Guitarist Kathy Callahan, bassist Natalie Klemond and drummer Nadirah McGill learned how to play their respective instruments in 2016 when they decided to form the band. Over the past few years, the trio scored a headlining residency at the 7th Street Entry in Minneapolis. They also went on tour with acts such as Third Eye Blind and Hippo Campus.

Read more: TETRARCH explore the feeling of being an outcast with “Stitch Me Up”

Since the release of their 2018 debut LP, Not So Brave, they’ve shared several singles as well as the Phony EP. Their latest song follows the release of “Favorite Son,” the title track of their upcoming EP.

Powerful vocalizations from Callahan are paired with resounding harmonies and progressions. Slick guitar riffs give “The Way” a hard-rock edge, one Gully Boys admit is a slight difference from what they have coming with their forthcoming EP.

“‘The Way’ came to be after we thought we had exhausted all of the writing we were going to get out of the week we spent in the studio,” the band share with AltPress. “Almost as an afterthought, it was pulled out of an iPhone voice memo and fleshed out. Instantly the song resonated heavily with us. Unlike some of the other tracks on our upcoming EP, ‘The Way’ doesn’t diverge much from our previously released work. Instead, it feels like a tighter, more laser-focused version of what we’ve learned to do best, which is let Kathy yell.”

Read more: 18 emerging pop-punk artists backed by Pinkshift’s Ashrita Kumar

The accompanying imagery illustrates the group’s frustrations depicted in the track. With the chorus ringing behind them, the band go up against a single knight. Just when it looks like they might fail, the trio deliver their finishing blows.

“The lyrics for this song were built around the first line that was written with the melody, ‘Isn’t that the way it goes/Isn’t that the way it almost always goes,'” the group say. “From there, it became a lamentation of feeling unable to escape your own habits and ways—like there are two versions of yourself in your head, and one is an insatiable toddler.”

Favorite Son releases Sept. 10 and is available to preorder via Get Better Records. Check out Gully Boys’ raging music video for “The Way” below.

After connecting on Twitter, the two released their first single together with “Drowning” in 2019. They later dropped a surprise “EP” in celebration of April Fool’s Day last year. Since then, they released their first single under VantaVoid with “Outcast” in July 2020, with “Burn” featuring Emmure‘s Frankie Palmeri.

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With a focus on personal struggles, the two deliver heavy breakdowns paired with emotional lyrics. Each verse takes you on its own journey before taking you back to choruses infused with engrossing rhythms. Check out the lyric video VantaVoid’s “Bloodline,” along with the inspiration behind the track and project below.

The journey to VantaVoid started with a tweet from Tyler Young asking for help writing metal music, which Frank Gioia responded to, from there, you dropped “Drowning.” What went into the decision behind making the collaborations an official project?

TYLER YOUNG: MAKEOUT was going through a transition with finding a new singer when I tweeted about wanting to write some heavy stuff, mostly as an outlet for me to get some frustrations out.  I’ve always been a fan of heavier music along with pop and grew up playing in heavy bands before moving to the pop-punk world. Frank and I had connected when he did a reaction video to some MAKEOUT songs, so when he said he’d want to do vocals, I was like “Hell yea, let’s do it!” That first song we did eventually became “Drowning” and we ended up hitting the #1 spot on the iTunes metal charts! The release went so well and went way beyond our expectations. We knew we had something special, so we decided to turn it into a full-fledged project. 

Tyler is known for being a guitarist in pop-punk outfit MAKEOUT and previously created metal music before teaming up with Frank, Meanwhile, Frank has been creating content on YouTube and other platforms for about 7 years. How have those experiences shaped the group?

YOUNG: I think the collaboration has been really awesome because we both bring different things to the table. I’ve been in the music industry world for a bit now so I’ve been helping Frank navigate through all of that, while Frank is a pro at content creation and fan interaction. We’re able to utilize the massive following that Frank has created for himself over the years, while not making the mistakes people generally make in the music industry while they’re first getting started. It’s really the best of both worlds coming together and I think it’s really contributed to the successes we’ve had during the short time we’ve been VantaVoid. 

Like your previous releases, “Burn” and “Outcast,” “Bloodline” follows themes of drug addiction and the struggles that come with it. They’re all very personal. Has it ever been difficult to share your life like that to audiences? Have you ever feared sharing too many personal struggles?

FRANK GIOIA: Towards the end of when I was making YouTube videos, I essentially got to a point where I was hiding behind an exaggerated version of myself. I was in so much pain behind the scenes, but I didn’t want to show it to anyone. Having these songs to vent my struggles through wasn’t difficult, but cathartic. I felt like a huge weight was lifted from me after recording. “Bloodline” is a really emotionally heavy song that I hope resonates with people in some way. I thought there was no way out at the time, but now I’m happier than I’ve ever been. I think being vulnerable in music is a beautiful thing.

With how the rhythms are laid out, it feels like there are several time changes throughout the track between the verses and the choruses. It’s intricate and really keeps the listener’s attention. What was your process in writing the track and who took on the separate responsibilities? 

YOUNG: The way our process works is that I will write all of the instrumentals for the song and then send them to Frank for him to write vocals. What’s nice though is that we’re always talking about song direction and where we want to go with the band as I’m creating new songs. With “Bloodline,” we knew we wanted to create a song that was a little bit more accessible than our previous releases. I really focused on making it melodic and leaving room for Frank to sing over, since we knew we wanted more singing than screaming on this one. In the end, I think we ended up with a really cool song!

The track is VantaVoid’s third single following “Burn” and “Outcast.” Can you share any details on what you have planned for 2021?

YOUNG: If there’s one thing the pandemic has been good for it’s been for sitting at home and recording music! At this point, I think we have somewhere between 15-20 songs written, so we’re currently working on plans to head into the studio and record some songs in the next couple of months. 2021 is going to be the year we really kick this into full gear, so be on the lookout for new releases from us in the near future!

The latest from YUNGBLUD marks the second song from the trio and is appearing on his forthcoming new album WEIRD!.

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Last year, the trio dropped the platinum-certified smash hit “I Think I’m OKAY” and later collabbed with 24kgoldn for a cover of Sublime‘s “What I Got” for an episode of The YUNGBLUD Show.

They’ve also partnered with the Used‘s Bert McCracken for MGK’s  Tickets To My Downfall track “body bag” this year. Now, they’re offering fans more material with “acting like that” which they teased earlier this week and MGK says he’s been using in his DJ sets for a year.

The English singer offered a statement on the track which you can read below.

“‘acting like that’ is a result of what happens when me, mgk and travis get together, the energy’s electric and we write songs that amplify a feeling. this song radiates just going fucking nuts at your favourite show, a feeling that we all need right now. this song is about losing control and feeling free with your best fucking mates.”

You can check out the new song in the player below. YUNGBLUD is also on a full-scale-production digital tour right now with a handful of remaining dates. The shows are set in specific cities but access to the event is not limited by location. You can learn more about those shows here.

Dates:

As guitarist Nickolas Wheeler reflects on the group’s monumental Move Along era, he says it came during a “dark time” after the 2004 election. And as the group prep a return with their latest single, “Me Vs. The World,” the music industry is facing what many consider its darkest period ever. 

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Some of Wheeler’s favorite venues around his home in Nashville and throughout Los Angeles have closed their doors, some permanently. He sees longtime crew members struggling to find work across the country. His band even reconsidered how they celebrated Move Along’s milestone 15th anniversary.

But “Me Vs. The World” didn’t start as a response to any of this uncertainty. The Rejects wrote it well before shutdown and without the intention of helping the industry itself move along. Still, Wheeler says their timing is just as serendipitous as it was 15 years back.

“Regardless of what position you find yourself in, in this pandemic or whatever, I think everybody has this mentality that this is the worst fucking year ever,” Wheeler says. “And it literally feels like me against the world, regardless of your status or situation.”

The Rejects intend to donate proceeds from the four-minute track to MusiCares, the Recording Academy’s nonprofit, which assists with the health and well-being of those in the industry. And today, the pop-punk icons are exclusively premiering “Me Vs. The World” before it hits streaming services Friday. While you listen, check out our chat with Wheeler on how it came together, how he’s personally celebrating 15 years of Move Along and whether or not the Rejects would be suitable for a future winery performance.

The title “Me Vs. The World” is quite fitting for where the industry is right now. Can you talk to me a bit about the process of writing this track before lockdown?

It was written quarantine-style a few years ago when [singer] Tyson [Ritter] and I were doing our part separately. And our keyboard player Scott Chesak co-wrote it as well and produced the track. We never got around to finishing it, and then lockdown hit, and we were all looking at free time on our schedule. So we decided to finally finish it and turn it into something. It ended up being a cool thing, not just for us to do, but to be able to put out there since we weren’t able to do literally anything for fans this year.

When we talked about putting something out, I was like, “We should do something for all the people who are out of work, not just ourselves, but our crew, every crew in the industry.” [This is] the one industry that, for some reason, is not allowed to come back. They figured out how to do sports. There’s some live music. But not every genre can get away with putting on a show at a drive-in theater, outside in a park or at a winery. Not every genre really fits those venues. 

When a band like yours or other bands are working to help those struggling in the industry during the pandemic, what do you think it means for the industry as a whole? 

We create music because it’s our passion, and we love to do it. And we’re lucky as hell to get to do it for a living. But if nobody bought that music or listened to that music, we couldn’t keep doing it. And if we can’t pay the people to come out with us to help us put on the show, then there will be no shows. If venues close and there’s nowhere to play, then there will definitely be no shows. 

So I think it’s really cool that everybody is acknowledging how important each piece of this puzzle is and doing whatever they can to help keep the industry afloat right now. There are people in this industry who literally only work when a tour happens, when a show happens, and that really fucking blows that they can’t work and they can’t do what they love. 

Outside of this track, how much music have you been able to work on in quarantine, whether it be finishing these preexisting song drafts or starting fresh?

As far as Rejects stuff, this is the only thing we’ve worked on. We’ve used tools like this in the past to send ideas back and forth. But this is the first time we actually proved to ourselves that we could execute it. So maybe in the future when we’re all in different cities—and now Tyson‘s in a different country—this is definitely going to be useful now that we know we can actually see something through the fruition. 

We have to talk about the Move Along anniversary. Does this feel like a 15-year-old record?

It does not. But honestly, now that I’m [looking back], it seems like a lifetime ago. It would have been really awesome to revisit that this year. I remember rehearsing to make that record when we all moved to Atlanta for two months, and we all lived in the same hotel room, $30 a night, and half of us got bed bugs. It sounds miserable, but [it’s] like what Andy says in The Office, “I wish when you’re in the good old days, you knew you were” or whatever. I’m probably butchering the quote.

Our first record, we missed the 15-year anniversary, so we celebrated the Sweet 16. So maybe we’ll do that for Move Along if we’re allowed to get out there and play some shows next year. 

No winery shows?

At our age and with our genre, we can cross over to the wineries if there are any out there that will have us. By all means. I’ll show up by myself. I don’t care. 

How have you been able to celebrate the anniversary on your own? Do you have a scrapbook or anything you look back on?

I’m not good at that stuff. Obviously, we’ve all spent a lot of time alone this year. So it’s one of those things when you find yourself alone on a holiday. How do you celebrate? You only want to go to work and just treat it like any other normal day. 

Ironically, we had so many tour promotions for cellphone companies and shit over the years. It wasn’t until our third record came out that iPhones were even a thing. I have some pictures on a hard drive somewhere that are from either old camera phones… Remember when you had to specify that it was a camera phone or an actual point-and-shoot digital camera? I have them somewhere. But I mean, honestly, Kids In The Street was the first time we ever did anything where we were carrying around a scrapbook in our pockets at all times. 

How has it felt to see the same fans who grew up with you still support and get excited about this new track? 

I think that’s really cool. I’m the type of music fan who sticks with a band or an artist. And when they change or when they evolve, I’m the kind of music fan who isn’t turned off when I hear something different or something new from an artist. So the fact that there are people out there who are that way with us is really fucking awesome. And it feels really good because I know not everybody is like that. I know a lot of people have those bands, those artists they grew up with, and they haven’t listened to them or bought a record from them in fucking 15 years. And that’s fine, whatever. But the fact that we have fans that are now taking their kids to see our shows or showing their younger siblings our music or still paying attention to what we’re doing now, and still interacting on social media, is really special. That’s definitely fuel to keep the engine running. 

On TikTok, the singer was known on the alternative side of the app for making funny, relatable content about Warped Tour and her favorite scene artists. When Collins took to the social media site to ask for support for “Are You Tired?,” she had no idea the kind of feedback the single would get. The song soon went viral among the community, and her follower count skyrocketed.

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Despite the track’s success on the platform, finding a distributor who thought her track would be successful on streaming sites was anything but simple. Check out RØSÉ’s debut single “Are You Tired?,” the process of getting it distributed and what she has to say about sexism in the music industry below.

You used TikTok as a way to share “Are You Tired?” ahead of its release. Why use that platform versus other sites such as Twitter or Instagram? 

HANNAH COLLINS: I had already been making weird, emo nostalgia, funny videos, so I didn’t necessarily think TikTok was going to be the platform for my music. I linked my music on there to say, “Hey, I also have an artist project.” [Because] people followed me because of my funny videos, I thought maybe they would go follow my Instagram. It ended up blowing up, and I ended up getting nine times the amount of followers that I already had within a single week.

My two videos about the song ended up getting a million views, so now it kind of is my artist page. That’s definitely where I got the most traction. 

You’ve had posts about Warped Tour, concerts and the scene gain traction before, but the first post on your song was next level. How does it feel for your original music to reach so many people like that? 

It’s honestly surreal. I’m making music, I’m working, the right people are helping me in production even though I’m a nobody, they’re cutting me deals and that sort of thing. Because all that was happening, I always just saw myself as seven steps down from what I idolized. I think this whole thing happening made me realize that people are willing to support me the way I support all these bands. The first time someone asked me if I had merch, I was speechless. Why would you want my name on anything?

It feels unbelievable right now, but I feel very blessed and happy and grateful that anyone listened at all. I’d done a couple of projects before, and they got maybe 200 streams. So the fact that I could even get a thousand plays within a day is unbelievable to me because that’s so much bigger than I even anticipated.

@listentoroseAlright emo kids check it out with headphones ##warpedtour ##emoo ##scene ##metalcore ##ptv ##sws ##fyp ##foryoupage ##adtr ##bmth♬ Are You Tired by Rosé – listentorose

You had difficulties getting the track distributed because it wasn’t seen as a priority until DistroKid picked it up. Can you give us more details and walk us through that whole experience?

I went through a new distribution company. Before the song even came out, my manager reached out and said, “Hey, this is the song. We’re thinking of distributing it with you. What do you think?” In the eyes of the music industry, a woman in music releasing rock music—rock hasn’t necessarily been at the top of the charts in years now, so they were probably like, “Yeah, that’s probably not going to do anything.” It really didn’t get any attention from anyone, but [the distribution company] gave us an “Oh, that’s cool” sort of response. 

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We put the song out through them, and when the song started blowing up, I reached out personally to them and looked at what they could do. They could either take 10 days or the most they could do was push the song out in a day or two, which is the same as all distribution sites. The issue with that is you’ll have songs on Apple Music or Spotify on different days. If you have someone blowing up, in a lot of cases what they’ll do is help you get that release out because it looks better on them to be able to say, “We have this artist that blew up that used us as distribution.” But it didn’t really feel like they were taking me seriously. I’m going to chalk it up to the whole rock thing. 

When the song started blowing up, my manager emailed them himself and said, “It’s getting all these streams,” and they still wouldn’t get back to him. I just ended up emailing them and said that I’m pulling the song. At the same time, someone from DistroKid DM’d me and said, “I saw your video and that you’re having issues. Email me, I’ll help you out.” I was ready to have that song come out in four different places at different times and was defeated at that point. But the TikTok worked. So they reached out, and the guy manually went in and pushed it for me, and it all released the same day, which is exactly what I wanted.

@listentorose##duet with @listentorose thank you so much for your support time to show the emo scene what a girl can do! ##warpedtour ##emoo ##scene ##fyp♬ Are You Tired by Rosé – listentorose

As you were saying, being a woman in rock isn’t seen as “normal” in the industry, which is really unfortunate because there are a lot of great women and nonbinary artists out there who are pushing great music. Do you think this experience would have been different if you were a man?

In the music industry, as a female artist, it’s difficult. People will post things [with] female artists, but then when they’re posting “Top 10 artists that you should see now,” you’re seeing maybe one woman. Instead of incorporating them, you see all these posts where they almost put it in its own genre like “Top 10 women that you should see right now.” For me, I think a massive part of what I’ve been trying to do with my music and TikTok is draw more attention to female artists that are killing it.

Right now, my song is No. 2 on the iTunes rock chart, and I’m the only woman in the top 20, and then in the top 50, there are four women. It’s super unusual. I think, had I been a man in rock, I probably would have seen more traction or seen more attention from these companies. Because I’m a woman in rock, I think TikTok really supported me because they were like, “Yeah, it’s been so long since we’ve seen women at the top. Let’s do this. Let’s get this random unsigned girl help.”  

Some will argue that sexism in the industry isn’t a problem or not as big of an issue as it used to be. Obviously, this isn’t the case. What do you think others in the music industry can do to make sure situations like these don’t happen?

We need to have companies that are pushing a lot more female artists and LGBTQ artists. We need a lot more men at the top drawing attention to it, and if they’re at the top of the charts, [they need to] point out, “Hey, look how few women there are.” And if there’s a ton of women at the top of the charts at that given time, they’re saying, “ How incredible is this? It’s been so long since a woman did this in the music industry.” 

Right now, people don’t think the industry is sexist because it’s not overtly in their face at all times. It’s the same as when you’re sitting next to your sibling and he’s poking your arm. Is he really bothering you? No, but should your mom pay attention to [the fact] that for months and months he’s been pestering you, all day, every day? Yes, I would hope so because it’s irritating. 

In one of your videos, you said you waited a long time to create and share this song. Despite all the difficulties you faced getting “Are You Tired?” released, why choose to drop it now? Why was now the right time to finally release a song in the genre you love?

I lived out in L.A., so when quarantine first happened, no one knew what was going to happen. So for the first few months, I went back to Ohio and was staying with my parents. I had my 23rd birthday sitting alone with my parents and little brother inside our house not being able to leave, eating pizza from Pizza Hut. Last year, I was celebrating my birthday at a club in Hollywood. In that place, it almost made me realize how old I was. I’m not that old at all, but I was like, “Man, I’m 23, and this just isn’t how I thought my life was going to be.” Living with my parents put me back in my high school emo phase. Putting myself back into that mindset like when I was actively involved with the scene made me really get inspired to write again within it. 

Because I was living with my parents and unemployed, I thought, “What could I possibly lose by doing this?” If 10,000 people follow me on TikTok and hear a clip of my song and don’t like it, what am I going to lose? I’ve never met any of these people. Also, I’m a massive fan of the genre, so being sad, I listened to Pierce The Veil like every single day of quarantine because that has always been my biggest influence. Being around that music all day, every day just reaffirmed that this is the genre that I’m in love with. When you half-heartedly do something, it’s never going to take off. I think because I had to re-fall in love with the genre, I re-fell in love with making music at the same time, and I was way more inclined to put it out. 

Now that you’ve released your debut single, do you have any plans to drop anything else in the coming months?

In the near future, I want to do a follow-up single. I want to be writing an album, but as of right now, I’m an independent artist. Funding an album by yourself and the level of production that I want to do, I don’t want to half-heartedly do it. I have to pick up a second job or something right now to do that. Ideally, within the next year, I want to have a full-length album out as well. Within the next month/two months, I want to have a second single out and ready for everybody to hear.

K.Flay (Kristine Flaherty) is known for blurring genre lines and mixing them to suit her needs. In the past, the singer has commented on subjects from climate change to politics and continues to delve into difficult topics with her recent collaboration. She previously worked with Canadian producer Vanic on her latest release “So Slow” and says she looks forward to working with other artists as her career progresses. 

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Ethan Snoreck began releasing music as Whethan in 2016 with a redo of Opia’s “Falling.” The young producer has since toured with the Chainsmokers and collaborated with artists such as Oliver Tree, MAX and Dua Lipa. Throughout his career, Snoreck says he’s not one to let genres hold him down and explores different styles of music to incorporate into his tracks. 

“Hurting On Purpose” will be featured on Whethan’s upcoming debut full-length, FANTASY, due out later this year. Check out his and K.Flay’s collaboration, the process of how the track came together and their thoughts on melding genres below. 

Ethan, “Hurting On Purpose” will be featured on your upcoming debut album, FANTASY. How do you decide which tracks make the cut? As a producer, you’ve worked with many artists in the past. How do you know when a specific artist works on a track?

SNORECK: I really like that records stand the test of time. I feel like back when I was playing shows, that was a good example of being able to test out songs in live settings and see how people react to them. Most of the songs I put out have a certain energy that I want to be able to play live, whether you can dance to it or mosh to [it] or go hard. With artists too, I love to collab with all different types of artists in all different genres. Whenever it just links up and clicks and feels super right for both of us, it just fits. 

Both of you have collaborated with other artists in the past on your own respective pieces, but what was the process when working on “Hurting On Purpose”? How did you both connect, who wrote the lyrics and what were the other steps for getting the track put together?  

SNORECK: I got started with this song. I think it was almost three years ago. [K.Flay] wrote it in a camp along with a couple of other producers, and I immediately loved it right away. I pretty much took the vocals and basically spent the next two years writing all these different production versions just trying to fit. Most of it was already there, the bulk of the song, the emotion was all there, but it was just a matter of finding the right moment for my time to shine on the track. I love when producers have their moment on a song, and I just wanted to make sure I had a moment on the song that didn’t ruin it. 

FLAHERTY: Outside of just K.Flay stuff [that] I’ve been doing for the past few years, I’ve been doing a lot of songwriting on other records and then just doing a couple of little camps here and there. I had written this song at a writing camp in Las Vegas, and I think I wrote four songs that weekend or something, and then I went on my own way. I was touring at the time, I didn’t even know that this song was in the world. We all really liked it when we first did it. Then I heard Ethan was working on it, which was exciting. 

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What was interesting was that we did it in half a day. It was a really short thing. When I heard it back, I realized if it was going to be my voice on the track, I wanted there to be a lyrical shift. The original version of “Hurting On Purpose” only said “I’m hurting on purpose/I’m in love with the pain.” In this version, our first verse is like “I’m in love with the pain/I’m hurting on purpose.” The second verse is “I’m hurting on purpose/This shit isn’t working.” I had enough of it. Whenever I’m on a track, I want ideally for there to be some evolution in the song. I think for me and a lot of people, you engage in destructive behavior [and] you get a certain outcome. You can only do that so many times before you realize this shit isn’t working. 

Kristine, you meld different styles, such as R&B and rock, into your music. How has your sound developed over time, and do you believe other artists let genres hold them back when it comes to trying to find their own voices?

FLAHERTY: I started out making music in the Bay Area rap scene. That was my starting point—very, very focused on rhythm [and] cadence. That was the primary stuff. Melody was secondary. As I’ve evolved, at times it’s felt like a curse not being clearly in one lane, but it has awarded me the opportunity to tour with and collaborate with so many people. At some point, it just blew up all the doors, so it didn’t really fucking matter anymore. No one cared. I think, for me, the evolution has been largely about melody and largely about incorporating the way I like to perform—it’s very rock in terms of my body movement, headbanging and freedom. 

I do think genres are much more fluid in the modern music scene. There’s a lot of reasons for it, [but] I think most people are excited about perspective over genre. As an artist, having a perspective is the most important thing. It doesn’t really matter how you’re communicating that stylistically. It’s easy to get told by other people that genre really matters, but I don’t actually think it does.

The lyrics reflect on things that could lead to self-destruction: speeding, drinking, smoking. You both tackle a variety of topics with music from love to politics and climate change. What’s the inspiration behind the track? Is it based on your own experiences?

FLAHERTY: [It’s] definitely based on my own experiences. I think being a touring musician really pushes the limit on this stuff. It is a world in which a lot of self-destructive behavior is normalized, glorified and just frankly institutionalized. It’s just part of it. For me, much of my adult life has been reckoning with that, testing my limits, deciding I want to go back. As my therapist recently said to me, some mistakes you have to make yourself, and I think that lyrically, this song is about that. 

What are your experiences creating a track solo versus with another artist? Are there challenges that come with creating a song, and what, if anything, makes writing a track easier?

SNORECK: I love collaboration. I always think two heads are better than one. When you’re by yourself, I’ve found that you can go down more crazy rabbit holes, and it only takes one little idea from someone else to just take you in a whole other direction. It’s very fun to collaborate with people, but when you’re by yourself, it’s fun to experiment and not have anyone to really worry about and just be free. 

FLAHERTY: I think there’s huge creative bounty to collaboration, but I also think there’s huge creative bounty in being alone. There’s some special alchemy to it… There’s something about being by yourself, judgment-free and really experimental. No one is going to say anything about what you do, and there’s something liberating about that. For me, it’s that tension. Half the time I like to be by myself, and half the time I like to be with other people. I agree with Ethan in general: Two heads are better than one, especially if it’s a head you trust.

As Whethan, your music has millions of listens on Spotify and has been used in several TV shows and even a movie. You just turned 21 and have been releasing music for the past four years. What were your goals when you first started? Have they changed? How do you think you’ve grown as an artist over the last few years?

SNORECK: When I first got into it, I really didn’t have any goals. The only thing I could really do was music. All day, every night, getting home from school, I would pretty much not do anything else but just make music. Once I got a little bit of success and people started listening, my goals started to shift a little bit, for sure. It used to be that I would just play a concert [and] play Lollapalooza in my hometown. Now, maybe [I can] hopefully try to win a Grammy someday. That’s a crazy goal switch. 

As a producer, I’m constantly dabbling in different genres. When I first started it was a lot more electronic and future-y, but I’ve slowly progressed in a little bit more of an alternative way and finding cool ways to mix them all back together. I have a weird relationship with goals because I don’t like to set too many. Not that I can’t reach them, but I just feel better riding the wave, just accepting everything that comes with it and enjoying the rewards as they come. 

With K.Flay, you’ve been able to travel the world, meet a plethora of different people and personalities and worked with Bishop Briggs on her CHAMPION LP last year. When you began your career, did you ever think you’d be where you are now? Do you see yourself delving more into writing and production with other artists in the future?

FLAHERTY: I never thought this. I started doing music at [Ethan’s age]. I was on a whole different path in terms of my academics. That was my focus. It came to me as this thing that tapped me on the shoulder and was like, “Hey, there’s another way you can live.” For me, it’s been such a cool journey. I was like Jim Carrey in Yes Man. I just keep saying yes to shit and things kept happening… There’s a power to being so open, and I think it’s been the prevailing ethos of my career and adult life. Sometimes I’d say yes to the wrong things. Of course, that’s going to happen. I certainly never expected this was how my life would shake out.

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I’ve spent quite a bit of the last two years working on other artists’ projects, and it’s an interesting development. I never anticipated that as to where my career would go. No one really understands that when you write a song, someone is the asshole that has to sing it. Someone has to get up every night and sing that song and stand behind it. I think there’s something spiritual about feeling that. Singing it for 10 people or whoever shows up, there has to be a real sense of ownership and belief in something for it to translate. As a songwriter, that’s one of the things I try to bring to any collaboration.

OVTLIER dropped their debut EP, featuring “Set The World In Flames,” in 2017 with What Doesn’t Kill You. The band released several singles over the years, recently sharing a revamped version of “Buried Me Alive” along with its own music video. They were set to tour in support of Motionless In White this past spring, but the run was postponed due to the coronavirus pandemic. 

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In collaboration with Justin “JD” deBlieck of Ice Nine Kills, vocalist Joey Arena wrote OVTLIER’s latest single, “Who We Are.” The song’s accompanying backtrack uses driving guitar riffs and punching drums to complement emotional lyrics about life’s difficulties and how they shape us. Arena says the music video takes a look into what unaddressed traumas can mean for a relationship and reveals how they’re approaching future releases.

Check out the new video and all Arena had to say about it below.

“Who We Are” features rich riffs, dynamic vocals and a raging breakdown. What’s your songwriting process like? Do the lyrics come first? The backtrack? Is a song written all at once or in bursts?

JOEY ARENA: Regarding “Who We Are,” the chorus, both melodically and lyrically, naturally popped in my head as I was driving in my car one day. All the music was written in the studio between JD and myself on the spot, going based solely on what I was feeling energetically. I’m currently on this “whatever I’m emotionally going through this week must come out in the studio” writing mode. I find myself overthinking less and creating more. If I outplay a riff, the artist in me will begin to second-guess or continue to tweak it. 

The music video’s imagery shows people struggling with substance misuse and relationships. How does it correspond to the meaning of the track? 

“Who We Are” is the collection of one’s traumas beginning at birth that ends up shaping us into who and what we become. It will affect our relationships, and we all wear it on our backs—some only hide it better than others. I enjoy getting to know people on an open, raw, and authentic level. I accept one’s individuality and place no judgment, for we are all just trying to figure our shit out. I wear no faces, and I conform to no trends. I live how I want and seek no validation.

I am often misunderstood by those who judge the way I live or the path I walk. At the end of the day, I am most happy and grateful to the individuals that accept me for who I am. I only hope everyone feels or will feel such self-love. Although [I’m] seeing a therapist and working with a shaman, I have begun to progress from my past. I choose and believe in self-betterment as it will hopefully strengthen my relationships and look forward to building new ones. It’s a constant uphill battle but one that brings me peace. The video is a dramatization of what a person’s demons or toxic behavior can spiral into. 

How did the idea for the video come together? Whose idea was it to have the song captured in that way through the video? Why was it important for you to show this imagery in relation to the song?

People who follow our visuals know we put a lot of thought behind the releases. My long-term goal is to eventually write or direct a film. I’m a huge movie buff and hope to one day dabble in it. I use our music videos as usually a sister-meaning or separate interpretation of what the song was written about. I like it when the viewer can relate in their own way without my influence. Plus, we have a habit of making the videos closer to short films ’cause three minutes and 30 seconds just isn’t enough to get some of the points across. 

The imagery is significant because it shows two individuals. One is the empath that continues to support and love, accepting her and all that goes into it. The other is the narcissist, taking advantage, lies, deceit, violence and self-destruction. What the video doesn’t show are the early life events and traumas that these two have gone through to bring them to where they are. Even the empath has his trauma, but he handles it differently, making them “who they are” and how it can either make for a beautiful or abusive relationship/friendship. 

In a recent music video for your reboot of “Buried Me Alive,” you play one of the main characters in the storyline. In “Who We Are,” you have a smaller role as the band are showcased playing throughout the clip. How are those two processes different? Is there one you prefer over the other?

I started OVTLIER in 2015, laying the foundation for wherever we are at today. At that time, it was only me, and I was ready to debut. I’m not much of an actor, though it’d be something I’d enjoy working at. I feel a full-band performance brings an energy a solo performance cannot. At the end of the day, I am down for whatever benefits the song or video. I try to keep it simple. 

You were orginally set to go on tour with Motionless In White this spring. Chris Motionless has also been supportive of the band by adding your song to his takeover on SiriusXM Octane. How does it feel to have his support, and what was your reaction to hearing the song on air? 

Chris is an awesome and genuine individual. OVTLIER were mid-video shoot for another song when I had received a phone call from Chris and my dear friend JD telling me that he had added us to his takeover. I was at a loss for words, and the warmest feeling came over me. I thanked him up and down, and even weeks later, he’s probably sick of hearing me say it. Still, to this very moment, I wake up and speak out my gratitude for what he did and the spark that became this fire of momentum. He is sincere, and a person like him shines through in this industry. 

You released your debut EP, What Doesn’t Kill You, in 2017 and have released several tracks since then. Are the band working on another big project, or are you exclusively focused on singles? What can we look forward to for the rest of the year regarding music or livestreams?

In my opinion, being that the industry has shifted into such a digital realm, I have strategically watched how pop and hip-hop evolve and continue to market. I took the same logic [and] made the decision to begin releasing singles right after the EP. It has not only allowed me to take my time to give all focus to each single, giving us a chance to put out the best content to our ability, but also keep up with the faster pace of the world’s attention span. Because of this, we get to put so much behind our releases and hopefully leave people wanting more. It’s been discussed that we will one day release a record of all combined released and unreleased singles to make up a deluxe edition, but for now, we are enjoying this process.

Before he was Wanderer, Adam Simons started as a humble cover artist, where he enjoyed putting his own twist on classic tracks. The singer made his solo debut in 2017 with a cover of Fleetwood Mac’s “Dreams.” Over the next few years, he’s shared several singles and joined acts such as the Maine and TWIN XL as a touring musician. This year, Simons dropped his debut solo LP, Songs For The Night, back in January.

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Along with his most recent single “Give It Up,” “Your Love” will be featured on the singer’s upcoming EP. Utilizing synths and reverb, Simons gives the ’80s classic an otherworldly remake. After playing the track live over the years, he says releasing a professionally recorded version is something he’s always wanted to do.

You’ve toured with bands such as the Maine, TWIN XL and Against The Current. Is there anything you’ve learned from working with other artists that you’ve applied to your own music, whether through production or a live set?

Absolutely. I’ve actually toured with the Maine consistently for the past two years as a live musician [playing] keys [and] guitar and tech for them, too. It’s been wonderful to get to play with them onstage all over the world and become good friends with those guys. Their work ethic and drive to always push the boundary and grow as artists is so inspiring. Things like attention to every detail and creating an experience for fans really goes a long way in this industry, and they’ve done that from the start.

I’ve been lucky enough to also get to open for them as Wanderer at many shows, including in places like Brazil and the Philippines. Being on the road so much the last two years has allowed me to learn about how other bands work, and I always try to bring that back to my music and my process. 

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This song is a very dreamy take on the Outfield’s “Your Love.” What inspired you to reimagine this song specifically? When considering what to cover, were there any other tracks in the running? Would you consider doing more covers like this in the future?

I’ve spent years playing cover tunes in hotels, bars, you name it. Before starting this project, it was how I made a living. I love putting my own spin on a classic song, and “Your Love” has always been one of my favorites. I’ve played it live before and for a couple of years now have always wanted to do a studio version of it. With everything happening with the pandemic and not being on the road lately, I finally had the chance.

I’ve done it before, too. After my first EP [CITY] came out, I released a cover of Fleetwood Mac’s “Dreams.” It’s now one of my most-played songs on Spotify, which is definitely cool. I’m sure I’ll continue to do covers here and there in the future. I like doing older songs, though, stuff that I’ve grown up with, and make a point to arrange it like I would if I had written the song myself. 

Does your artistic approach differ between writing an original track and doing a reimagining of an existing one? If so, how? Is one more challenging to do than the other?

No, I don’t think so. Or I at least have tried with this release to make it feel similar to my recent original tunes. In the studio, I used the same production elements and choices that I would make as if I had written it. Not just taking the song and recreating it but doing something fresh and new. 

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I have always loved the idea of doing covers alongside original work. It’s something artists would do all the time in past generations, even releasing albums of standards and classic covers to build their repertoire. The Rolling Stones did this early in their career before writing any of their own songs.  

You released your full-length Songs For The Night earlier this year. Overall, what do you hope fans take away from listening to those songs?

Songs For The Night was my debut record and a very conceptual one. From the artwork to the lyrics to adding ambient sounds throughout—some recorded up in the mountains or in my backyard—[it] all revolved around creating a world within that title. Nocturnal imagery, darkness and even solitude became themes and ideas woven through the tracklist. I really wanted to make an album that was the perfect companion for a late-night drive and that could become a soundtrack for people. If one of my songs could narrate parts of someone’s life, I think that’s what any artist dreams of. 

What other plans do you have for the rest of the year in regards to releases, livestreams and shows? What else can fans expect in 2020?

I have a lot planned! “Your Love” and my previous single, “Give It Up,” will be part of my next EP, which I am now working on finishing up. I hop on Instagram Live every now and then and will definitely be doing more of those over the summer. As far as shows, I think all bands right now are figuring out how to navigate this new reality we’re all in. I can’t say when I’ll be onstage next unfortunately, but I certainly hope to do it as soon as it’s safe for all. Playing live is one of the best parts of this whole thing, and I can’t wait to perform all of these songs for the first time. I think it’ll be really special. 

Barker joined MGK on The Late Late Show With James Corden to give the track its live debut (and discuss the proper way to say blink-182), and now we’re getting an acoustic rendition of the track.

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Shortly after the song debuted atop the rock chart, MGK dropped a behind-the-scenes look at production. In it, he’s joined by longtime friend collaborator Mod Sun who helped co-write it. The duo work through the chorus and reveal how they landed on “bloody valentine” over other options that were tossed around.

MGK followed up the BTS footage by recruiting Megan Fox (Jennifer’s Body, Transformers) for the cinematic music video where the actress literally takes over his life and does her best rock star impression. The duo met filming an upcoming movie together, Midnight In The Switchgrass, which focuses on the infamous Truck Stop Killer and also stars Bruce Willis.

Last month, Ryan Scott Graham of State Champs and Speak Low If You Speak Love covered MGK’s anthemic new track on an acoustic guitar, but now we’re hearing it from the musician himself—yead and all.

MGK surprise dropped the take Monday night. He followed up the announcement Tuesday morning by revealing how natural the song came together with Barker.

“@travisbarker aren’t you glad we recorded drums to 15 versions of the acoustic just to end up using the one of you hitting ur knuckles on the guitar,” MGK tweeted.

Originally expected in early 2020, MGK revealed to Zane Lowe that Tickets To My Downfall is more of a summer album and is expected to drop soon.

Take a listen to “Bloody Valentine” acoustic here or below.

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MGK first teased production on his pop-punk album back in December. He has blended genres throughout his career, but the world took note with the Barker and YUNGBLUD collab “I Think I’m OKAY” off his latest Hotel Diablo. The TikTok favorite turned gold single paved the way to fully embrace his pop-punk influences on the forthcoming full-length.

Just a few months after dropping his incredibly raw fourth full-length Hotel Diablo, Machine Gun Kelly unleashed rock-fueled “why are you here.” Soon after, he opened up more on the then untitled pop-punk project, revealing that along with Barker, he was working with other past collaborators YUNGBLUD, blackbear, Trippie Redd and Young Thug.

Kells also revealed Attila’s Fronz and the Used’s Bert McCracken were on his collab wish list, the latter of whom he secured in January. In addition to the impressive roster backing him, MGK credits “why are you here” for inspiring him to go down this road of “all singing [and] all live instruments” in the first place.

Revealing the album name in mid-January, MGK followed it by adding another album-related tattoo and teasing what to expect. Wrapping up in the studio around late February, he performed a new song believed to be from the album during a livestream while the world is on lockdown.

MGK and Barker recruited YUNGBLUD to help them on yet another track, which the rapper teased in early March. While it’s unclear if this is the same track, MGK later opened up on how Juice WRLD inspired “Body Bag.”

Juice WRLD wasn’t the only musician to impact the Warped Tour alum as he shared a scene staple-filled inspiration playlist. Some of the selections in his collection include hits from the likes of Taking Back Sunday, Lagwagon, Yellowcard and the Killers. You can see the full playlist here.

What do you think of Machine Gun Kelly’s acoustic take on “Bloody Valentine”? Let us know in the comments below.