Emergency Tiara is not your everyday New York pop ensemble.

Just one listen to their latest single, the retro and catchy gem, "Lighthouse," will make that immediately clear. The band's front-woman, Juri, agreed to answer a few questions about the group's sound, vision, and influences. If you are unfamiliar with Emergency Tiara, it is high time to change that.

So, the first (and obvious) question I have to ask: what is the story behind the name, Emergency Tiara?

I want everyone to get the chance to have a moment where they're released from their daily stresses and acknowledge how special they are individually. So place a tiara on your head and remember that you're a beautiful one and feel like a prince or princess.

Your new single, "Lighthouse," manages to emulate a quality of sound that has been lost to modern recording capabilities, both in some of the backing track and the vocals. How do you manage to resurrect this quality?

One of the many things the ET family (including myself) love and enjoy is live instruments and live recordings. And big thanks to my super talented ET fam! We managed to record "Lighthouse" with all live instruments using vintage microphones. Background vocals are provided by my dear friend, Darcy Callus, another uber-talented musician that I get to work with! We actually used the demo he sent us as a guideline for me to re-record the parts, 'cause he sounded so good!!!

What initially led you to gravitate toward the old-time classics and doo-wop influences that seem to have influenced your signature sound?

I always loved standards and still listen to them a lot. Ella Fitzgerald, Billie Holiday, and Peggy Lee have always been my Idols, so I think the influences are coming from there.

Are there any contemporary artists that you greatly admire or draw influence from?

Yes of course! I love Janelle Monae, Solange, and Lizzo! All the beautiful and strong lady artists!!!

What do you hope to accomplish with your music? What do you hope people get when they listen to you?

Happy and empowered! I hope my music helps everyone to remember how important they are to the world!



Dustin DiPaulo is a writer and musician from Rochester, New York. He received his MFA in Creative Writing from Florida Atlantic University and can most likely be found at a local concert, dive bar, or comedy club (if he's not getting lost somewhere in the woods).


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MUSIC

Waterstrider Takes Listeners on a Journey in New Single "Way Out"

Experimental indie singer-songwriter channels hardships of the last year into new single.

Bay Area singer-songwriter Nate Salman, better known by musical moniker Waterstrider, has returned to the experimental indie scene with a new mysterious guitar and synth-fueled track, "Way Out."

The song comes ahead of his upcoming EP of the same name, which is set to be released May 31st.

Following a series of personal ups and downs, including his home in Santa Barbara being threatened by fire and flood, a painful breakup, a persistent illness that landed him in the hospital, and even being bitten by a potentially rabid bat, Salman began working on the album. "When things hit hard, they hit really hard," said Salman. The singer harnessed the negative energy in those hardships and turned them into something beautiful with his upcoming EP.

The track begins with a hypnotic guitar line that seems to pull the listener into a pool of sound before washing them in a wave of entrancing vocals and synths. "Way Out describes a journey away from everything that is known and understood, in the hopes of finding meaning and truth outside of the self," says the singer. His effervescent vocal delivery drips with vulnerability, especially in poignant lyrics like, "Nobody asked for me to answer, now I'm shaking from inside."

For the rest of the song, listeners follow the track's journey with Salman's lively vocals as the guide as they euphorically float smoothly over a sonic background full of rich textures. "Way Out" then takes a more intense turn with a full-bodied sound collage that combines the previously introduced elements of shimmering guitars and persistent percussion with Salman's intensified vocalizations.

The track closes with a subtle stripping away of the many digital and acoustic components that made up the whole experience, ending the journey that the song took listeners on and showing them that they have made their "way out."

Check out Waterstrider's latest single "Way Out" below!


Alessandra Rincón is a journalist, writer, and photographer from Baton Rouge, Louisiana living in New York City. She loves covering music, art and culture news and you can usually find her at a show or with her nose in a book. In her spare time she is a musician, comic book nerd and wannabe cook.


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CULTURE

Are These Artists Actually Clones Created by Greedy Music Industry Executives?

Is Ariana Grande just a renovated Mariah Carey? Are Brendan Urie and Patrick Stump dating—or are they the same person? The truth is out there.

Though all music borrows in some way from other music, sometimes bands or artists just sound and/or look uncannily similar to each other.

These similarities raise pressing questions: how and why do these bands sound so alike? Could there be some dark secret behind their successes, some cloning initiative launched once music industry executives realized they could just repackage the same artist under a different name and double their profits?

Regardless of how much of the truth you're willing to see, this list exposes pairs of bands or artists that not only sound the same but also seem to occupy the same cultural purpose, performing the same symbolic and emotional roles for fans everywhere.

1. Cage the Elephant and the Black Keys

Cage the Elephant and the Black Keys are different bands. It's a proven fact. And yet are they? They both feature singers with mid-range voices and vaguely Southern drawls. They both use grungy guitars that sound like they've been filtered through a litany of overdrive pedals. They both make songs that have lyrics—but are the songs really about anything, or are they both just kind of sad attempts to fill the hole created by rock and roll's death?

Objective facts tell us that these bands are indeed different—Cage the Elephant opened for the Black Keys on several tours, and Black Keys frontman Dan Auerbach produced Cage the Elephant's 2015 album and their new 2019 single. But is it so hard to believe that some rip in the fabric of the time-space continuum created a world in which two slightly different iterations of the exact same band can walk around at the same time? Even some of their biggest hits like "Gold on the Ceiling" and "Ain't No Rest for the Wicked" are eerily similar, both relying on ominous bass lines and sparse, punchy guitar hits.

The Black Keys - Gold On The Ceiling [Official Music Video]www.youtube.com

Cage The Elephant - Ain't No Rest For The Wicked (Official Music Video)www.youtube.com

2. Mariah Carey and Ariana Grande

They both have stratospheric ranges, prima donna pop culture royalty and/or meme status, and impressive whistle tones. Sure, Ariana's music is tailored to the ultramodern era, whereas Mariah's occupied a similar space in the late 90's and early 2000's pop canon, but they both embody the image of the magnetic, radiant, super-talented starlet with an only slightly infuriating trail of number one hits.

Mariah Carey Vs. Ariana Grande SAME AGE Vocal Battle! (UPDATED)www.youtube.com


3. America and Neil Young

If you've heard the band America's number one hit, A Horse With No Name, chances are you might have wondered if you were listening to one of Neil Young's early collaborative efforts. But Young and Dan Peek, the late lead singer of America, share little else than a slightly nasal tenor voice, a penchant for dreamy folk rock, and dozens of harmony-laden albums from the 1970s.

America - A Horse With No Name+Lyricswww.youtube.com


Neil Young - Harvest Moonwww.youtube.com

4. Radiohead and Muse

They're both obsessed with technology, paranoia, apocalypses, and thematically complex concept albums. Ultimately Radiohead's breadth and range of sonic textures far outdoes Muse's, but on some of their better-known songs, Thom Yorke and Matt Bellamy's desperate and wailing voices could easily be mistaken for one another, especially when they're both crying on about fear and loneliness in the digital era over dizzying layers of synthesizer. Plus, it would fit well with both of these bands' brands if they were replicants of each other.

How Much Does Muse Sound Like Radiohead: Analysing Composition, Style, and the Radiohead Zeitgeistwww.youtube.com

5. Fleet Foxes and Grizzly Bear

Grizzly Bear and Fleet Foxes both have a propensity for multi-layered trippy, ambient folk. Their lead singers have high, delicate voices that sound like they're emanating from a distant cabin, wafting towards you on waves of campfire smoke. There's a whole battalion of folk bands that sound like these two, but as pillars of the genre, the similarities between indie's leading foxes and bears are difficult to ignore.

I'm Losing Myself (Feat. Ed Droste) by Robin Pecknoldwww.youtube.com

6. Fall Out Boy and Panic! at the Disco

Patrick Stump and Brendon Urie both have irrationally massive vocal ranges, which they use to create passionate, angsty, climactic jams that have been giving voice to tween girls' pain for decades. They actually have collaborated several times—even on a Coke ad, which you can listen to in its full glory as each of these singers attempts to out-belt the other. Both bands formed within three years of each other (Fall Out Boy in 2001, Panic! in 2004) and occupied similar cultural spaces in their respective golden years. Fans have even shipped the two lead singers together. Plus their specific vocal styles spawned dozens of shaggy-haired copycat frontmen.

Drunk History: Fall Out Boy featuring Brendon Urie of Panic! At The Discowww.youtube.com

Fall Out Boy Ft Brendon Urie from Panic! at the Disco - Don't Stop Believing coverwww.youtube.com

7. Avril Lavigne Pre and Melissa Vandella

Everybody knows that Avril Lavigne died and was replaced by a clone of herself, created by deft industry people who couldn't resist the potential profits of more Sk8r Bois. Still, the clone does sound and look remarkably similar to her predecessor, despite the obvious differences (Melissa prefers dresses and skirts, while Avril favored pants; and Avril would never have married Chad from Nickelback). Very impressive, music industry executives, but we're onto you.

Conspiracies: Did Avril Lavigne Die in 2003? | Pigeons & Planes Updatewww.youtube.com


Eden Arielle Gordonis a writer and musician from New York. Follow her on Twitter @edenarielmusic.


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MUSIC

Review | 'Testing' Looks for New Sounds in Hip-hop and Beyond

'Testing' is Eager to Find a New Sound in Hip-Hop, but Not New Ideas.

A$AP Rocky's 'Testing'

The Skepta-assisted "Praise the Lord" is pure hip-hop gold, an eargasm that embodies what Rocky does best: boast about himself.

Like Kanye West, A$AP Rocky is another narcissist, but a pretty one. And he's jiggy—don't forget. Testing is Rocky's I'm-a-90's-boy-with-Harlem-swag-and-model-exes psych-rap album that infuses the same sticky, distorted, feverish psychedelia he explored on At.Long.Last.A$AP.

On Testing, the title confirms the same static friction bellowing under the surface of nearly every song, with Rocky mumbling his most emotional and honest bars; meaning Rocky talks about how hot he is and the occasional adversity he faced on his way to the top, or as he proclaims, "I put New York on the map." Before who specifically, Rocky? His bravado is commendable since no other rapper sounds like him—that much can be said.

But his range is starting to show. Rocky can talk about two things well: his model girlfriends and his clothes. He's not an intellectual; his music isn't the type to win a Pulitzer Prize, though it's emblematic of his style and charisma as a young MC. What he lacks in substance, he makes up for in pure swag. He has the voice of a rapper, a cool and collected braggadocio that excuses moments where he seems incapable of going deeper. He remains on the surface, quite literally summarizing his childhood and rise to fame. The connective tissue between Rocky as a young drug dealer to a Dior-wearing fashion icon is disconnected, leaving the limbs of the album frail and malnourished. The look is there. The vibe is there. Now think of a Rocky who actually tells a story, says something more profound than what hair color and sexual orientation he prefers his ever-growing collection of women.

The Skepta-assisted "Praise the Lord" is pure hip-hop gold, an eargasm that embodies what Rocky does best: boast about himself. The production is clean, sexy, jiggy, and sounds like a 90's banger—everything you'd want in a rap song. Skepta's voice is a delight, his accent adding a rush of energy to the chorus. Rocky samples Moby, an unlikely choice for a Harlem rapper, but it speaks to his eclectic tastes; his vision—he's shown in everything from his music, fashion, and acting—isn't black or white.

"Hun43rd" is a dizzying kaleidoscopic vision of what rap could become if artists were willing to deviate from sounds traditionally heard in mainstream music. It's oddly beautiful as a composition: It grates at the ear, right before it drops into a woozy, luminous bubble where Rocky details the rhythm and spirit of his Harlem neighborhood. Those moments feel and sound so good, you forgive Rocky for his botched attempts at enlightened political discourse ("My newest President a asshole / I guess that's why I'm leaving turd stains.") Our political climate is certainly disappointing, but it shouldn't cause incontinence. Go see someone for that, Rocky.

The feature roster on this project is impressive: Frank Ocean, T.I., Diddy, Tyler the Creator, Kid Cudi, FKA Twigs, and several others lend their voices, creating a performative fabric around the album, a weird collaborative project that lacks heart in the songs that need it most. "Purity," is a strong close and maybe a look into a new Pretty Boy Flacko, one who has something more to say.


Shaun Harrisis a poet, freelance writer, and editor published in avant-garde, feminist journals. Lover of warm-toned makeup palettes, psych-rock, and Hilton Als. Her work has allowed her to copyedit and curate content for various poetry organizations in the NYC area.


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