In San Francisco, it feels like everyone you meet has some kind of album, novel, screenplay, gallery opening– it can get overwhelming, you can get oversaturated. But the dimly lit venue at the bottom of a sloping hill on 17th Street (aptly named Bottom of the Hill) embraces this feeling. Here, from the artsy-looking crowd to the drawings on the walls to the bands that mingle outside in the succulent garden, creativity envelops you. Oversaturation is warm and welcoming. Felix, frontperson of tonight’s headliner Told Slant, sits on the steps smoking a cigarette. They speak softly and eloquently, spilling personal tales and philosophies over the chatter of the crowd. Talking to them feels like reading their lyrics– understated but beautiful. Simple but piercing.

Under the twinkle lights and hanging succulents, my partner-in-crime Phoebe Flynn and I talk to Felix about inspiration, community, and the growing pains of forming a musical identity.

Continue reading →

In the midst of their summer tour with Mitski and Eskimeaux, I was able to catch up with Mat Cothran, frontman of the ethereal sad-boy alt group Elvis Depressedly. Sitting cross-legged on an old wooden picnic bench outside of The Space in Hamden, CT, he discussed the band’s current North American tour, the experience of collaborating with other artists in the DIY community, and coming to terms with Elvis Depressedly’s intense emotional impact on their fans.

Continue reading →

It’s early evening at The Space in Hamden, Connecticut, and as young folk enthusiasts trickle into the tiny venue, faded rays of sunlight glint off of the unconventional assortment of shiny stringed instruments on the stage in front of me. For Saintseneca, “taking the stage” is a more meticulous maneuver than merely plugging in amps and setting up drums; with mandolins and dulcimers alongside their guitars and synthesizers, they cultivate a stage environment more reminiscent of an eclectic stringed instrument shop than an alternative folk show. Between songs, the Ohio outfit switches swiftly between instruments in their diverse arsenal of strings, the transition as seamless as the harmonies of band members Zac Little and Maryn Jones. Somehow boasting both a simple, effortless beauty and an incredible tightness, the perfect mesh of Little’s deep yodel-esque croon and Jones’ airy soprano feels like holding hands with your first love—warm and bittersweet, full of heart and spontaneity and a deep-rooted sense of comfort.

Since their start in 2007, Saintseneca’s textured and often playful folk-alt has garnered positive attention from niche DIY fans and mainstream audiences alike. The independent release of their debut self-titled EP in 2009 and sophomore “Grey Flag” EP in 2010 were followed up with 2011’s “Last”, a full-length album with Mama Bird Recording Co. And after a reconfiguring of the band’s lineup, they signed to ANTI- records and released the critically acclaimed “Dark Arc” in 2014. This national spotlight fostered a dedicated fan following, eager for the 2015 release of the group’s next album, “Such Things”—a collection of bright rolling tunes, triumphant sing-alongs, and softer ballads through which the band pushes their signature eclectic vibe to the next level.

Coming up on the release of “Such Things”, Saintseneca embarked on a small club tour of North America, wherein I was able to catch up with Zac Little about the formation of their sound, the inspiration for his poetic lyrics, and the group’s first experiences performing material from the new record.

Continue reading →