and push myself as a musician to be unpredictable and more improved as a player, so as long as I’m pushing my personal boundaries on that front then I feel that I am helping maintain my longevity in this field."

'Face That Launched A Thousand Shipwrecks' artwork by Morgan Williams.jpg

"


Over the years I kept having the odd person tell me they prefer my acoustic work or “you should do more of that”, but at the time I was too busy with Magic Eight Ball and we were getting progressively heavier, so I told those people that I would focus on more acoustic material in the future, but all in due course. That then made me realize there was some public interest in me making a certain type of record, but when I was writing ‘Face That Launched A Thousand Shipwrecks’, I wanted it to not only be what those people were talking about but  for it to also have a twist that made it unlike other singer-songwriter albums in that this one was idiosyncratic to me. I only ever make records that interest and excite me though, as ultimately I am the one who will have to live with them forevermore."

Magic Eight Ball Album Review
Magic Eight Ball’s album ‘Sorry We’re Late But We’re Worth The Wait’ is full of feel-good pop rock songs that anyone could turn on when their day is feeling mundane because it’ll make you realize not to take everything so seriously. With elements of pop and rock, Magic Eight Ball’s sound is reminiscent of pop punk and alternative music of the 90s and early 2000s. A lot of the songs sound as if they could be off a soundtrack of the films of that era as well because they tell stories and are simplistic in nature, with the overall theme for each song being easily translated to listeners. There are 19 tracks on the ‘Expanded Edition 2016,’which allows listeners to fully immerse into Magic Eight Ball’s music. One of the standout tracks is a slowed down ballad that is nostalgic called ‘Monkey Bars’ and it is a bittersweet ballad about acceptance and reluctantly having to moving on. A common theme sprinkled throughout the album is self-realization and hope for the future because although you may struggle you with the present, the future will hold many better things in store. ‘Before It Was Murder (You got Me Talking) feat. Donnie Vie,’ is a song about heartbreak that is playful and not particularly mad or forlorn, there is also a nice instrumental portion that leads into more self-realization and how much better life can be once a relationship is over.

The last few songs include acoustic versions of ‘Monkey Bars,’ ‘Russian Ballet,’ and ‘Local Girls,’ which all prove to be memorable in their own right, and having acoustic allows the overarching themes, self acceptance and soul searching, on the album to hit home because listeners can focus on vocals. The live music elements allow Magic Eight Ball to experiment further with their sound and create more variations of the stand out songs of ‘Sorry We’re Late But We’re Worth The Wait.’

'Baz Francis performing live at The Viper Room, West Hollywood (USA), 2nd October 2017' by Andrea Duarte (1).JPG

Contrast:

Aside from the number of live players (3 versus 1), my solo work so far has leant towards a less rock sound, but I think that has been a reaction to me not wanting to repeat the Magic Eight Ball formula verbatim here. I like the options both my band and solo work offer me, but there really is no rule book as to what either could be as far as I’m concerned.

"

I write alone for both, and record with various musicians and set-ups, so the creative process for either early on is very isolated, then very artist/producer intensive, so the real difference takes place when preparing to perform the music live. There are benefits to playing solo and with a band, so I reap the benefits of both worlds on that front.

My memory and life experiences have kept me in good stock of inspiration over the years, but it does always pay to travel and listen to new music and ideas to your ears, as we never stop learning no matter what we plan to do with our newly held information.

Thank You to Baz Francis for reaching out & creeping it real! Be sure to Creep up with him on Instagram, Twitter, Soundcloud, and Youtube.

Photos supplied by Baz Francis, Credited to: Matt Whitby, Angel Dean Brown, Andrea Duarte, Morgan Williams

XOXO

 

Hate Drugs: Tsunami Soul II Review and Q&A

‘Tsunami Soul II,’ which was released in late September, is the first full length album for Hate Drugs. We met the Bakersfield four piece last year as they went on tour throughout California with Wee Beasties for their ‘Beach Weekend EP.’ Hate Drugs is composed of David Caploe (vocals/guitar), Josiah Caploe (keyboard), John Irwin (bass), Norman Lee (guitar), and Adrian Diaz (drums). ‘Tsunami Soul II’ maintains some of the beach/surf rock vibes that they are known for, however this album differs from the previous music they’ve released because the emotions seem more raw and reveal more turmoil of the band’s internal struggle with love and life.

As ‘Tsunami Soul II’ progresses, themes of disillusionment and anguish are present throughout much of the songs. Caploe’s voice is haunting, but also comforting as you listen to each song, and the lyrics create distinct snapshots of the memories that inspired the songs, such as lost love and existential crises. Due to electronic elements, some songs sound other wordly, such as ‘Dizzy’ and ‘6ft/ You,’ and the instrumental breaks sound almost as though they could be apart of a soundtrack of a Scifi movie of the late 80s. The instrumental components without vocals also serve as interludes in which listeners can reflect on all of the themes that are visible throughout the previous songs.

It’s hard to list only a couple songs because they flow together so well, but some of my personal favorites of the album are ‘Dizzy,’ ‘(You’ll Be) Fine,’ ‘6ft/ You’ (I & 2), and ‘Shadow Creature.’ With this being Hate Drug’s first album I am ecstatic to see how their music progresses in their future albums to come. We also interviewed the band about the recording process for ‘Tsunami Soul II,’ so please give the album a listen and read on for more with Hate Drugs.

CM:  It’s been a minute since we’ve last seen you guys, how has your music evolved since we last talked to you about releasing ‘Beach Weekend’ EP?

HD:   We’ve put a lot more attention into the production of this new record. One of the interesting things about these songs is that most of them were written before we put together Beach Weekend. So, this musical direction has been forming for a long time.

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Credits:

HATE DRUGS:

David Caploe

Josiah Caploe

John Irwin

Norman Lee

Adrian Diaz

Article by Emily Kimura

Creep up with us on Instagram and Twitter!

 
 

CM: For anyone new listening to your album, what are three words you would use to describe it to them?

HD: Eclectic, Bittersweet, Spicy

CM: What were the biggest influences for the album’s sound and lyrics?

HD: As far as influences go, we’ve all got different musical tastes and this record is really a culmination of all of our favorites. Artists like Snowmine, Local Natives, even Michael Jackson. Lyrically, it’s like a poetic expression of life experiences; most of the writing is just honest thoughts and feelings.

CM: Were there any main themes that you guys felt that you needed to explore?

HD: Depression, loneliness, and the pursuit of love.

CM: What was the most rewarding part about making ‘Tsunami Soul II’? What was the most challenging?

HD: Definitely the firsthand experience and the new knowledge that comes with process. Most challenging would be our perseverance as a group and the ability to troubleshoot and adapt.

CM:  How did tracking the music together change the dynamic for the album’s sound?

HD:  It was good practice but we didn’t really end up using much from the group tracking takes. That said, it was useful to the development of the songs and the bond of the band.

CM: What is the meaning behind the album’s title and artwork?

HD:  This record focuses on a change of heart. The heart-shaped ice cubes melting in to water is a perfect representation of that. As far as the name goes, Tsunami Soul references the power of love. A tsunami, while both destructive and tragic, can also be overwhelmingly beautiful. Special thanks to Jonathan Colin for his work on the album art.

CM: What do you hope people take away the most from the album?

HD:  We hope that this album meets people where they’re at and that they find meaning in the album through their own unique perspectives.

CM: We know that you guys have grown up playing music together, how did it finally feel to release a full-length album?

HD:  Without the relationships that we built over the last several years, we probably wouldn’t have had much luck creating a full-length record. Our chemistry as a band is really due in large part to that quality time. As a result of our closeness, the release of this project has meant a lot to each of us.

CM:  Can you tell us a little about what made you guys wanna release your ‘Stuck in the Studio’ series about the recording process?

HD:  The documentary was essentially pitched to us by Keaton Punch, who has been a huge part of what we do artistically, and we all agreed that it would be a really great idea.

CM: Do you guys plan on releasing any music videos soon?

HD: There are rumors floating around that there’s a music video for Isotope in the works but these claims may be unsubstantiated.

CM: Are you guys going to go on tour now that the album is released?

HD:  Yes, we’ll definitely be on the road a lot over the next year. As far as tour dates go, it’s all in the works right now.

CM: What’s the best way that people can find your music?

HD:  Any of the major streaming platforms (i.e. Spotify, Apple Music, iTunes, etc.), as well as our Bandcamp and website, thehatedrugs.com.

CM: Any final thoughts about the album, music, life?

HD:  If you get an hour of free time, try listening to the record start to finish with a good set of headphones; That’s the way the music was intended to be heard. We also want to say thanks to everyone involved in the process and shout out to Cory Reyes for his amazing work on the record. If you love something, pour your heart into it.

 

Indigo State Interview

You can find all of their music on Soundcloud and be sure to creep on their Instagram and Twitter for their latest endeavors.

And be sure to creep up with us on our Instagram and Twitter as well.

XOXO,

CreeperMagg

 

Deer Bonez Interview

You can find all their music on Soundcloud and be sure to creep up with them on Instagram as well! They'll be releasing more stuff soon!
You can creep up with us on Instagram and Twitter
Interview by: Emily Kimura
Video by: PoisonedBlackberries

The Melting Suns

Check out their single, Bloom on Spotify, Soundcloud, and Apple Music! Be sure to creep up with them on Instagram and Twitter as well! They'll be releasing more stuff soon!
You can creep up with us on Instagram and Twitter
Interview by: Emily Kimura
Video by: PoisonedBlackberries

The Grinns Interview

Hey Creeps! We hung out and did an interview with The Grinns! 
*Take a shot every time someone drags their feet in the sand*
Be sure to check them out on Instagram, Twitter, and Soundcloud!

Be sure to creep up with us as well on our Instagram, Twitter, and Facebook!


Video by PoisonedBlackberries
Interview by Emily Kimura
 

Songs featured:
Why do you lie
Rituals
Everybody calls you a dreamer
12 in the afternoon

Play Yah records Interview

Hey creeps, in this video, we interview Ryan and Zak of Play-Yah Records. They tell us about their love of music and how that drove them to create their own record label. You can also find more bts like their studio tour on our youtube channel! (@creepermagg) xoxo, #creepitreal

Creep on Play-Yah's social media:
Instagram: https://www.instagram.com/playyahreco...
Twitter: https://twitter.com/playyahrecords
Soundcloud: https://soundcloud.com/playyahrecords
Creep on the band featured: Burnbaum
Instagram: https://www.instagram.com/burnbaum_._._/
Soundcloud: https://soundcloud.com/jose-aceves-9/...
 

 

Kicked Off The Streets

Here's our interview with Kicked Off The Streets! They just released their new EP, My Cup Of Tea!

You can creep up with them on their Instagram, Twitter, Youtube, and Soundcloud!

And you can find us on Instagram, Twitter, and Youtube as well!

xoxo

Suburban

Despite the fact that they are miles away from Creeper Magg’s grasp in Hesperia, the band Suburban caught our attention and we were able to chat with them via email about the upcoming release of their full-length album ‘Melt Into the Floor.’ Suburban is made up three friends in their early 20s: Werner von der Heide on vocals and guitar, Scotty Adler on bass and guitar, and Carly Jennifer on drums, who all managed to pursue music despite their ‘suburban’ beginnings in their desert town.

Creeper Magg: What are the names of the members in the band and what instruments do you play?

Suburban: The Current lineup at the moment is Scotty on bass/guitar and Carly on drums and I [Werner] play guitar and sing. Sometimes we have a friend sit in on bass so Scotty can play guitar but essentially it’s currently a power trio.

CM: What is Suburban’s origin story, how did ya’ll get together and play music?

S: Well it was essentially just a brainchild I had in high school; I had no prior music experience other than maybe a couple simple chords. I had the idea with my buddy Keyon who had no bass experience and we essentially linked up with Travis Lees (The Gnartards) who was already a phenomenal drummer kind of rolled with the punches of our novice string instrument skills and we sort of grew from there.

CM: Where does ‘Suburban’ come from, and does it have any meaning to you guys?

S: When we went by Suburban Goth it was just paying homage to the heavily right wing gated community I grew up in sort of just being an outcast in a suburban wasteland the ‘Goth’ was just my angst talking.... sort of outgrew that haha.

CM: If you could describe your band’s sound in three words, what would they be?

S: Rock And Roll. Does that count even though it’s a phrase?

CM: Describe the vibe of the shows you usually play at, and what is your local music scene like?

S: It’s a shot in the dark every time usually they’re chaotic, really loud but essentially everyone’s having a good time. The scene in the desert (well aside from the skacore and novelty punk) is awesome so many new groundbreaking bands it’s amazing. I absolutely love every band I’ve played with up here.

CM: What’s in store for Suburban’s future? Will you be dropping new music or going on tour in 2017?

S: At the moment the main focus is getting the new album ‘Melt Into The Floor’ out there. I’m going to do a zine and a cassette release, so I’m very excited about that. Touring is, well I’d love to do a tour, but we just got to get back on the show circuit.

CM: What was the recording process like for ‘Melt Into the Floor’?

S: Well the recording process was all just me purging ideas into my little eight track then going back and seeing what stuck. Sort of like any creative process it was essentially writing an essay that took a little over three months. 

CM: Are there any underlying themes for the songs on the album?

S: The album is a concept within itself it deals with isolation, self-reflection and cynical outlooks on the world today. It's semi personal but for the most part I tried to make it as objective as possible as far as the message is concerned.

CM: Do the songs on the album have any similarities with the songs you guys have released on your EPs or do they go into a whole new direction?

S: They kind of stick to that twangy reverbed out sound but I tried a bunch of new elements just to further the sound. It's definitely a little different but I'm excited [for] it and hope everyone else is as well.

CM: Are there any bands you’re listening to at the moment?

S: Right now a lot of Alex G he’s channeling a great era of music. Then the usual bands I always go to like Dinosaur Jr, Pavement, Death in June, etc. etc. etc.

CM: Any final thoughts about music, 2016, or life in general?

S: Reflecting usually ends in an existential whirlwind of despair, but music is great I love its progression and I can’t wait for what’s to come. Keep on keepin on as they say.

You can check out Suburban’s current music on their bandcamp and creep up with them on Instagram, Twitter, and Facebook. Make sure to check out ‘Melt Into the Floor’ on February 4th! You can also creep on us on our Instagram, Twitter, Facebook, etc. #creepitreal

Credits:

Suburban: 

Werner von der Heide– vocals/guitar

Scotty Adler – bass/guitar

Carly Jennifer– drums

Suburban Photos by Kayla von der Heide

Suburban Artwork by Werner von der Heide

Creeper Magg:

Article edited by Emily Kimura

 

 

 

 

Camp Flog Gnaw Reveiw

No other place compares to Camp Flog Gnaw. Entering into Exposition Park for the festival’s fifth installment, the first thing you notice is Tyler the Creator’s voice welcoming you to his colorful wonderland of music and youthful exuberance, to put your phone down and tune into the carnival’s switchboard.

    This year marked the first time Camp Flog Gnaw had been expanded to a two-day event. Having attended last year’s escapade, this past weekend felt monumental. More epic in a way. Just check the line-up for proof. Performances from Schoolboy Q, A$AP Rocky and Ferg, Joey BADA$$, Flatbush Zombies, Lil Wayne, Lil Uzi and Action Bronson left attendees with a plethora of choices to choose from. There were even surprise cameo appearances throughout both days by Mack Maine, Chris Brown, D.R.A.M., YG, Mac Miller just to name a few.

    Except, Camp Flog should not be labeled as just a simple hip-hop festival. Hand-picked by Tyler himself, the music spectrum of the carnival featured notably diverse artists such as Toro Y Moi, Death Grips, jazz musician Kamashi Washington and Katyranada.

    So it would make sense for the curator of this festival to want you to be fully present in the moment, which turned out to not be extremely difficult.

    Each portion of the festival was mesmerizing. Arrays of blues and pinks dotted along the walls, deep yellows bobbed in popcorn machines and rays of purple floated endlessly as the camp’s ferris-wheel made its rotation. The two stages hosting music’s top-tier elite and rising stars acted as the center to the colorful microcosm, the carnival games and rides the sprawling decorations. When exploring Camp Flog, you could have seen the lights throbbed and the cheery faces of fans ablaze in the night.

    Mid-way through Saturday I found myself at the end of a crowd dancing to Chance the Rapper. Seeing the Chicago native was an exhilarating experience as he performed deep cuts from both Acid Rap and Coloring Book to the applause of the crowd. The highlight of his performance came when he rapped Coloring Book intro, “All We Got.” Starting at the second verse, Chance continuously repeated the words as if in sermon, the tempo slowed down, his voice gliding through the night air, all of us melting there in peace.

    By 10pm on Saturday, the majority of the attendees had made their way to the main stage for Tyler the Creator. Dressed in an all cheetah print polo and shorts, he strutted on stage making the crowd go wild to “Death Camp,” anthemic screams from fans came with every line. He covered tracks from all three of his albums, from classics like “Tron Cat” to recent releases like “What the Fuck Right Now.” During “Domo23” the moshpits started to open up. During his rendition of “Darkese Latifah” Tyler had the crowd kneel until the beat dropped, ordering them to jump and continue losing their minds to the excitement.

    At the conclusion of his set he spoke about the rising trajectory of Camp Flog over the years.

“This was an idea in a notebook five years ago,” Tyler said, encouraging his fans to proceed with their dreams no matter the cost. Then he concluded with “Tamale.”

    Up next was Lil Wayne.

Let’s take a flashback first: to about eight years ago. I was 12 at the time and Lil Wayne was in the running for greatest rapper alive. Tha Carter III was about to be released. And I was about to fall madly in love with rap music. It happened that my sister was playing the “Lollipop” music video on our living room television right as I walked in for some unremembered reason; from that moment though, I chose hip-hop as the genre I most connected with, the genre of music that signified cultural autonomy from any past connections, the weird shaping of my identity. It’s a story that has now become part of my own personal mythology. So when I saw Lil Wayne’s name on the line-up, I thought it would be pretty damn lame to pass up the opportunity to see him live.

Wayne as a performer is just what you’d expect him to be. He has monumental stage presence and happens to be hilarious, in a scattered way only Wayne could possible achieve. Opening with “John,” he transitioned into “A Milli” and other Carter III classics such as “Mrs. Officer,” until rapping through a string of his mainstream hits and features, even bring out Mack Maine for a rendition of “Every Girl.” Throughout, the crowd either rapped along with enthusiastic energy or stood in awe, the raw connection of nostalgia and hypnotic admiration spiraling through all of us. In one moment, he asked, “Who here likes the Mixtape Weezy,” a question met with cheers and applause. Weezy’s reaction: a smile and a dive into Da Drought 3 deep cut, “Sky is the Limit.”

The best part of Camp Flog was the newly added two-day format. Although last year’s excursion into the festival (my first time, actually) was memorable, the single day time constraints didn’t leave enough time to fully explore all the music carnival had to offer. This year, there was ample time to catch your favorite artists and look around.

Sunday had astounding performances as well, Anderson .Paak a highlight of the night. The California native’s set was dedicated mostly to cuts off his second album, Malibu. Each track played was accompanied by live instrumentation, .Paak even hopping onto the drums mid-set, his voice and the ferocity of his performance piercing the crowd. As he played, surreal collages blurred on overhead. In one frame, I caught glimpses of Cesar Chavez; in another, I saw vintage Hollywood style women bathed in a red glow.

Toward the end of the festival, the TBA scheduled on the line-up turned out to be none other than a reunion of EarlWolf. To the frantic excitement of the crowd, Earl Sweatshirt appeared out the darkness, Tyler the Creator joining him for the Odd Future classics, “Orange Juice” and “Drop.” The crowd became a moving moshpit.

Camp Flog has always been in some way an escape, a technicolor manifestation of the inner workings of Tyler’s brain, a place to retreat from the dark winds conspiring outside the festival. But above all else, it’s a place to have fun.

Some danced, others moshed.

Over the past five years, Camp Flog has transformed into a national pilgrimage for some. When talking to various members of the crowd, I met people from various parts of the country, some from as far as Detroit, who had traveled to Los Angeles just for the neon wonderland.

So if you find yourself at next year’s Camp Flog, consider yourself blessed.

Article by Raymond Pelayo

Photos by Raymond Pelayo & Monica Roldan

‘Cage in Search of a Bird’ Album Destruction Experience

On Saturday November 19, I arrived at the Bridgetown DIY venue, in La Puente, knowing that that night’s show would not be the same old spiel that usually occurs at local bands’ shows, mostly due to the fact that instead of promoting/selling a new album, it would be about the destruction of an old one. Last spring Creeper Magg had the pleasure of interviewing Ainsworth just as their first album ‘Cage in Search of a Bird’ was being released and they were about to embark on their first tour as a band through Arizona, New Mexico, and back to California. The origin story of how Ainsworth came to exist is unusual because it has thrived in a myriad of forms, from a one man band, to a trio, to a full band, and then back and forth once again with different musicians. Last time we interviewed Ainsworth, Tristan Puig, who is the main man behind ‘Ainsworth,’ told us that the bands of his local music scene in Whittier/La Mirada inspired him to produce music of his own because it seemed like his friends were having a blast. 

The album ‘Cage in Search of a Bird’ kind of sends you into an emotional spiral of sadness, fear, anxiety, and some hope as you listen about Puig’s own emotional journey. When you listen to the album you can sense the amount of thought that went into it and how Puig is unapologetic in letting everyone know exactly how he feels right in that moment of the song. Puig’s emotions that he unleashes into each and every track of the album, along with the idea of destroying CDs, made us at Creeper Magg very interested in going to the event, because we didn’t know what to expect. The reason for organizing the destruction of the album was to ease some of the emotions set around not selling many albums when Ainsworth went on their tour this past summer. Puig writes on his instagram (@Ainsworthless) that the event was about the “acceptance of the constant financial and emotional desperation held by independent artists…and of the temporary nature of the relationships we as humans form when creating things that are so special to us.”

The evening started with us being the first ones to enter besides those who were performing, although we initially we thought we were running late, nevertheless we were welcomed in and given our own copy of the album so that we could destroy it any way we saw fit later in the night. As I looked through a couple of the zines on display at the venue and a couple minutes went by, more people filed in, each receiving their own copy of ‘Cage in Search of a Bird.’ There was a very relaxed vibe about the whole room, festive lights strung along on the far wall and colorful balloons thrown about on the floor as well as on the wall, signified the fact that this was some sort of celebration, not a funeral, for ‘Cage in Search of a Bird.’ Most of the audience was sitting with their legs crossed, like you do in elementary school, so it felt almost like a gathering at a campfire during summer camp.

Rough Stuff was the first one to perform, composed of solely of Gabe Ferralez and his guitar, at the moment. Right off the bat, Rough Stuff’s high spirit kicked off the mood at the start to be energized and ready to take on the emotional journey that would progress at the end of the night when Puig would perform the ‘Cage in Search of a Bird’ in its entirety. Next was Layla Farahani, another solo performer with only a guitar in hand, however she set the whole room in a whole new direction with her calming voice. Farahani’s set was alluring, her voice reminiscent of Cat Power, and her song’s were witty, with titles such as ‘Polka Dots’ and ‘Part Time Friend.’ Lastly, before the full ‘Cage in Search of a Bird’ set, was Arden Klawitter and the Powerclaps, which were composed solely of a bassist and a drummer. The Powerclaps’ songs sounded experimental and fast-paced so they took a different direction from Farahani’s performance, and added more anticipation leading up to Ainsworth’s performance.

Finally after enjoying all of the previous performers, the moment we had all been anticipating had arrived: the destroying of the album ‘Cage in Search of a Bird.’ Some used the tools, such as hammers or pliers, in which Puig had put on a table with the intention that they would be appreciated in assisting audience members with breaking his album, while others merely went at it like animals and used their bare hands. Nevertheless, when you let a group of young adults smash a CD, they won’t disappoint, and not one ‘Cage in Search of a Bird’ album was left whole in the audience.

 After the chaos, Puig walked into the stage area, guitar in hand, and asked that all the remains be thrown up on the stage part of the room. Puig began his set with the first song on the album, ‘Call Dr. Horder,’ which was an eerie start. The lyrics ‘Isn’t it grand when loneliness is your best chance at survival, why do you still get out of bed?’ set a melancholy mood over the event. Puig crooned the words with his guitar covered in curled ribbons, which only contributed more to the celebration-vibe despite the sad song. Crowd favorites such as ‘Dear Congressman,’ which is a fun satire about the folks who are pro-gun and allows audiences to see the utter ironies that lie in their logic and reasoning, allowed everyone to sway along to the upbeat song. Song by song, Puig played through the whole album, as emotions such as angst and anxiety, surged through his songs, he stomped on the mangled corpses that were once CDs. The rawness of the emotions present in the cd-destroying performance made me think that maybe the whole event should have been recorded and released as a live album.

The concept that albums can be so prestigious and bring such novelty to an artist, is the exact reason why Ainsworth had hosted this event. Independent artists who truly put their heart and soul, sweat and tears, into an album, merely don’t benefit from it like those of the mainstream pop stars, who might not even lay a finger in writing their own songs. Puig did end the night on a high note saying that maybe physical CDs weren’t the way to go for his future musical endeavors, however maybe he’d venture into the possibility of exploring putting his music on vinyl or cassettes. For now he said Ainsworth’s music would endure this cd-destroying event on Bandcamp, iTunes, and Spotify, so please check out Ainsworth’s music and creep on his social media. Stay rad and creep it real. 

Performers:

Ainsworth-Tristan Puig

Arden Klawitter & the Powerclaps-John Klawitter & Nadiya Dubova

Layla Farahani

Rough Stuff-Gabe Ferralez

Creeper Magg:

Article by Emily Kimura

Photos by Kelsea Cadena and Caroline Kimura

Natalie Claro Q&A

Hello you lovely little creeps! Here at Creeper Magg we are thrilled to reveal our Q&A with singer/songwriter Natalie Claro. At only 17 years old, Natalie has proved to be a trailblazing force in the city of Tampa, Florida and the rest of the east coast as well. With the release of her latest singles ‘Stumble’ and  ‘Baby Bug,’ Natalie has continued to demonstrate her ability to be a versatile solo artist, producing alternative music with influences from rock to blues and everything in between. We chatted with Natalie and discovered how exactly her journey came to be and what she hopes to accomplish as a young musician.

Creeper Magg: At what age did you start getting into music? Are there any bands or artists that specifically influenced you to get into music?

Natalie Claro: Music has been involved in my life since I was born. I don’t think there’s been a day in my life where my dad hasn’t been blasting old classics through the house. I learned piano when I was 5 years old and since then all the other instruments I play sort of branched off from there. Music influences are weird. It’s like every phase of my life has a specific artist that motivated a different aspect. When I was 9 Michael Jackson died so I looked him up and sang Jackson 5 songs in the mirror every single day. When I was 14 I went to a Paramore concert and when I saw Hayley Williams running around that stage I thought, ‘Damn that’s what I want to do.’ Then Kanye West’s upbeat motivators like “Power” always made me want to jump up and conquer anything. But most of all, freshman year of high school is when I discovered Twenty-One Pilots, they truly encourage me to think outside the box and do whatever I want regardless of what the trends are. I relate to them artistically, which is really different in comparison to how the majority of their fans relate to them.

CM: What is your songwriting process and what usually influences your songs?

NC: The only thing that really stands out is that I always write on either my guitar or my keyboard. One of the songs on my upcoming EP is called ‘My Calling, The Door,’ and it’s about how I can never really write unless something is passionately affecting me. My music is fueled by inner emotional conflicts.

CM: You're 16 years old but you've already done an extensive amount of work. How has being a young musician shaped your musical journey?

NC: I just turned 17 today!! Being young is almost a blessing and a curse. I have a loud voice so it tends to shock people when they find out I’m still a teenager. The cons could be that any age below 18 is a major road block. A lot of the major festivals and concert promoters won’t even look at you until you’re of legal age despite your obvious dedication. At least more opportunities lay in the future. My family and I plan to move to LA once that time rolls around.

CM: One of your standout pieces is the song ‘Baby Bug.’ Since you’ve written it, have you seen a shift in the way you see it or how you perform it?

NC: I actually have. I wrote the song years back as a way to encourage myself not to let a situation of being bullied make me… give up. I felt very trapped in my situation and telling myself that I’d be successful in whatever I wanted to accomplish is what always gave me the power to deal with every laugh and every teasing song and every time I felt alone. I used to sing it on my little guitar at restaurants. I watched a video of one of those gigs a few weeks ago and I was shocked by how different I performed it. The song used to be so meek, so fast and softer spoken, now that it’s produced and my life’s taken a huge left turn I shout it with such confidence. Every show I do a speech before the song explaining it’s story and encouraging the crowd to feel like I’m singing the words to them. Rather than singing the song to myself like I used to, I say “everyone has problems, and no matter what you’re dealing with, use this as a motivation and as a reminder that you’ll be great one day.” I jump onto speakers and run through the crowd and really make it a huge finale.

CM: Tell us about your involvement last year for Hard Rock Cafe’s Pinktober campaign. What was that like for you?

NC: That seems so long ago!!! It was just last year but wow I’ve changed so much since then. Hard Rock was my first “real” gig. (Meaning outside of restaurants and street festivals). They signed me as an ambassador in 2015 to take part in all their major charity events and it was a dream come true. I took part in helping so many amazing organizations. Something crazy is when I sang in front of 18,000 people for the Making Strides cancer walk in my downtown city. Since then, they’ve selected their new group of annual ambassadors and I’m a now official alumni. I’ve moved on to touring outside my state and opening for tours, and I plan to start my own tour by next year. No matter where I go or end up I will always be forever grateful to Hard Rock for being so supportive of me in my beginning stages.

CM: Are there any other issues or causes that you’re passionate about? How do you use your art to speak out about these issues?

NC: Equality and social justice issues drive me mad and I can’t wait until I reach a stage where my voice can leave an impact. Whatever race, gender, sexual orientation, age, class, or religion you are, you are welcome and accepted to be apart of my music and family. I want to be a place of safety for anyone and everyone. I’m always here for anyone if they need someone.

CM: Is there any advice that you would give young women like yourself who are pursuing music? What has been a takeaway lesson for you?

NC: Ninety percent of the time I’m the only girl on a lineup full of adult guys and I don’t even think twice about it, because they tend to love my performance and genre of music anyway. There’s only been once or twice where I’ve been teased before I perform (only to stick it to them once I start) but I can’t tell if it’s because of my age or size or gender or what. I guess my advice [would] be: who cares! Girls are cool. Guys are cool. If you’re neither you’re cool too. You fit in wherever you’re meant to be and if anyone ever gives you a hard time make them be sorry.

CM: Do you think that the music industry underestimates women as artists and their capabilities to create good music?

NC: Yeah definitely. I don’t have many personal instances but I’ll always acknowledge and support how much I hear other girl artists voice their struggles. One thing I don’t think is true is any incapability to make “good” music. So many girls in the industry have such a unique sound. Melanie Martinez, Zella Day, Beyonce, I mean you name it, they all have their own individual zest. Just do you.

CM: When do you plan to release new music? And do you have any plans to tour for your next release?

NC: I’m finishing up my EP right now. It’s called ‘Atychiphobia,’ it means the persistent fear of failure. I interpret it kind of like homophobia, where it’s not a fear as much as a blatant refusal to accept. I don’t FEAR failure, but I have this competitive over achieving quality that takes over anything I’m ever working on whether it’s school, board games, or well, music. It really influences how I make my music when I don’t have the same utilities or money as major artists have. Kind of drives me nuts sometimes and feels like my eyes are going to drip out of my head. Once it’s done I’ll have a definite release date available.

CM: Any final thoughts on the music industry?

NC: If you’re pursuing music don’t let anyone ever take control of what you want to create. The whole point of art is it being unique. You wanna scream in your song? Do it. You want the tempo to change 15 times throughout the track? Do it! A whole 3 minutes of just buzzing and a xylophone? If you like it, someone else will too.

You can check out more of Natalie’s music on YouTube, Spotify, and iTunes and creep up with her on her Instagram, Twitter, and Facebook.

Interview by Jackie Castaneda

Photos by

Edited by Emily Kimura

Echo Beach Interview

Hey creeps today we are posting our first international interview with the Liverpool band Echo Beach. Although Echo Beach is hundreds of miles away in England, they fit right into the SoCal music scene with the dreamy, laidback vibes their music instills into listeners. The band is made up of Adam, who plays guitar and vocals, Joe, who plays bass and vocals, Connor, who plays guitar and synth, and Jack, who plays drums and percussion. Through the gift of technology we were able to ask the band a couple questions about how their journey in music began and their hopes to tour the states in the future.

Creeper Magg: What are your names and what do each of you play?
Echo Beach: Our names are Adam, Joe, Connor and Jack. Adam - Guitar and vocals, Joe - Bass and Vocals, Connor - Guitar and Synth, Jack - Drums and Percussion

CM: How did all of you meet?
EB: We all met in School, Connor and Joe have known each other for 16 years - so a pretty long time.

CM: What was your guys’ main motivation to start a band?
EB: #Boredom, babes, more boredom and good demos.

CM: You guys are currently signed with Hail Hail Records right, how did that come about?
EB: We played a debut gig in our hometown, Liverpool. Sam heard of us through our gig from a friend and got in touch with a release offer. Pretty awesome really. Hail Hail records is a DIY label started by our good friend Sam Banks. Hail Hail has been active for around a year and has released tons of great material; artists such as Psychic Shakes, Tyler Burkhart and Pallow are just a few of the awesome artists that come to mind. Sam and Hail Hail are also from Liverpool, meaning that we have had a strong connection with Sam ever since he got in touch with us back in January, we're best of friends now.

CM: Your debut EP ‘Greetings from Echo Beach’ is your latest release right? When was it released and what was the recording process like?
EB: 'Greetings from Echo Beach' is in fact, our greatest hits album. Available in all good music retailers. It is so good, it didn't even warrant any other releases so we went straight to greatest hits. Jokes aside, we spent 6 weeks holed up in Jack’s house recording our EP. Lo-fi home recordings are massively important to us. Because of this, recording can be strenuous, but we managed to overcome difficulties with time, dedication, beer and pizza. The time period between the initial writing stage and the release of the EP took about a year, Adam and Connor started writing some interesting demo's around July 2015, then after a year of demoing and experimenting - the EP was written, recorded and ready for release. Very trial and error.

CM: Listening to ‘Greetings from Echo Beach’, you get a lot of relaxed, beach vibes, what do you hope your music instills to people who listen to it?
EB: We hope it instills a state of out of body relaxation upon the listener. We also really like the beach so we hope that comes across.

CM: What inspires your music?

EB: A lot of things inspire our music. During the time of recording we were listening to a lot of artists like DIIV, Beach Fossils and John Maus and I think that comes across. More recently we've been listening to High Sunn, No Vacation and a lot of disco music (Rick Astley). I believe that a lot of our sound has also come about as a result of general boredom with the stereotypical pysch-pop sounds coming from our hometown. We wanted to go against the grain if you will. I also believe that the home-studio environment has had a great deal of effect on our sound. The availability of a lot of equipment we have previously not had experience with (drum tracks, synths, etc.) allowed for a lot of experimentation, shout-out to the Wood household for that one. 

CM: You guys are from Liverpool right, what is the music scene like over there? How do you think it differs from here in Southern California?
EB: The scene in Liverpool is pretty varied, there tends to be a lot of pysch bands around at the moment though which is good, but we prefer to go against the grain. We don't know much about the SoCal scene itself, but I'd say Echo Beach would easily fit into some of the acts we've heard and enjoy (High Sunn, No Vacation, etc). Let us come play over there please!

CM: Have you ever been on tour?

EB: We've never been on tour as a band as of yet, but we're looking into planning a UK tour soon. We have our first show outside of Liverpool in September supporting INHEAVEN and Pale Waves in Nottingham.

CM: Do you plan to tour the states any time soon?

EB: We really hope so. We believe our music would be better appreciated in the states, who knows, one day we may get the chance!

CM: How would you describe your music to new listeners?

EB: Our music sounds like the spirit of Harambe, sat on a beach, gracefully watching the sunset.

CM: What is your dream as a band? (Like do you have a dream venue/festival to play at, etc.)

EB: We really want to be able to tour the states, I think that's our ultimate dream. We'd love to play the likes of SXSW and Pitchfork Festival too.

CM: What are you guys currently listening to?

EB: Tough question, we listen to a lot of music. To name a few, Blood Orange, ScHoolboy Q, Chris Cohen, Arthur Brown, Porches and Alex Calder.

CM: Are you guys currently working on new material? Do you have any shows coming up soon?
EB: We are currently working on a new musical offering to the Gods. We have around five or six new tracks on the way, so maybe a new EP/release soon-ish. We're playing The Bodega, Nottingham September 29th.

CM: Any final thoughts on music or life in general?
EB: Harambe will be avenged. Also we’re sorry about Trump.

You can creep up with the band through Instagram, Facebook, and Twitter. You can also check out their latest EP ‘Greetings From Echo Beach’ on Hail Hail Records’ Bandcamp.

Echo Beach:

Adam-Guitar and Vocals

Joe-Bass and Vocals

Connor-Guitar and Synth  

Jack-Drums and Percussion

Credits:

Interview edited by Emily Kimura

Photos taken by Sam James Banks

Photos edited by Kelsea Cadena

 

Hate Drugs/Wee Beasties Interview

Wee Beasties, a band in their 20s from Fresno, is trying to pave the way for new, innovative music in a relatively quiet town. The band is fronted by Codie Collins as their lead singer, with Gio Najeh and Nic Tesi on guitar, Nick Merrick on bass, and Max Martinez on drums, who are all taking part in a musical revolution with their tour counterpart Hate Drugs on the ‘Beach Weekend Tour.’ Hate Drugs’ members range from their late teens to their early twenties, they were formed in Bakersfield by David Caploe as the their lead singer/guitarist, with Norman Lee on guitar, John Irwin on bass, Josiah Caploe on keyboard, and Adrian Diaz on drums. Both Wee Beasties and Hate drugs have managed to cultivate a decent following in their respective hometowns and now they are venturing to new places together and playing shows so that their music can reach new heights. The guys of both bands were kind enough to sit down with Creeper Magg and discuss their bands’ origins, their touring experience, and even memes.


Creeper Magg: Can you guys introduce yourselves and tell us what instrument you play?

Codie (Wee Beasties): My name is Codie and I’m the lead singer of Wee Beasties.

Nick (WB): I’m Nick Merrick and I play bass for Wee Beasties.

Max (WB): Hi I’m Max Martinez and I play drums for the Wee Beasties.

Nic (WB): This is Nic Tesi and I play guitar for the Wee Beasties.

Gio (WB): I’m Gio, I play guitar as well.

David (Hate Drugs): My name is David and I sing and I play guitar for Hate Drugs.

Norman (HD): I’m Norman and I play guitar for Wee Beasties, oh shit no Hate Drugs.

Josiah (HD): I’m Josiah Capole and I play keys for Hate Drugs.

Adian (HD): Hi I’m Adrian Diaz and I play drums for hate drugs.

John (HD): John Irwin and I play bass for Hate Drugs.

CM: (Wee Beasties) How did you guys meet and start playing together?

Max (WB): I was playing music with some friends, we were just jamming and stuff and I met Codie through some mutual friends. So we always kinda wanted to play together, we just jammed. And between that friendship, we just kinda brought in a couple new people amongst each other and that’s kinda how it happened and everything just fell into place. We just started creating.

CM: And how long ago was that?

Max (WB): It was like April, 2015. Around there is when it kinda went official.

Nic (WB): I had actually gone to school with Nick Merrick, our bassist, we went to Clovis High together and we had always been in like separate groups [bands], we needed a bassist in Wee Beasties and he stepped up to the plate. He’s been with us for about six months or so. And since then, it's really just taken off and we got to go on tour with Hate Drugs.

CM: Hate Drugs, how did your band start?

David (HD): I just kinda was jamming with some guys, my brother [Josiah], and Norman and some other people and we were just sort of making music that we were like, ‘Hey we really like this and we should do something about it.’ And then the bass player and drummer that we had both left; this was before we were an official band. And it kinda ended and I was like, ‘You know what I’m just gonna do it on my own.’ So I just wrote a few songs and I had my brother help me produce; him and I worked on putting out ‘Rough Days,’ which was our first EP. Then I put it out and a lot of people started listening to it and I was like, ‘Woah we gotta play.’ So I was like, ‘Norman, do you want in?’ and he’s like, ‘Yes.’ And through our old players, we ended up finding Adrian and he jumped on board, and he brought John. So it's like a little family. So technically, we became an official band the day that the EP was released, which was July something, 2014.

CM: Wee Beasties, how has your sound evolved as a band? W know it’s kinda still in that early stage, probably still evolving, but how would you describe it?

Max (WB): We have all these backgrounds and ideas and thoughts and everything, and some things are like, ‘Oh I have this riff for this many years and I’ve never done anything with it. Or I got this and that.’ So it's kind of all that coming together and making it happen; it’s a bunch of peoples’ ideas and making it one. But what I’m really excited for is the next process; it's like everything is coming from within so that’s exciting.

Codie (WB): Yeah, it’s pretty cool because we all come from different backgrounds, different styles of music that we play. We were all from like different bands: cover bands, ska bands, metal bands, jazz bands, you name it.

Codie (WB): We were quiet for 6-8 months just working on these songs that we’re playing. We just went out there and basically just knocked it out of the park locally and really just did what we came to do and really built up a local draw and a buzz for us and then established ourselves as one of the main bands from our city. It’s been killer together, we both have these different textures and feels, but it really compliments the other live. It’s been really fun and we’ve been learning and growing together. I’m excited for the future and to finish up this tour and get to writing and producing and creating some more new stuff for spring. The next chapter is gonna be dope.

CM: Hate Drugs, how have you noticed that your sound has evolved?

John (HD): At the beginning, most of what we played was what Josiah and David collectively wrote in the ‘Rough Days’ EP. Slowly through the process, David has brought some of his ideas, Josiah has brought some of his, and together we’ve grown a lot more. A lot of us have like jazz roots, so that comes out in our stuff. There’s some rock roots, there’s just a little bit of everything. I think that’s what makes us and Wee Beasties so compatible.

CM: You’ve mentioned that where you come from, your bands are kind of the headliners?

Codie (WB): In our respective cities.

CM: What’s the local music scene like in your area? Are there a lot of bands?

Nick (WB): It’s really interesting, there’s a lot of talent in Fresno, I feel like a lot of people don’t really appreciate it. Like whenever I tell people I’m from Fresno they’re like, ‘Oh that sucks.’ You know, I kinda get it, but it's really interesting because I’ve met a lot of really cool [people], these guys included. It’s been an awesome opportunity to learn.

Codie (WB): Yeah, it’s interesting. We’re getting these big indie acts coming through, we’re getting bigger bands and bigger bands. It’s just kind of been this snowball effect, the DIY scene, the indie scene. All the independent festivals, and everybody taking part and playing and contributing to that and building this thing up. And now we’ve got this really cool music scene in this city that didn’t really have that and that’s also happening in Bakersfield too. So people from San Francisco, L.A. and other states are like catching the wind and they’re coming through and getting better bands and we’re making friends. Places are set around like cultivating areas that were completely absent. Our downtown scene is becoming really cool. It hasn't been open since the 70’s and 80’s really, and now young kids can go downtown and hang out and it’s pretty cool.

David (HD): Yeah Bakersfield kind of a bad rep like Fresno, maybe even worse! But the thing with the Bakersfield music scene is that we’ve had some big bands come from Bakersfield, but it’s every once in a blue moon. Through the 90’s it became metal and the Bakersfield sound was Korn. All the bands that were popular in Bakersfield, the music scene was centered around metal music. we started, two years ago, there was really not much of a music scene. We started just kind of hammering down and since then there’s kind of been like a little spark of fire that ignited in Bakersfield. There’s been a huge growth in the indie and DIY scene. And just this year, Very Special Records, which is kind of a collective of a bunch of us indie and DIY bands started and a lot of like really rad house shows and other cool shows downtown and stuff have been starting to happen. The scene has really been growing now and a lot of people who wouldn’t normally go out to shows are going out and it’s kind of a community scene.

CM: Also tell us about your band name, are there stories behind them?

Josiah (HD): I used to listen to a lot of music on Spotify, I had nothing else to do in my spare time. I would make up band names in my head just for fun. So one day I thought of ‘Hate Drugs’ and I was like, ‘Oh, Hate Drugs, that’d be a fun name.’ And then I told David and David’s like, “Hate Drugs, I like that dude!” So he wrote it on his shoe and then we went to practice one day and the guys were like, ‘What’s that on your shoe?’ and he’s like, ‘I guess it’s our band name!’ So that’s kinda how that happened, but as time went on, it kinda evolved and we kinda morphed it into something that reflects what we stand for as a band. Not so much we hate drugs, like we’re not anti-drug. But more of like, hate can be a drug, hate can make you a different person, and we’re all about loving and making sure everyone feels a part of the community and trying to involve people. And also hate drugs, drugs of hate, what is a drug of hate, I don’t know, you answer that, you kind of just leave it up to people, it’s just kind of fun too.

CM: And then what about Wee Beasties?

Nick (WB): Well Codie is like a really slow eater, probably the slowest I’ve ever seen.

Codie (WB): I talk more than I eat; I just keep talking and everyone is finished.

Nic (WB): Max’s dad, Fred makes us all food because he’s awesome. He made us food one time and for a month or so we were trying to think of band names like, ‘oh that sounds cool, no that’s not gonna work, it’ll make us sound like a metal band.’ Anyway Fred came in and Codie wouldn’t eat his food and he said you know if you don’t eat your food the wee beasties are gonna get it and it all kind of just rang in our head and mostly Max was like ‘You know I really like that name.’ And before I had the choice to decide, we already had the instagram made. Now we’re the Wee Beasties and it’s really grown on me.

Gio (WB): It’s grown on me too. I hated the name, like I despised it. I think it’s because I didn’t understand and I was just the little kid ‘it sounds metal.’

Max (WB): Wanna hear the real story?

CM: Oh that was the fake story?

Codie (WB): Well no there’s like histories and folklore to it too. Like old Irish wise tales where women would tell their kids, “the little wee beasties are gonna get you!” you know, these little creatures. But there’s also a really nerdy scientific thing too about it. Cells were nicknamed ‘wee beasties’ before they were even called cells. It’s something that’s like a really old term that’s been around for a long time that kinda died out. Everybody is kind of like a wee beastie if you think about it. You know, if cells were nicknamed that then we’re all that, the whole universe is. There’s a lot of ways to look at it, it’s like Hate Drugs, you can take it as you want.

Nick (WB): If you leave your food out, we’re gonna get it!

CM: How has the Beach Weekend Tour process been for you? How long has it been?

Codie (WB): It spans over a two week period.

Gio (WB): Yeah right now we’re on like a four day period. The last one was two days.

Codie (WB): Yeah, well like, the thing about it, to backtrack before we started it: Hate Drugs came into town, and played on our headline show and it was amazing. Almost 400 people at the show it was incredible. And so right after the show, you know, you load out and everything and everybody’s nice and sweaty and packing up stuff and it’s like, ‘You know what, we should go tour together! I think that we should tour.’ It’s like we play a couple of shows together, we should go take this out of town and go run some shows together. And it’s all West Coast, it’s all here. And David and I come from surfing backgrounds too, him more than me and so, I don’t know, we thought to call it that. And it’s been fun, it’s been really fun.

CM: Do you guys have a full length album or is it just EPs?

Codie (WB): We have like five songs up online but live we’ve got like 12 songs.

CM: You just haven’t recorded them yet?

Codie (WB): Yeah we’ve tracked seven songs and then when we get back we’re gonna track the rest of them and then all the new stuff. And then kinda take the best of that and put out a full record.

CM: Do you have a name and a date?

Codie (WB): It’s gonna be in Spring, honestly, I think March.

Nick (WB): It’s gonna be The Nick Merrick Experience.

Codie (WB): Dat Boi.

Nic (WB): In parenthesis: Vape Nation.

CM: For Hate Drugs, what was your experience touring?

Adrian (HD): It’s a rollercoaster; it’s kinda weird in some aspects like you are kinda delusional from all this traveling and I wouldn’t say malnutrition, but you would.

Codie (WB): Uncrustables and burritos, they start to get to you.

CM: Are you all in a van together?

Adrian (HD): Oh yeah! All 6 of us in a five seat van. But it’s just the idea of risk for reward. I think so far I’m so blessed to be able to come out every day, not get stung by wasps

*a wasp tries to attack Nic Tesi in the background*

John (HD): Yeah we did a little North run, part of the same tour and we went up to North California and peaked a little into Oregon and that was fun. A lot more driving than you have to do in Southern California because cities get more stretched out the more north you go. It’s definitely a weird experience to be like after a show driving continuously and then seeing the sun come up the next day. That’s a trip. But, you know, it’s all apart of the experience and it’s fun. It’s a little crazy, but it’s fun.

Gio (WB): I was actually asked that question last night by a girl from Ventura. And she was asking me, ‘Doesn’t it get like really annoying traveling with these guys all the time?’ Like cause she thinks we’ve been going all year. I’m like, ‘No we’ve only been together like three days.’ But I was thinking about it, like really thinking about it. If it were anybody else, yeah, But with these guys, no, it’s freakin’ awesome. Even like the tiny little problems, if there are issues or anything are just smashed. Just boom let’s get things done.

CM: You guys really lucked out. Like you have a little community right here.

Codie (WB): There’s a lot of bands coming up underneath our ripple, whatever that is.

CM: Like you guys paved the way for all the other bands to come emerge. I mean all of you help each other out.

Codie (WB): There’s a lot of bands coming back and popping up now in our towns and there’s a scene coming back and it’s really cool. We’re out there fighting the good fight.

CM: Hate Drugs, do you have any new music coming out soon, is there going to be an album?

David (HD):  Yeah we have three EP’s now.

Norman (HD): Yeah we do have a little gold nugget in the works. Probably gonna be around mid spring release time. A full length. After this tour we’re kinda gonna be taking like a little break from playing shows and just spend a lot of our time recording what we have written and ready to go and then writing and filling in the spaces.

CM: David you directed the last music video, right? You guys had it for ‘She Called?’

David (HD): Yeah, the music videos we put out so far, I have definitely been apart of the directing process cause I have some background in short filmmaking. But the most help has come from Keaton Punch who is the guy that has edited and filmed and co-directed these videos. He’s just done a really brilliant job with helping to make an idea reality. We were fortunate enough to connect and meet with Keaton and he’s been gracious and generous enough to help us out a lot because he believes in what we do and we’ve become good friends with him. Everything’s collaborative, one of our goals is to bring as many people into the circle that are trying to fulfill their dreams and hopefully we can create this dream machine that like helps everyone. Like if you’re a good photographer, we want you to take pictures because it benefits us but it can also benefit them because we have an audience and it gets their name out there and people can see what their art is, not just what our art is. Like Hate Drugs is just like we want it to be a platform for art to flourish, not just for us to have fun.

CM: Any final thoughts?

Gio (WB): I wanna say thank you guys! And thanks to Hate Drugs for throwing us really good vibes at every show! I literally cry! I’m gonna start collecting the tears! And thanks to my band as well for always dealing with my crap and making me happy and awesome vibes.

Nic (WB): I just have a word of advice: If you’re gonna go, go all the way up!

Gio (WB): At the pinnacle!

Codie (WB): We always go through one of those things where we kinda get stuck saying something. Like ‘Suh Dude’ was terrible! We couldn’t stop saying it.

Max (WB): We’re all about the same memes it’s been a really great time.

Codie (WB): It’s mostly the meme tour.

Nic (WB): We have an instagram chat that’s just memes.

Nick (WB): It’s actually really great because I can only communicate through memes. I’m really antisocial and these guys get it. I can just ‘suh dude’ and that’s it.

Codie (WB): Let me tell you a little something about Nick Merrick! So we get back to where we’re staying at our host’s apartment last night, or actually the first night in L.A. and Nick’s getting upset and we don’t know why he’s upset. He needs like a gallon of milk and this guy, he’s not joking he’s just drinking this gallon of milk. But Max needs OJ. You know you find these things out on tour together, what makes everybody tick. For me personally, this is really my first time being in a band where I feel like I’m in the right place. I’m finally in a group of guys who have ambitions and who want to create something bigger than themselves and be apart of a team. Hate Drugs is like that too and it’s been really cool. We’re excited for the future and super thankful and glad you guys took the time out of your day to meet us.

Josiah (HD): This whole tour thing, and the whole band thing is a new experience for myself, along with everyone else, at least for a band that’s committed and broken the bounds of our state, broken the bounds of our city. And you know it’s been a learning process, learning how to deal with people that you’ve known for a long time and deal with people you haven’t known for a long time. And learning how to treat others respectfully and maybe knowing that sometimes you don’t treat others respectfully and knowing that if you’re not careful you can lose yourself. Or you can find yourself in a place where you don’t wanna be. And I think for this whole process and wherever this band goes, wherever music takes us, which it takes us to a lot of good places, I hope that individuals, we grow together and benefit each other. And hopefully our albums and our songs and our stories will tell others what we’ve learned and where we’ve gone. And yeah I look forward to the future and seeing what it all holds for us.

David (HD):  I would say thank you guys for having us and thank you to Wee Beasties for being like a solid rock that we can lean on because it’s kind of a lonely road honestly because a lot of bands are willing to do it when it’s convenient but they’re not willing to step outside of their comfort zone and really like take a risk, you know. And to have another band that believes in us and we believe in them and have that as a support system has really encouraged us an energized us to push our own limits. And there’s like healthy competition in that. It’s like we want to be like a ladder where we can stand on their shoulders and they can climb on top of ours and we can climb on top of theirs, you know. And I would say Codie has been a real support for me because we both do a lot of the booking and a lot of the heavy lifting behind the scenes stuff that isn’t a lot of the time glorified because it’s not fun. A lot of people don’t see that and they don’t see the legwork that goes into making a lot of this stuff happen and it can be like really stressful and overwhelming. But to have someone else and a group of guys that are all on the same page and want to do it and want to even help each other, it just makes it that much more exciting and enjoyable and so fun. I’m super grateful for that, beyond how I can even express; I don’t know how we would have done this without them. I don’t know if we would have. And thanks to Cory too. He’s in the van somewhere, he’s in our hearts. This is our first time taking someone with us on a tour or a trip that’s not a member of the band and he’s helped us. He’s running our sound, and kinda helping us with our live production and kind of tour managing us a little bit. Making sure we eat and sleep and making sure we don’t kill each other too. So special thanks to Cory for coming out on the road and being our dad.

John (HD):  I just wanna say a huge thanks to the Wee Beasties guys. We barely even met, we haven’t even known each other for that long and honestly it feels like we’ve known each other forever. It feels like brothers. We go home, we went to the church yesterday and I was falling asleep and I was like, ‘I miss the Wee Beasties guys.’ Honestly it’s gonna suck to be away for as long as we are but we’re gonna have to.

Josiah (HD):  And remember guys: Love each other. I don’t mean it in the hippie way. I mean, like actually love people cause if you don’t, you’ll die. And you’ll rot. That’s it. So love.

Norman (HD):  I just wanna say: Frank Ocean, where your album at?

Adrian (HD): I just want to say thank you to my parents for raising me and I love you guys, I’ll probably see you guys soon, I don’t know.

Codie (WB): You can check us out at weebeastiesmusic.com and that will redirect you to all the other social media links.

David (HD):  And we’re on hatedrugsmusic.com and you can find us on almost every streaming and music store online

 

Wee Beasties:

Codie Collins - Lead Singer

Gio Najeh - Guitar

Nic Tesi - Guitar

Nick Merrick - Bass

Max Martinez - Drums

 

Hate Drugs:

David Caploe - Lead Singer, Guitar

Norman Lee - Guitar

John Irwin - Bass

Josiah Caploe - Keyboard

Adrian Diaz - Drums

 

Creeper Magg:

Creative Directors: Emily Kimura & Kelsea Cadena

Interview by: Emily Kimura & Jackie Castañeda

Photos by: Kelsea Cadena

Video by: Caroline Kimura

Ainsworth Interview

The band Ainsworth has managed to contribute to their local music scene in Whittier, California and fight for their artistic vision in the midst of the “pay to play” era that has plagued young bands in recent years. With Tristan Puig as their lead singer/guitarist, Derrick Cortez on bass, Gabriel Perdomo on guitar, Micah Cortez on keyboard, and Ryan Kozycz on drums, Ainsworth delivers expressive lyrics and haunting music that embodies anti-establishment vibes, as well as heartache. Before the band embarks on their first tour across Arizona, New Mexico, and California, Creeper Magg got to sit down with the boys and chat about Ainsworth’s journey from being a single frontman to a full fledged five-piece band.


Creeper Magg: Originally Ainsworth started out as a solo project right, so can you explain how the other band members came about, and a how a new Ainsworth emerged from that?

Tristan: Well I had played shows for a little while by myself for about four months and then I saw this other band called ‘The Freedmen’s Bureau.’ I saw them play music and I thought they were really good [so] I wanted to play more shows with them. I also had my eyes kind of open to what a band could offer because the shows I played with bands were a lot of usual bands, with a bassist, 2 guitarists, and a drummer, but this was the first time I had seen people that seemed to actually build off each other and make something unique. I thought that might be interesting to try, so I started off with a three piece, and then went by myself for a little longer, until I decided to make a big push, and have a big band, and this is the best I’ve felt on music for sure.

CM: When did you guys release ‘Cage in Search of a Bird?’

Tristan: May 27th.

CM: What was the process for recording the album?

Tristan: We got a studio for the last day I was in the states [and] we had the files immediately. I had a fourteen hour layover in Istanbul so I was just listening to the songs over and over and making notes to send back to them because they were going to go in soon and change the mixing.

CM: Did you all write the music together?

Tristan: They were all solo songs and then when I asked them to play with me I just came into the room and had them just listen and play whatever they felt like playing.

CM: In the future are you all going to write songs together, or do you think it’ll just depend on the song?

Tristan: I guess it just depends because the songs are a lot different then when I brought them in. I have a big passion for writing the words and chords tend to go with that and some melodies. Once it’s brought in with four others super talented and unique musicians it’s gonna sound different, it’s gonna transform.

Micah: Let’s try to write two songs on the tour.

CM: Where will you be going on the tour?

Tristan: We’re going to go through Arizona and New Mexico and we’re going to stop in Utah.

CM: Are they house shows or are they in bars?

Tristan: A couple are house shows, the rest are DIY venues.

CM: Are you all going in one car?

Gabe: Yeah, okay, the band situation we talk about pretty much every single time that we get together, we’re still working on it.

Tristan: We’re gonna try and fit, well us four will be alone for most of the tour, and he [Gabe] has to jump in halfway, so we’re going to try and take two cars with us, and then when he comes he’s going to be in a third car.

CM: You also said that you are releasing music videos for all of the songs on your album?

Gabe: Oh yeah, we have them all.

CM: What was the process for the videos?

Tristan: I didn’t participate in almost any of them actually, I just gave them out to friends.

CM: So they aren’t of you guys playing?

Gabe: One’s of him [Tristan].

Tristan: I’m in one of them.

CM: Are they more like short films?

Tristan: My favorite music videos aren’t of bands playing music, they’re of like just anything in the world besides that.

CM: Do you guys have a favorite music video or song from the album?

Gabe: I like the ‘Tumult’ one.

Micah: I think we can all say ‘Tumult’ just because Tristan’s so handsome.

Derrick: It’s out already ladies.

Micah: And your heart will be broken because that jawline.

Tristan: I feel very strongly when I watch them because I asked my personal friends because I was at the film school so there were a lot of people who were passionate about collaborating and making things so most of the people who made a video were from there, some were from here and they’re all so different and you can tell a lot of thought went into them, all of them are just so good.

Micah: One thing I really realized about this project Ainsworth, there’s been a lot of artistic freedom inside of it, and something that I really appreciate, just the approaches that we make, like Tristan kind of allows us to kind of just do whatever we want and there’s kind of just this trust there.

Tristan: Yeah that was a pretty important part of the project, pretty much anytime I asked someone to participate in a video project I said I’m not going to have any input, I just want 12 different people to come at it completely using their own creative vision and see how it works out, when they’re all laced together, and it’s worked out really great.

Derrick: I haven’t seen all the videos, but my favorite song to play is ‘Congressman’ because it’s anti-gun and it’s fun to dance to.

CM: Yeah, you make references to the government sometimes right?

Tristan: Yeah pretty heavily in that song I’d say. The first EP I wrote freshmen year of college was almost all not personal feelings and then the one song that really survived from that besides ‘Congressmen’ was ‘Trash Treasury,’ which was the only one that was introspective at all. This was a few years ago and I hadn’t felt comfortable enough, it was the first time I wrote a song, but the one song that really did stick was about myself and that was the direction I went in from there and now I very rarely touch on that, I just think ‘Congressmen’ is so fun that’s why it’s stuck around.

CM: Is there anything that specifically inspires your songs?

Tristan: Pretty much all varying methods of heartbreak I guess.

CM: Is there a lot?

Tristan: Yeah, so I did the count on this album and there were, there are songs based off of feelings that came specifically from 6 different people of this 12 song album. Those are people that made me feel strongly in some way, either I was in a romantic relationship with them or in a friendship or in something more ambiguous, and it wasn’t like I was writing to them necessarily but they mostly just sometimes you get the people in your life that make you feel a way that you haven’t felt before and sometimes it’s bad.

CM: Are there any happy songs? Or are they mostly sad or angry?

Tristan: I was considering the title for the album something like ‘11 Songs About Dying and One About Guns.’

CM: Can you explain what the actual title ‘Cage in Search of a Bird’ means?

Tristan: ‘Cage in Search for a Bird’ is kind of like an excerpt from Franz Kafka’s notebooks, the third one is really good and ‘Cage in Search for a Bird’ is one line, but I just think that imagery it’s inspiring. It’s relatable to me personally because sometimes you feel like you need someone in your life even though you know you would restrict their freedom or not allow them to live as freely and happily as they could be.

Gabe: So are you the cage in a way?

Tristan: Yeah it’s about feeling selfish for wanting happiness for yourself.

Derrick: I thought it was about you [being] a cage, but you’re just a shell of who you are and you’re looking for meaning, so the bird represents meaning and when the bird enters the cage, because that’s like life, like the cage is dead by itself, when the bird comes in it’s life.

Gabe: The way that I was thinking it was you’re a cage and you take something beautiful, like a person, and make it yours to keep. Like if you could capture a rainbow, people would make it so we could buy rainbows.

CM: What’s on the cover of the album?

Tristan: It’s a picture of a window and a chair, taken by a friend of ours.

Micah: I almost like it because the title goes with the picture too and you see the trees outside and kind of like the outside world and then you feel like stuck inside.

Tristan: Definitely, when the pictures were run by me, it’s part of the reason I was attached to it immediately.

CM: So what the best part about being in this band?

Gabe: That were all kind of specially picked kind of in a way, we all kind of picked each other to be in this band.

Derrick: Like when we had to get a replacement for guitar, we all hand picked Gabe to be in this band.

Gabe: My first instance playing with this band was filling in for Derrick on bass.

Tristan: Yeah the first show with this kind of line-up, [Gabe] was on bass because he was going to come to just check it out just to watch, but he came early and Derrick wasn’t going to be there.

CM: So you knew the songs already?

Gabe: Nope.

Micah: He’s just that good.

Gabe: I’m not even that good, bass you can play quietly.

CM: So you guys have mentioned your local music scene, you wear their shirts and everything, can you describe more about it? Or what you like about it?

Micah: It was interesting being in 8th grade and going to house shows and kind of like little local scenes. I remember looking up to these people in the bands and being like, ‘Man, if I could only play shows or like be in a band.’

CM: Did you play instruments back then?

Micah: No, I like I kind of just messed around on keyboard and I actually started on bass.

Gabe: You joined ‘The Freedmen’s Bureau’ as the accordion player.

Micah: I actually joined ‘The Freedmen’s Bureau’ not really knowing anything, so they really took me under their wing and I actually started playing music because of that band, but it’s been really interesting kind of being part of the local scene, and playing and collaborating with different bands like ‘Desert Woman’ and ‘Echavox.’

Gabe: The thing with the local scene is that we had to build it up ourselves.

Micah: We started the local scene.

Gabe: We put on the Holloway shows.

Derrick: There’s a lot of different local scenes.

Gabe: This is the really small one, the Whittier scene.

Micah: We’re not like The Burger sound.

Gabe: And there’s some other bigger bands in Whittier than us, but they play bigger shows.

CM: Do you attend those bands’ shows?

Tristan: Well it’s not really the same kind of music and environment.

Derrick: Yeah, our scene is pretty sober.

CM: Can you describe the differences?

Tristan: Well that was a big one, I feel that when I go to shows that our friends’ bands are in, it seems like people are there for the music.

Gabe: We’ve played some shows where people are just in it for the party. There’s a party and there’s a band.

Derrick: It’s mostly just them hanging out and us playing.

CM: Like background music?

Tristan: You know there are dozens of bands totally cool with that that’s what they want, they’re after the party atmosphere and they want to make a party better but, you know, we want to be the center of attention.

CM: How would you describe your music?

Gabe: Singer-Songwriter.

Tristan: I don’t know, I don’t know how I would describe it, I’ve gotten a lot of different, I don’t think about that, the only time I think about it is when you sound like this.

CM: What have they said?

Gabe and Ryan: Bright Eyes.

Derrick: We got Arcade Fire once.

Tristan: I guess I see where they are coming from, but I don’t know about that, every time someone has said something it’s made me very happy so that’s like my favorite thing, cause I know were not deeply derivative of any one band so I’m not afraid of somebody coming up and saying you sound like this cause it’s not like we’re trying to steal from another band.

Ryan: I’m unabashedly trying to steal from Kanye West [laughs].

Micah: We’re pretty much just a Kanye West cover band, that’s what we are [laughs].

Tristan: The idea that somebody could listen to our music and think about a band, even if I’m not a huge Arcade Fire fan, the fact that they could, I don’t dislike them, but the fact that they could think or hear our music and think of another band as accomplished as Arcade Fire or as The Replacements, it just always feels really good. On our bandcamp I put emo in the tags cause the sound isn’t there, but the content is. So for any emo fans that aren’t completely committed to the sound of emo I think we could really get in on that.

Gabe: I’ve heard the term ‘bedroom’ as a genre, so what’s up with that?

Tristan: It’s like home recordings, like half this album was recorded in Andrew Eastmen’s bedroom so that would be a bedroom type sound. Baroque pop is like singer songwriter but with depth, singer songwriter not on the counter of Starbucks.

Micah: We’re like the better Mumford and Sons [laughs].

CM: Can you tell us where we can find your music?

Tristan: On Instagram @Ainsworthless, we’re on Facebook, maybe I’ll try to use that, but I have no idea, ainsworth.bandcamp.com, it’s available there. It’s on Spotify as well, so it’d be cool if people listened to it on there that way we could get like 1/10th of a penny or something, that’s more about the exposure, so I really do like getting the word out on there. [The] music videos are going to be on YouTube on my channel Tristan Puig, [and] you just pay at the door [for their shows on tour].

Gabe: Everything we do, we’ve never had to sell tickets for.

Tristan: I could fill an entire voice memo on the iphone about pay to play.

CM: Can you explain what ‘pay to play’ is?

Tristan: [The vendors] basically say each band has to sell 25 tickets or more and basically all the tickets cost $10.

Gabe: And anything you don’t sell you have to pay back.

Tristan: So you’re responsible, say you have to give [them] $250, it’s up to you whether or not you sell tickets.

CM: So either way they’re going to get the money?

Tristan: The tickets are worth $250, and that’s terrible because that’s how a lot of the shows go on.

Gabe: All the Chain Reaction shows are like that.

Tristan: It’s usually taking advantage of the kids that are like 16, you know these kids just want to play shows and they don’t know any better, they’re getting taken advantaged of by these venues who know what they are doing and they’ve been doing it for years and as the new class of high school bands comes out they are the ones recruited saying ‘hey.’ House of Blues sounds so prestigious, you know it has the name value so actual good bands have played there so when you find out that you can play House of Blues you’ll do anything to do that, you know, even if it’s selling $400 worth of tickets or not selling.

CM: So you’re basically promoting them, and they don’t have to do anything?

Tristan: Exactly.

Micah: When I first joined the band he said to me ‘Oh, you never have to worry about playing pay to play shows because we don’t want to do that’ and there’s actually an Instagram post where he wrote an email.

Tristan: I screenshotted a message from a booker from one of the pay to play places and I responded to him, like he said ‘hey would you like to play a show here at this date, presale would be this much’ and I just said something like ‘thank you for the offer but I think what you do is a cancer upon the local music community’ and he was like ‘okay, thanks.’

Gabe: It’s probably just some poor intern asking all the bands.

Tristan: Yeah, cause I feel so strongly about it because kids could be spending time trying to build actual relationships with local musicians rather than rely on some big bar that’s trying to take advantage of them.

Micah: We could probably plug DIY Bridgetown or OC DIY, there’s a lot of DIY groups that are very much like for the musicians.

Tristan: And that’s so beautiful, my first shows were at Bridgetown DIY in La Puente and I played monthly shows there until I started getting into ‘The Freedmen’s Bureau’ and ‘Desert Woman.’ It was a really nice place [the La Mirada scene] because they had people touring from all across the country and everybody was there to just listen to the music and it was a really small place, it was a sober place, which is so important. Sober spaces are so important because they can be all ages and people that are in middle school and high school can go there and it’s a safe place for them to listen to music without having to worry about the people, so that’s why The Smell, I don’t know if you’ve heard about The Smell recently, it’s a DIY, all ages, sober space in LA.

Gabe: In the one of the sketchiest parts of LA, which makes it awesome.

Tristan: It’s a couple blocks from Skid Row and it’s hard to think about something more important to the LA music scene in the past 20 years beside The Smell, it opened up in the late 90s and a lot of great bands have played there, but it got a notice for demolition this past week and that’s a big problem because at any point they can be kicked out.

Gabe: The places that care about the musicians don’t make money because they aren’t stealing from the musicians, so they need volunteers.

Tristan: Any place worth playing at this level runs on volunteers and that’s why it’s so hard to keep a place like that afloat, OC DIY are working on opening a new venue over the summer in Lake Forest and I’m so excited for them. I really hope it goes well because there’s nothing harder than opening a venue that actually cares about the musicians because you can’t take advantage of anybody for your own financial gain.

CM: And lastly, where did the name Ainsworth derive from?

Tristan: It’s the last name of a child psychologist named Mary Ainsworth and she was really big in the attachment theory, which basically states that a human can’t develop properly unless it has an emotional attachment to something or to someone. If you grow up in isolation you’re brain isn’t going to be where it needs to be, your emotional state isn’t going to be where it needs to be. There was a test with a monkey and they had a baby monkey and then there were two metal monkeys and they put a bottle of food on one of the metal monkeys and the other one they put cloth so it was soft. The monkey would opt for bonding with the soft cloth monkey over the food that it needs for survival.

Micah: Would you even go so far to say that playing music is your attachment so this kind of act was kind of what’s giving [you] warmth?

Tristan: Definitely, it’s kind of what I need to survive.

CM: Any final thoughts?

Micah: If it’s tweetable, I said it.

Gabe: Whatever, forever.

Derrick: I can’t wait to quit my job.

Ryan: Ill at ease.

Tristan: I just can’t wait for Derrick to quit his job.

 

Ainsworth Band Members:

Tristan Puig: Guitar & Vocals

Gabriel Perdomo: Guitar

Micah Cortez: Keyboard

Ryan Kozycz: Drums

Derrick Cortez: Bass

 

Credits:

Interview by Emily Kimura

Photos by Kelsea Cadena

Creep up with Ainsworth on  Instagram, Facebook, and Bandcamp.

Day N Night Review

Two days of wonder. Two nights of blaring music. Two days of simmering heat. Two nights of horribly backed-up traffic. Two days of reprieve from daily monotony. Two nights I experienced collective imagining, the flashing color from the stages running across the crowd in a waking dream. For all the reports of the logistical problems that plagued The Observatory’s first move at a major music festival, Day N Night was worth it.

            When I pulled up to the one-way road of Oak Canyon Park Saturday afternoon, there were several other groups of attendees walking along the outskirts of the road toward the festival. The sun beat down on us but we pushed through. Who could blame us, really? Looking at the line-up for Day N Night proves once again why The Observatory has become the HQ for hip-hop in the OC music scene. At the entrance, amidst cars and scuttles of shade, attendees waited in line for the oncoming attractions, and others waiting to test their luck at sneaking into the event. If you happened to take a glance at the line, the congregation was composed of all ethnicities, the occasional white girl sporting dreads. Primarily, the fashion was a colorful affair, some dressed in streetwear, tie-dyes and artist merch while some were foolish enough to pick a fight with the sun wearing all back or jeans.

            Inside Day N Night, the real action started: almost unbearable 90 degree weather, set delays, risk of dehydration, wickedly sized moshpits and amazing performances from not just the bigger names on the line-up but also the lesser known talents. Beginning of Day 1 saw the full throttle of Maxo Kream’s wild set and Father’s surreal trap soundscape, Dragonball Z flashing on the screen behind him. Not to mention Lil Yachty, whose music I low-key disliked, demonstrated why he’s become such a major name as of late in the rap circuit. The crowd danced as if possessed by religious exultation, pushing closer to get a chance to glimpse Lil Boat. Even the middle-aged security guards standing at the side station on stage smirked with amusement at the kids’ excitement. Around 7:00 I made my way to the Weed Maps Stage to catch $uicideboy$. In the middle of their set, the duo amped the excitement over the usual moshpits, instead splitting the crowd for the “wall of death.”

            An hour later there I was back at the main stage, just in time for Lil Uzi’s performance of “Money Longer.” After Post Malone’s pretty average set, YG appeared on stage, taking (nearly) inhuman amounts of strength from yours truly from being trampled on by the crowd as they pushed toward the front. The southern California rapper ran through hits from My Krazy Life and deep cuts from his latest release Still Brazy, “Fuck Donald Trump” a common chant from the crowd while they watched YG dance and groove on stage.

            Look back at the first night of the festival and catch the beautifully staged performance of first night headliner A$AP Rocky. Rewind a few moments before he appears above a giant LED screen bathed in light; people are exiting, racing to their cars or for water, others looking at the billowing figure in awe. Then he appears. L$D floats through the night air, Rocky a spectral shadow embedded in a thick, red cloud, manufactured wind blowing his flannel’s hoodie as he croons the opening lines. His set was electric, his performance paired with beautifully curated graphics that’ll keep rattling in your brain for days, the ecstasy of it all too much to even process until it pops up in memories and wild conversations language couldn’t completely grasp.

            The next afternoon was still burning. The sun was a white, menacing blob of radial heat. Except, the security seemed to catch onto the risk of dehydration among those camping out at the Night Stage, walking along the rails spraying water on overhead and some kind enough to give a drink or two. Every other set or DJ intermission I noticed asked the crowd who loves smoking weed or mistaking Oak Canyon Park for Santa Ana. There were more set delays. 21 Savage was rescheduled four hours later than his originally posted set time. Some attendees were angry, others not so much. When 21 strolled on stage it didn’t seem to matter, the moshpits had already opened.

            “At least 21 Savage’s set was as hard as he claimed to be,” I heard an attendee say sometime after the performance, in response to the rapper’s late arrival.

            Panning across the festival grounds on the outskirts of the stages there would be groups bundled in small circles sitting in the shade, smoking a blunt or drinking beer, others in line for water or overpriced food, attendees who had fainted at the medical tent and the attendees trying not to faint.

            Back to the music, Vic Mensa played an awesome but extremely short set. A highlight being his rendition of “16 Shots,” Vic Mensa pretending to be shot and laying on stage in mock-death with three menacing cop cutouts standing in the background. Then there was Seshollowaterboyz, the closest rap performance I’ve seen ever seen that reaches the intensity of a punk show.

            “Pick up your comrades,” a guy with shades screamed right before two extremely large moshpits conjoined into a mythically proportioned circle of thrashing.

            Each member performed with frightened madness. Halfway through the gig, the ‘wall of death” rears its head once again. Throughout the act, a bunch of white girls angrily kept asking who elbowed them as they lined the pit, tried to make their exit or held through for Bryson Tiller. For those who waited, Bryon’s set paid off, bringing out Travis Scott toward the end for “Antidote” and “Pick Up The Phone.” Young Thug closed Day N Night, playing cuts from “Slime Season 3.”

            Each night the lights sprawled along the festival grounds. Purple and red glow made its ascension through the trees. In the night’s progress the festival was a tiny microcosm, insular and grand, aflame with orgiastic color, blurring any memory of problems like set delays, if only for a moment.

            That moment lasted longer for others unfortunately, especially if you happened not to drive to the music festival. Making my exit from the festival on Sunday I came across a couple who said they had left at 10:30p.m. Saturday and had not exited Oak Canyon Park till 5a.m. The parking seemed disorganized, lacking any clear supervision. Cars exiting through the one-way road of Oak Canyon stood at a halt. Many had to walk great lengths down Santiago Canyon Road looking for their ride or be blessed with an available Uber. The commuter limitations of Oak Canyon Park’s geography were made worse by an accident shutting down the road Sunday night.

            Yet despite the nearly overwhelming problems of parking, that couple that waited hours just to exit Oak Canyon were optimistic. They believed the following year would be better.

            No doubt, right? This year had flexed an incredible line-up at its inaugural. Solve the parking problem and Day N Night should be a hellishly cool festival for Orange County.

 

Credits:

Review submitted by: Raymond Pelayo

Pictures by: Raymond Pelayo, Joe Almand, Efren Onate, and Beatriz Cabral

           

 

 

 

Creeper Magg X The Aquadolls: Interview Part 2

Hey Creeps! The time has finally come for us to share our interview with The Aquadolls! We were lucky enough to hang with the band in Downtown Fullerton and find out all about their journey as an indie band. You can creep on @theaquadolls on Instagram and Twitter and creep up with all our social media @creepermagg!! #creepitreal

Credits:

The Aquadolls Band Members: Melissa Brooks - Lead Singer & Guitarist, Ryan Frailich - Guitarist, Jake Brown - Drummer, Bella Devroede - Bassist

Creeper Magg Crew: Creative Directors: Emily Kimura & Kelsea Cadena, Interview by: Jackie Castaneda, Filmed by: Chris King, Edited by: Greg Morales

Song - Girl Riot - OUT NOW, By: The Aquadolls

Aquadolls Q&A

Hey Creeps! Here’s our exclusive Q+A with Melissa Brooks, the lead singer and guitarist of The Aquadolls. We spoke to Melissa about her musical beginnings and how The Aquadolls came to be the indie success they are today, with their record deal at Burger Records and playing lots of festivals. Stay tuned for more of The Aquadolls in our exclusive interview with the whole band!

Creeper Magg: How did you get into music/playing instruments?

Melissa Brooks: Music is something that I have always been passionate about. Even when I was a little kid, I would sing in church choir, do musical theater, take piano lessons, and I even played clarinet and percussion in marching band. As for writing music, I wrote my first song in second grade and didn’t stop after that. For years, I’ve collected hundreds of notebooks filled with poems, chords, and song ideas, and my favorite ones ended up becoming real songs and got recorded. I’ve been playing guitar since I was fifteen and I love it so much.

CM: Where do your inspirations for songs come from?

MB: Song inspiration derives from a lot of things, depending on the song! Some songs are based off of personal experiences, whether it’s falling in or out of love. Others come from fantasies I have, whether they are about my life, or completely make believe. As for artists who inspire me, I love The Beach Boys, Hole, No Doubt, and Gwen Stefani in general. I love mixing beautiful harmonies with powerhouse energy.

CM: Describe the process it took to make your debut album Stoked on You.

MB: The songs were written from January 2012 through March 2013, reflecting the year I turned 18 and graduated from high school, all the way through meeting Ryan, falling in love, and having one of the most memorable summers of my life getting to know someone new and exploring the silliness of my imagination and the world. That summer, I wrote a majority of the Stoked On You songs in my living room while teaching myself to play bar chords on guitar. Up until the day before we went in the studio, we were practicing songs that I kept writing and wanted to add to the album. It ended up being a 15-track album, which is kind of a lot, especially since we recorded and mixed everything in the course of seven days in the studio. The recording process was super fast! The band was mostly live tracked, with the exception of guitar and bass overdubs on some songs. Each live band recording was done in about four or five takes max, and each vocal take was in about one or two takes! Even though it was done so quickly, it gives it that live concert feel, and I am super proud of how it came out.

CM: What inspired your latest single Girl Riot?

MB: Girl Riot is an anthem about women fighting against social norms society has set for us, as well as the struggles women face. How we dress, how we act, talk, think, and view ourselves, as well as social injustices including but not limited to inequalities in work, racism, sexual assault and rape culture. I could only hope that Girl Riot gives a voice to those who need to speak out about anything in life they feel that they need to fight against.

CM: What has been the most rewarding part of being in The Aquadolls?

MB: The best thing about being in this band is the incredible people who I’ve met at concerts and online and becoming friends with them! Our music has helped reach so many people from around the world and it’s incredible hearing everyone’s stories about how they’ve discovered our music, how it makes them feel, but most importantly, it’s just amazing meeting such nice people. Seriously. I love you so much.

CM: Are you in the process of writing/recording new songs?

MB: Oh yeah! I’ve got quite a few gems up my sleeve and I’m also trying to write every day. Expect a new release in the near future! It’s going to be fire.

You can creep on Melissa and The Aquadolls on Instagram and Twitter. You can also creep up with us on Twitter and Instagram as well! Until next time, #creepitreal!

Interview by Emily Kimura

Photos by Kelsea Cadena

A Day in The Life With Desert Woman

Sitting in a 50’s style diner, Desert Woman, a four-piece indie band from La Mirada, told The Collective XIII about their journey so far since forming on August 17, 2012. The band is composed of brothers, DJ & Derrick Cortez, who play the drums and bass, their cousin Kelsie Grissom, who plays rhythm guitar and does lead vocals, and her longtime boyfriend Greg Poblete, who plays lead guitar. This past year they released their first EP called entitled “Glue,” and the Collective XIII, was able to have an exclusive interview with them.

Collective: How did your band form?

Derrick: When we were like 11 and 12 we used to all jam together us three [points to DJ, himself, and Kelsie] and then we stopped. In high school Kelsie started dating Greg.

Kelsie: He used to make music [points to Greg] and then we would send audio clips back to each other. He sent a full song and I was like I could do that too. Then them [DJ and Derrick] being part of it just helped us wrap it all together because it’s hard to make music by yourself sometimes and get the whole idea out there when other people aren’t playing with you.

Derrick: They have ideas for songs but they wouldn’t be able to hear it all together without all the instruments being played at the same time cause they can hear like this will be the drum part or this will be the guitar part, but collectively we just work together.

Collective: How did you end up with the name Desert Woman?

Kelsie: I was in a comparative world literature class where we read about folklore and mythology and we had to write our own. So I wrote mine about the desert woman and it was just something that stuck.

Collective: Did you all set out to play a certain instrument?

Kelsie: DJ was always the master of his domain on the drums.

Derrick: I played bass for church.

Kelsie: It’s just easier for me to play rhythm and sing at the same time.

Derrick: Greg does all the [guitar] solos.

Collective: How do you describe your sound?

Derrick: People say we are indie beach rock. The newspaper said we were “buzzed out garage rock.” The most common [word used] is beachy.

Collective: Who influences your music?

DJ: For me, I feel like what I bring to the table are bands like Blink 182, Green Day, and Tigers Jaw.

Derrick: When I write music my biggest influences are Title Fight and Red Eyes. Those are very different bands but I like the different aspects of them.

Kelsie: I was just telling him this [points to Greg]. My biggest influences unconsciously are women and it’s very cool. Britney [Spears] first and in middle school it was Hayley of Paramore. Right now it’s a lot of St. Vincent and Prince.

Desert-Woman-Final-Flattened-4.jpg

Collective: What’s your guys’ songwriting process like?

DJ: There are common themes between us that we all like, but we do have our own things that we are more interested in. I feel a lot of times we come together which will show. The stuff that Derrick and I will write will be a little more aggressive because we grew up going to hard core shows.

Kelsie: When I started it was easier to write love songs so I have been trying to grow out of that somehow. St. Vincent never writes love songs so I have been trying to challenge myself in that way.

Greg: Hellogoodbye does a lot of cheesy love songs, which really influenced me, but now I feel like I am really influenced by hip hop even though I don’t show it in this band.

Collective: Do you have a favorite show?

Derrick: The last show we did was one of the top. It was special in general because some of my best friends put out one of their CDs that night. I was happy for them and it was a really good turn out. It wasn’t my show, but I felt I hosted since it was my house.

DJ: I think that one was tight because every show we play is super small and it just like a lot of local bands and something about that is really cool to me. Lately, I’ve been thinking about how when you’re at a local show it’s kind of just your world and thinking about kinds in other states are doing the same thing.

Collective: What’s the ultimate goal for your band?

DJ: I think it would be tight if we went on like a little tour.

Derrick: Yeah, I definitely would like to tour once.

Kelsie: Maybe like a coast tour.

Derrick: Kelsie and I were talking about [how] we should just take off next fall semester and try to tour. I think that would be cool for me to set aside time while I still can to do music, even if it doesn’t go anywhere so I could say I did it and it was fun.  Even just for the experience of playing in different places and meeting new people.

Collective: You said that your backyard concerts are like a small world. How do you think that has affected you?

DJ: I think it gives us a lot of margin for error. There are bands that are really polished and are good at having it together and I feel like that just not us and I’m totally fine with that. So when we play we will go to fast or our guitars will get out of tune.

Derrick: We will be super down on ourselves and like we did really badly tonight and then they say that it was good.

Kelsie: It’s so cool because everyone that will watch us they are so into and are very supportive.

Collective: Have any of you faced writers block and how do you get over that?

DJ: I have one song for Desert Woman that I wrote and it took me a year to write. I think when you are in a certain season of life writing is easier for you to write, but then when you leave that season it is hard for you to go back.

Derrick: I have a lot of different choruses that are cool. I will kind of lose that feeling and never finish that song. I don’t really get over it.

Greg: For me I just write random lines that I think are cool and I put them in my phone but I never really like make a full song out of it, so it just kind of goes unfinished.

Collective: How did you record the EP?

Derrick: This guy that goes to my church his name is David he has a studio set up in his apartment and he offered to record us for free. Recording the EP took a week and a half and then editing took a month.

Collective: Final thoughts?

DJ: I am eating this garlic bread that came with our chicken tenders and French fries; I am not really into it but it’s here so I am eating it.

Derrick: I have been needing to pee since we got here.

Greg: I think it’s really funny how you guys ordered one more chicken tender.

Kelsie: This has been cool. It’s been a fun day. 

Credits

Interview: Charles Sailor

Edited by: Emily Kimura and Kelsea Cadena

Photos: Ariel Cortez

Band Members: DJ Cortez, Derrick Cortez, Kelsie Grissom, Greg Poblete