Heaps Good Friends

The quirky elegance of Heaps Good Friends started off as anything but bubbly.

Vocalist Emma Fradd met Nick O'Connor in a youth arts program in prison. At the Old Gladstone Gaol in Australia, O'Connor was Fradd's music facilitator, the latter in jail for being a problematic teen. After Fradd was released, the duo reunited in 2016 and started curating idiosyncratic bedroom pop. Their debut single "Let's Hug Together" was incredibly wholesome and infectious, attracting the attention of Dan Steinert, their current drummer. Together, the duo-turned trio aimed to take their giddy pop music to the next level and returned last week with their bright new single "Fold Laundry Together."

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Music Features

Interview: Dayglow Makes Sugary DIY Earworms—Just Don't Call It Bedroom Pop

Sloan Struble of Dayglow talks to Popdust about growing up in small-town Texas, selling out a tour that got canceled, and the viral success of his single "Can I Call You Tonight?"

Dayglow - Can I Call You Tonight? (Official Video)

Things haven't really gone according to plan lately for Sloan Struble.

The 20-year-old singer-songwriter-producer is calling me from Aledo, Texas, a 5,000-person town just west of Fort Worth. Not too long ago, Struble was an advertising student at the University of Texas at Austin. After his song "Can I Call You Tonight?" went viral, he left school to pursue his indie-pop project, Dayglow, full-time. But things took an unfortunate turn when—as with just about every active artist you can think of right now—Dayglow's sold-out tour scheduled to begin this spring was canceled due to the worldwide health concerns. So Struble packed his things and headed to his childhood home, the same place where he self-recorded his debut album, Fuzzybrain, which is out now.

"I'll definitely look back at this past year and think, what the heck happened?" Struble tells me with palpable disbelief, referring to both the current pandemic (which prevented this interview from happening in-person) and his rapid rise to indie notoriety. To Struble, a job in advertising was a tolerable back-up plan—maybe he'd make commercials or music videos—but after his cousin showed him the magic of GarageBand when he was ten years old, a career in music was his main goal.

"I've always definitely wanted to do this," Struble says. "But it felt really out of reach. So I felt like once it was really obvious that I was not going to do advertising and be a musician instead, that's when I would do it."

Dayglow - Can I Call You Tonight? (Official Video)www.youtube.com


With mentions in a handful of local blogs, a shoutout from Gen-Z tastemaker Emma Chamberlain, and an album reissue on innovative record label AWAL, a path in music was undeniable for Struble. Below, he tells Popdust about those revelatory moments, how Fuzzybrain came together, and the future of Dayglow.

Obviously, Austin is known for its music scene. How did living there shape the way you make music?

I actually moved to Austin about a year and a half ago for school at UT. There's really not much of an artistic scene here [in Aledo]. It's kind of, like, Friday Night Lights-ish, where football is the thing that everybody does. So I kind of felt creatively isolated while I was growing up. I spent most of my time just seeing what people were doing with music via the Internet, and not really from anybody who was actually around me, which would have been the case in Austin.

Which artists in particular inspired you while making Fuzzybrain?

I was really trying to lean into, like, 2009 to 2011 big indie pop names. I thought that was a great era that went by really quick. Phoenix, I still love a lot, but I was really into Phoenix while making the record. Passion Pit a little bit, too.

Tell me about how "Can I Call You Tonight?" started going viral.

I was going to be an advertising student in school, so I can't help but think about advertising and marketing tying in with music, because that definitely is a part of being an artist, for better or worse. I was very careful in the way that I presented it, but I didn't do too much in terms of promoting it. I just kind of had faith that if I just let it go and the timing was right, then it would kind of just fit into that pocket of YouTube and Spotify. I emailed a couple of small blogs. There was one in particular called Honey Punch, who is awesome—it's run by two sisters. I sent them an email, and I was like, "Hey, I have this song, I feel like you might like it." And they posted about it. At the time, I didn't have any related artists on Spotify, but because they wrote about it at the right time, all of my related artists afterwards were COIN and other big indie names right now. I think all of that somehow got it into the algorithm—it sounds kind of like the matrix when I'm like, it's in this algorithm!—but yeah, I feel really, really blessed. I mean, I don't want to discredit my hard work because obviously I spent a lot of time working on it, but I also feel really lucky that it just worked, you know?

So what was the timeline of all of this?

I think I put "Can I Call You Tonight?" out on Spotify in late January 2018, and then I made the music video a couple months later. And then those, hand-in-hand, started growing. It's been seriously pretty mind-blowing, because it blows up more each day. It's reacting a lot stronger now than it did initially, and it's almost two years old. So it's pretty cool that it's still growing and seems like it still has a lot of room to grow, which is really exciting.

Dayglow - Listerine (Official Video)www.youtube.com


You'd be on tour right now if it weren't for everything going on, and I know a lot of independent artists are taking a huge hit because of it. How are you coping, and how can fans help their favorite artists in lieu of tours?

I really, really love playing shows, and I think a very big part of why I want to do music is so I can be on stage and perform. But thankfully for me, most of the money I'm making right now is from streaming. Touring is new for me, so personally, I'm not necessarily taking a huge financial hit, but I know a lot of other people are, and my bandmates are. I think it's been pretty encouraging how the first question everyone's asking is "how can we help you?" I think that's pretty awesome that everybody's concerned about artists, and that makes me feel good. But buying merch [helps]. People are probably listening to a lot more music now that they have the time at home, so just keep listening to music. Hopefully this ends soon, and I can go on tour again, so come to those shows!

You originally self-released Fuzzybrain and recorded and performed everything yourself. Why did you go that route?

Since a very young age, I always thought it'd be really cool to be in a band, but I didn't grow up in a place where a lot of people had that same idea. I was making music on GarageBand, and I kind of reached the point where I had used all of the loops GarageBand had available. So I was like, "If I want to make music, I have to know how to play these other instruments," because I didn't really know anybody else that wanted to. So I taught myself the bare minimum of each instrument, and over time, I've just gotten better at each of them. But yeah, it just came from a very personal passion. It's just something I love to do and I love being in creative control.

You get associated with a lot of "bedroom pop" artists, which of course is a very literal descriptor in your case. I remember around the time that Clairo's first EP came out, she said she felt limited by the "bedroom pop" label. How do you feel about that term?

It's hard to address, because bedroom pop is a very specific sound, I think. And I just really don't sound like it, in my opinion. I know I'm young and making music in my bedroom, but I definitely don't think I associate with the bedroom pop scene. It totally makes sense why I've been placed in it, but I think recently, people have kind of realized that I don't really fit into that. I still want people to know I'm really creatively involved in DIY, but I also feel like bedroom pop a lot of times is made to be played in a bedroom, you know? It's mood music, or for when you're chilling out—I want my songs to be festival songs. But that's interesting that Clairo said that. And now she's playing shows with MGMT and Tame Impala! I'm so jealous.

That's a good segue into my next question, because you have a song seemingly about wanting to run the world ("Run the World!!!"). Is there any truth in that?

[Laughs] It's very sarcastic. I mean, I think I'm a fairly levelheaded and humble person when people get to know me. I obviously put that song out without knowing so many people were gonna hear it. It's a song that I knew people close to me were going to hear and immediately laugh. But now it's strange, because people who have no idea who I am hear it, and I'm like, "Do they actually think I think that?" But I think it's always fun to be ironic and sarcastic with music because I want to be optimistic and show people that I'm having fun with what I'm doing. But in order for the optimism to not be ignorant, I think you have to address things like [narcissism and pessimism]. I think it's fun to poke fun at things without being mean.

How have you been adjusting to people who don't know you listening to your music, and making assumptions of you based on your art?

It's really strange, if I'm being honest. I think it's incredible that more people are listening, but nothing can really prepare you for it. At the end of the day, I'm just a person, but it's a really weird thing when most of the people who know who you are only view you as an artist. It's taken me a while to view myself as a person who makes art. It's an incredible opportunity, but it's definitely a weird transition.

Where do you see your career headed?

I have no idea. That's the thing—I wish I could get my mind to think of something [regarding the future], but everything so far has just blown my mind so much that I can't set goals. I want things to keep going the way they are. I hope people are still listening and I'm still making things that I'm proud of. And I guess that's all I can try to do.

What's been your favorite memory over the past year or so?

Everything's so wild right now. I mean, I guess the most iconic thing is that I had a completely sold out tour that didn't exist. It's kind of funny, but obviously terrible. But I played Austin City Limits last fall, which was the biggest click of, like, "This is crazy!" That was a really big moment for me.

Dayglow - Hot Rod (Official Video)www.youtube.com

New Releases

Unstabile Premieres New EP: "Glimmers"

Nuanced soundscapes infused with lush textures.

Glimmer

Lo-fi bedroom pop singer-songwriter Unstabile introduces their new EP, Glimmers – an eight track collection of intimate songs.

Sharing their inspiration, Unstabile says, "The music I made in and around the process of 'Glimmers' was akin to the grounding nature of a candle, even as it flickers in the dark. I felt conscious of making something that was concise, and I was also trying to hold a little hope up to sorrow, in an honest way." Entry points include the dreamy "Falling," along with the wistfully sparkling textures of "On My Way" and "11:11 (Bath Music)".



Follow Unstabile Instagram | Bandcamp | Soundcloud

MUSIC

Sorcha Richardson Talks "Honey" Ahead of Debut Album

The Irish bedroom-pop artist shares a new single and the details of her process with Popdust, a few weeks out from her debut album, First Prize Bravery.

Sorcha Richardson's debut album is on its way, and "Honey," the latest single from the album, is a powerful snapshot of a beautiful, exacting voice.

The Irish singer-songwriter's new single is the second release from her debut, First Prize Bravery, out November 1st. The new single follows in the foot steps of "Don't Talk About It," released early this summer. Richardson has been making music for nearly a decade, and she's perfected a delicate tightrope walk between hard-edged irony and gentle emotionality in her songwriting. But "Honey" arrives in the fallout of heartbreak, with Richardson's liquid vocals and soft piano spelling out the disorienting feeling of love leaving you behind. It's a change of pace from her usual casual cynicism, but a welcoming introduction to her first album, the culmination of years of work.

Popdust got the chance to catch up with Richardson, discussing her songwriting approach and how her music's grown with her.

Your debut album, First Prize Bravery, is coming out in November, and you've been making music at least since 2012. What's that journey been like for you? How has it been to grow into different versions of yourself, as an artist?


It feels like there's been many stages to it all, but I'm very glad I took my time in making an album and did things at my own pace. At the very beginning, I was just making demos in my bedroom on GarageBand. Once I started letting other people into the process, it made me realize how much more was possible, how much I could learn from other musicians, and how much more fun it could be.

I could have put out an album way sooner, but I was enjoying the process of just making music to make it, without too many rules. It feels like things have kind of come full circle in a weird way. Nearly every song on the album began as demo I made by myself in my bedroom, and everything is very guitar driven, like the very first songs I wrote, just with a lot more confidence now than I had back then.

What's the significance, to you, of the album's title? How did you land there?


It comes from the title of one of the songs on the album. I sometimes have a habit of giving my demos two alternative titles. So this one was originally called "1st Prize/Bravery," and then over time it became First Prize Bravery. I don't want to decode it entirely, because I think it's important for people to attach their own meaning to it. But at a very basic level, I think I realized as I got older that one of the greatest achievements you can have in life is just to build up the courage to face your own demons. I think the biggest battles we have to face in life are with ourselves. That is definitely true for me. So that title has a lot to do with that. Having the courage to be honest with yourself. Acknowledging what an achievement it is just to do that.

When did it become clear to you that you were ready for a full length album? Was it a matter of having the right material, or was it just about the right time?


I think some time toward the end of 2017 I just decided that I wanted to make an album. I was back in Dublin after living in New York for a few years, and I spent about four months playing shows around Ireland with my band. Towards the end of that run of shows, it just started to become really clear to me what kind of album I wanted to make. And as soon as I said to myself, "I'm gonna make an album," it completely changed the way that I was writing, and I felt much more excited about the songs I was writing. I guess there's a different freedom in making an album, than there is in releasing singles. You can write songs that might never work as singles but can live as a part of a bigger world on a record.

Heartbreak is nothing new for you, but there's a lot of pain in "Honey," from its production to your lyrics; it sounds like it's pulling from somewhere deep within you. How did it end up sounding the way it does?


I guess I do have a lot of sad songs. "Honey" was the first song I wrote after I decided I was going to make an album. I wrote it at the piano in my parents' house in the middle of winter and the song itself didn't really change at all from the day I wrote it. Sometimes you just feel things so intensely that it feels like you're going insane, and the only way to try and get a handle on it is to write about it. That's kind of what "Honey" is for me.

The way you write about love and want is so interesting. It never seems idealized or unrealistic in your songs, but there is a layer of sentiment, even wistfulness, in your work. Where does that come from for you?


I guess all of my songs are about very specific people in my life, so they're always going to be grounded pretty heavily in reality. But I want them to feel almost like mini-movies. A lot of times I write just because a day or night felt special, and I don't want to forget it. I think life is pretty cinematic anyway. I'll be at a party or driving around Dublin and just the simplicity of people going about their lives feels like there's an entire movie in that.

How do you think about character in your songwriting? There's a really interesting balance between cynicism and romanticism in your voice, even in your early stuff; does that come to you naturally, or is that a conscious piece of your craft?


It's not something I think about consciously at all when I'm writing songs. I studied creative writing and fiction in college, so that probably has a lot to do with why my songs are so narrative-driven. But I think I can be both cynical and idealistic in equal measure. I guess they just meet halfway when I'm writing songs.

Let's say a listener's introduced to you through "First Prize Bravery." What's the most important lesson you want to share with them?


Hmm. That's a hard one. Maybe just that life is hard but friendship makes it worth it.

Follow Sorcha on Twitter | Facebook | Instagram

Music Features

Premiere: No Vacation Blend Dream Pop with Romantic Compositions on New Single “Estrangers”

"Estrangers" is a groovy slice of dream-pop that unfurls in wonderfully unexpected ways.

Press Photo

Patience is a powerful tool wielded by Brooklyn dream-pop outfit No Vacation.

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MUSIC

Exclusive Interview: Maude Latour Gets Philosophical in New Video for “Starsick”

We caught up with the 19-year-old singer-songwriter to discuss her latest single, her creative process, and her relationship with God.

Maude Latour

Maude Latour crafts pop songs that are nothing short of mesmerizing.

The 19-year-old singer-songwriter is currently based out of New York––but after growing up in several different countries, she's cultivated a larger-than-life curiosity about the world that shines through her music, making for a dazzling technicolor pop sound that feels intimate and expansive at the same time.

Be careful not to let the seemingly feel-good sensibility of Maude Latour's airy songs fool you; her lyrics tend to explore heady topics with writing that ranges from environmentally-conscious poetic monologues to philosophical musings on religion and the metaphysical world. It may seem like a lot to pack into tracks that run between three and four minutes long, but the emerging songwriter manages to make it look and sound effortless.

In the same vein as Lorde, Latour combines celestial soundscapes and intricately arranged melodies with otherworldly digital flourishes, threaded together by her arresting vocals and topped off with a glossy, well-produced sheen. The mood she evokes, though, is distinctly her own––both playful and nostalgic––and made through her vivid storytelling and introspective meditations that complicate the usual coming-of-age narratives seen in contemporary pop.

"Starsick" is the most recent single in a string of infectious pop songs from the artist, following previous tracks "Plans" and "Superfruit." The accompanying visuals for "Starsick" more closely resemble a short film, and so we caught up with Latour to discuss her inspiration for the video, her aesthetic vision, and her relationship with religion.

You can watch the video for "Starsick" and read our Q+A with Maude Latour below.

Describe the process of making the video for "Starsick."

I started making the video by carrying around a camera for a week (a typical week of summer in New York), which is my favorite thing on the absolute entire planet. My friends and I in Central Park, fire escapes (okay, people, be safe though—fire escapes are dangerous), performing live, staying up all night with Morgan during sleepovers. It all just came about so naturally and in such a beautiful way. Everything is filmed by my friends in our natural habitat.

How did it feel to see the finished result?

When I saw the final product, I could not believe how true it was to the vision. It has been a dream of mine to put out a video like this.

"Starsick" opens with a seemingly stream-of-consciousness monologue about climate change, dreams of becoming the president, and existential questions about the world at large. Can you elaborate on your inspiration to deliver your thoughts in this way and how they tie into the song's message?

My mind kind of works in monologue poetry like that. My dreams, memories, and recollections of eras are formed in monologues. That's how I write lyrics as well. I always used to think the "afterlife" was some sort of witnessing of the entire monologue montage of your life. It is my most transcendent state.

How do this song and video compare to your last two singles—"Plans" and "Superfruit"—in terms of the creative process behind it?

Well, I think "Starsick" is the natural progression, sonically, from the last two songs. It provides a deeper view into this world I'm building, while complementing the other baroque pop styles well. I try not to take myself too seriously, and I love how "Superfruit"'s video is comedic and true to my daily life at school (because that's where I wrote the song). "Plans" was more of a tribute to making the song beautiful with my friends, the way we used to sing together. But for the "Starsick" video I wanted it to encapsulate the emotional significance of this song to me. I was ready to open up in the video about the world I'm trying to build and beginning to execute this philosophy I'm working on in my life.

You mentioned that you wrote this song as a birthday present to your friend Morgan, who I believe appears in the video. How did you decide to create a birthday gift in the form of a song and a video?

Yes! Morgan is in the video. Well, I was using romance and drama as my inspiration most of the time when writing. But I started trying to describe this friendship, which is one of the most important forces in my life, and started writing this song as a song to her. I decided it because I needed to get her a birthday present, and I knew I needed to sing about this, making music that I actually care about.

Your lyrics in "Starsick" touch on birthdays and growing up. Would you describe this as a coming-of-age song?

I think it's more of a manifestation of being afraid of growing up. I have always had this guilt about it since childhood, hence the "swear I didn't mean to." I definitely think it's a coming-of-age moment, accepting growing up and, in the process, being freer.

Did you set out with a deliberate aesthetic vision when making the video or did it happen more naturally?

It definitely happened naturally! Ooooo is there an aesthetic? I had no idea omg, honored. lol. Well, Ella Sinskey, who put the video together, has a beautiful cinematic style to her work, and her editing really brought it to life.

Where did you find the vintage-looking clips used throughout the visuals? What was your inspiration behind incorporating them?

This was all Ella's brilliant research and extensive collection. I wanted it to be a montage of the larger than life images in the poem... these huge meta ideas, the timeless clips are simply adding to the nostalgia of growing up and time moving.

You mention "God" a few times in your song and your intro. How would you describe your relationship with religion?

I explore religion fluidly, and think of it close to interchangeably with pure spirituality. I am still exploring my relationship with religion, and it is ever-changing. I have been studying different religions and their overlap, as well as the essential elements of all religion and spirituality. I am looking forward to developing my relationship with my thoughts, soul, existence, and the universe. I think there's an understandable misconception of organized religion that somehow hasn't translated to my generation, and I think my generation has the power to find a universal spirituality (that can be interpreted differently for different people) that can lead us to a more peaceful world. This song was created during a really intense period of spirituality and meditation for me; that's why it's so incredibly special to me. It is born out of one of the most important eras of my life.

For more, follow Maude on Instagram or Twitter or visit her Website!