7 Questions in Heaven with Jus Post Bellum

jus post bellum band music

I was first introduced to Jus Post Bellum‘s music over too many cocktails with band member Hannah Jensen’s sister Kitty (who is also a musical wunderkind along with their Minneapolis music scene ICON mother Wendy Lewis). I can’t even being to quote her, but it was summer, we were drunk on the sidewalk patio of Cause, and Kitty said something like “my sister’s band is fucking awesome!!!” Which is all you really need to hear to give something a listen.

Pic from Lauren of Bonnie and Lauren
Pic from Lauren of Bonnie and Lauren

It’s so cool when you listen to music like Jus Post Bellum, especially because it’s something that transports you directly to another era with one bass note or a drum cadence. In “Stonewall Jackson” you are sent to a field, feeling the sluggish heat and bugs biting your ankles; in “Shotgun Wedding” you’re riding in the back of a truck driving down a dirt road; from the title track of their first full album release, “Devil Winter”, you can hear the existential drain of winter, yet hopeful defiance that spring is on its way. It’s the kind of music that draws you in to listen, instead of demanding your attention like the sometimes obnoxious thump of a dubstep drop.

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Anyways, as for the actual people behind Jus Post Bellum, there is Geoffrey Wilson (lead vocals, guitar), Hannah Jensen (vocals), Zach Dunham (drums, percussion, vocals), and Daniel Bieber (bass, cello, vocals). Below, Geoffrey answers my 7 Questions in Heaven about the birth of Jus Post Bellum, race in America and drinking with the hottest emancipator of all time, Abe Lincoln.

1) How did the idea behind Jus Post Bellum come about? What is it about the civil war that inspired you to start a band? 

jus post bellum music
Pic by Lauren of Bonnie and Lauren
One version goes that Jus Post Bellum got its start in the apartment I had while living in the New York Hudson Valley. I had just graduated from college(I studied music and American Studies) and was working full-time at a school for kids with developmental disabilities. I was also waiting tables and bar tending. I was gifted one of those 70’s era organs with foot pedals and funny analog instrument sounds from a man named Dr. Kim, a loop pedal from a friend John, an old Kay guitar from another friend John. I also had an array of woodwind and and percussion from my collection(*note I am a hoarder of instruments and other stuff) I played saxophones in a Minimalist-Afrobeat band and in my free time recorded weird multi-layered acoustic tracks on the looper. Fast-forward a couple years, I moved to Brooklyn for grad-school and and continued secretly writing and recording ambient singer song-writer inspired tunes. At a very low point, I went alone to a party and met a girl named Hannah. During our year long courtship I wrote the first official JPB song ‘Stonewall Jackson’ in homage to that complicated war hero, and realized my interest in American History and folk style music worked very well together. Duh! Hannah encouraged me to come out of my shell a bit and sing her some songs. Then we started singing together. The rest is history.

2) If you had one night to drink whiskey with any civil war era historical figure, who would it be and why?

Obviously Abe Lincoln. Though I am most interested in the lesser known subtleties of that era. It would really be foolish to skip that chance. I so admire his pragmatism and in a big way it is at the root of how I approach the characters in my songs. I often choose to write from the perspective of a white southern man, a woman, a child. I look to find the good in “villains” and tell complicated histories, and injustices borne by both sides. This all is an effort to illuminate the complexity of our American History. Jus Post Bellum means Justice After War, and one of my goals has been to explore the full scope of what is just and unjust in that period of time.

 

Baebraham Drinkin'
Baebraham Drinkin’
 

3) You just released a beautiful teaser trailer (directed and filmed by Alyssa Pagano, William Hereford and Oscar Hudson) for “Gimme That Gun”, a song off your upcoming album Oh July. Does this mean you will you be releasing more music videos for this album? 

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Indeed! We have 2 full length videos set to be released over the coming weeks [one of which is shot by Drew Weigel and Bushwick Happy Hour]. We are so excited for them and so thankful for the many people that dedicate their time to help us make these works of art happen. One will be a more classic “Music Video” directed and shot by Oscar Hudson in upstate NY at a house where I used to live. It was an overnight shoot and a bunch of our friends and local folks jumped in last minute to play characters. Its a bit light hearted, and was so much fun. The second was done by a collective of artists here in Brooklyn (and fellow minnesotans!) and is a beautifully conceived and executed work of art. Both are very different from one another but serve the music really well.
 

4) This article by Andrea Swensson about local Minneapolis fave Caroline Smith’s new soul sound and of course Miley Cyrus’ self-described new “black sound” are hot topics concerning race and cultural appropriation in America today. Being that your sound and subject matter is inspired by the American Civil war and American history in general, are racial issues something you guys talk about on your new album? Why or why not?

 
Pic by Wendy Lewis
Pic by Wendy Lewis

This is a great question, and perhaps more than I can tackle at one time. Speaking for myself as an African American person and more broadly as an American, addressing the topic of race is a complicated task. It is fraught with many differing opinions, and one which opens you up much criticism wherever your opinion may fall. If we limit this conversation to race as it relates to art, we are inevitably going to discuss the performative aspects of art, specifically music. In my mind these are inextricable from the larger context of the performative aspects of culture. I.E Blackness, whiteness, wealth, poverty. I’m writing you as a black guy, singing a fairly white American(at least in appeal) style of Folk derived music, likely appropriated in large part from black musicians in the rural south.

Growing up I lived for 10 years in North Minneapolis on Washburn Avenue, and then moved to Golden Valley for my adolescent years. Both my folks are from the economically poor, and predominantly black and hispanic side of San Antonio, Texas. I think moving to Minnesota, and specifically to the suburbs, my parents wanted to provide us with a sense of community with a more broad range of identities and possibilities. It should come as no surprise I’m not big on overtly performative aspects of race. More than once I’ve been asked indirectly or very directly why I don’t act black. I’ve never had a great answer other than to say all I can do is be myself. Like Prince;)

You mentioned Caroline Smith. We shared a bill out here in NYC a while back, but I haven’t seen her new, more soul inspired work. My estimation is that stylistically her performance might be a larger reflection of “pop music” moving towards a more stereotypically black aesthetic. Hip Hop and Pop music becoming more and more synonymous. Much is being said about this topic so I wont go into it except to say that if as Andrea Swensson suggested in her recent article music deserving an equal audience is being ignored in the nearby North Minneapolis community in favor of something more palatable and in fact co-opting the label “black music”, we may have a problem. And no doubt this happens all over the country. But if it is as I expect, simply that audiences enjoy Caroline’s voice, music, etc, and are excited about her expanding her palate and genre as a larger reflection of enthusiasm over soul music, so be it. What right do we have to deny her talent because of her race?  While I’ve turned more than a few heads, especially singing our more country tinged numbers, name dropping “Stonewall Jackson” and the “N Word!”, especially in the south, no one has told me I can’t sing “white folks music”, yet…

In regards to the record: I intentionally say the songs are inspired by the Civil War. Some of them are overtly about figures or topics directly related to the period, others simply use that time period as a sort of working point and may not mention it at all. “Abe and Johnny” is most obvious, it is an homage to their parallel tragedies. “Sonny” is a fictionalized story about a confederate army deserter and pacifist. Others like “Oh July”, “Tell Me Mama”, or “For the Brokenhearted” mention elements of war or conflict as a backdrop for a romantic, or other tragic occurrence. Race certainly plays a part in the songs, but as in the war itself, race was only one element of a larger conflict.

 

Pic by Lauren of Bonnie and Lauren
Pic by Lauren of Bonnie and Lauren
 

5) Describe your new album in 5 words.

Harmonious
Raw
Reflective
Searching
Romantic
Still from the "Gimme That Gun" video shot, directed and produced by William Hereford , Alyssa Pagano and Oscar Hudson.
Still from the “Gimme That Gun” video shot, directed and produced by William Hereford , Alyssa Pagano and Oscar Hudson.
 

6)  What has been your favorite place to tour so far and why? Are you planning a tour to support this album? 

Much of our touring has been through the south. I’d hate to offend any one of the many amazing folks who helped us along the way, that wouldn’t be very Minnesotan of me now would it? So suffice it to say, we ate a lot of delicious BBQ and stayed in many great towns. And if your town has a great BBQ joint and a thrift store, we will come, eat, play, and stay the night.

We will be touring the first couple weeks of november. We will also be doing a show or two in Minnesota over the Christmas holiday, so stay tuned. Dates below:

11/5/13: Washington DC –Hill Country, 8:30PM FREE

11/6/13: Cincinnati, OH – MOTR Pub with The Young Heirlooms, 10PM FREE

11/7/13: Chicago, IL – The Burlington, Doors 9PM $5 donation

11/8/13: Louisville, KY – Atlantic No5  TBD

11/10/13: New York, NY – RECORD RELEASE SHOW! with Cassandra Jenkins,Rockwood Music Hall, Stage 2 – 9PM FREE

11/12/13: Boston, MA – The Beehive, 8PM-12AM FREE

11/13/13: Cambridge, MA – The Beat Hotel, 8PM-12AM FREE

11/14/13: Philadelphia, PA – Tin Angel  TBD

 

Pic by Wendy Lewis
Pic by Wendy Lewis

7) If you had to pick one pop star, dead or alive, to feature on a track, who would it be and why?

Woody Guthrie or Bob Dylan. Both of them made folk-art in service to their times, but not limited by that context. This is something I greatly admire. There are many other lesser known American Blues and Folk artists who contributed greatly to this cannon but for me these guys are the top. Guthrie continues to inspire me to look closely at complicated and real histories and capture them in plainspoken, simply executed ways. Dylan encourages me to be aware of my time and place, and to not be afraid to use language, metaphor, and more importantly things said, unsaid, or merely suggested lyrically to stretch the boundaries of songwriting and the tolerance of our audience. And they also happened to have great voices 😉
Woody Guthrie Bob Dylan
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Music: Caroline Smith’s new vid for “Magazine” is SUPER FUN

GOD DAMN I LOVE THIS SONG. Minneapolis wundergal Caroline Smith is gearing up to release her latest album titled “Half About Being a Woman.” And it’s gonna be killer. Like, this chick is blowin’ up killer. Because if you haven’t heard of her yet, holy shit. She’s about to blow your world. She has a show on the 27th of Sept. at First Avenue in MPLS, otherwise I’m sure she’ll be on tour in a city near you soon. You’ll wanna see it.

The first time I saw her live was 8 years ago when we were all in college, at the 400 bar. She had hand written CDs and gave me one fo’ free cuz I was cash poor/my friend was dating her friend. My favorite song from that (I think) first little album was “Clench My Teeth.” Very folky, very pretty. I am so proud of her, not only because she’s fucking awesome but also because she’s an awesome part of the music scene in the good ol’ MSP. AND I’m also excited to see where her career goes from here, because I have a feeling its gonna be amazing!!

Def check out her new album when its out, which is I believe Sept. 27. YAY!!!!!

caroline smith

7 Questions in Heaven with KILLSTREAK

7 Questions Killstreak

My first introduction into the world of KILLSTREAK was at a secret santa party in December 2012. Our mutual friend Kait (hey gurl) had given me “Tony-he’s 19 and a rapper in a group called Killstreak.” Gifts were exchanged at the party, facebook friendships were forged, and new music was introduced, as KILLSTREAK had just released a song with local slam poet/hip hop artist Guante titled “Collateral Damage.”

 

I was really impressed with Tony’s lyrical content and youthful yet old soul passion and intelligence that bleeds from his music. Granted I was only 5 years older than him at the time, but still-it’s rare to meet a 19 year old (or any teen/20 something for that matter) with any kind of direction and certainty in their life, let alone confidence and drive for their art. It’s a powerful and unassuming vibe for real, and that’s what makes their music and performances so philosophically ballin’.

Tony and his KILLSTREAK partner/producer/pal, ICETEP, released their first full-length album this summer titled “Janus.” (You can read a solid review about it here and buy it here). They are definitely gonna be two guys to keep an eye on in the music scene over the next few years, together and independently. Check out what this Minneapolis hip-hop wunderkind duo has to say about the origin of their fantastic name, Yeezus, sex in college and Carly Rae Jepsen.

1. How long have you, Tony the Scribe and ICETEP, been making music individually? When did you realize you vibed musically, thus birthing Killstreak?

T: I’ve been rapping for about 6 or 7 years, although I’ve been making music my whole life. ICETEP started out playing the piano at age 5 and has been making beats for about 3 years. We first realized we meshed musically about 2 years ago when we were reintroduced by a mutual friend. At first we didn’t really like each other’s shit, but we grew together and gained a mutual respect. 2 years later, we have an album out and are best friends. It’s funny how things work out.

2. Killstreak is a rad name. I picture a quaint streak of blood on the floor after a methodical Dexter-like kill or something. What was the inspiration behind naming yourselves Killstreak? And what is a Janus?

I: For a long time we couldn’t decide on a group name, one day we were chatting and one of us suggested “KILLSTREAK” as a joke, because we both mutually decided that it was a dumb name for a rap group. Flash forward a couple of days and we both sort of independently decided it was the perfect name. It’s less like a streak of “quaint” blood and more of like that blood straight out of “The Shining” just a massive tidal wave. (T: It’s also a play on the nerdiness of our personalities, because it’s a video gaming term. We thought it fit us well to have something nerdy and intimidating) A “Janus” is the Roman god of Duality, Entryways, Beginnings and Entryways. It was a fitting name for the album though, because it represents a time in our lives where we both were changing from one artistic space to another, as well as representing the overt duality we intended for the general theme of the artistic content of the album.

3. There’s a lot of passion and thought in your lyrics, which is hella cool. What topic gets you fired up the most, to the point where you have to run home from a party/bar mitzvah/the middle of class and start writing immediately?

T: Disillusionment with society. Also, watching how people act when they want to have sex with other people, because a lot of people act really different when they really want to have sex with someone. And just interpersonal interaction in general– that kinda stuff is mad interesting to me; I’m a sociology major and a huge extrovert so I’m continually fascinated by how people interact in group settings.

4.You played a show in my bedroom last month. Do you plan on playing anymore bedroom shows, basement shows or house shows this summer (besides, you know, the shows you play in actual venues)? What are your thoughts on house shows vs venue shows?

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I: Yo fam I love bedroom shows, I wish we could play more, but usually people have really small bedrooms, and I’m not about me and Tony being the third and fourth wheel of a good time. This summer we unfortunately do not have any underground shows on the horizon, but we do have a couple of legit shows that are still being organized. That being said, from the house parties I’ve played, in my experience I’d rather just play in an actual venue, because people go to shows at venues with the explicit purpose of (usually) seeing an artist or a band. It’s not like I don’t like hanging out with drunk people, but I feel venues have determined drunk people. We’ll probably end up playing lots of underground shows in the spring just because T has a house in nor cal, and I am about that life.

5. Main musical influences on your music and art, GO!

T: Kanye West, Doomtree, Linkin Park, Rustie, Flying Lotus, and giant robot anime. Bam.

6:  If you could collaborate with any artist outside of the hip-hop genre, dead or alive, who would it be and why?

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I: I’d really love to do a whole album with Kanye West actually, I know a lot of people are divided over Yeezus, but I still really fucks with him both as a rapper and as a producer. I guess I’m more interested in just hanging out with him in the studio than anything, like seeing what his process is like and what not. If Kanye wasn’t available though, prolly Flocka. Dude goes IN when he’s in the studio. BOW BOW BOW BOW BOW BOW BOW BOW BOW BOW BOW BRRRRRRIIIIICCCCKKKKKKK SQQQUUUUUAAAADDDDDDDDDDD. (video context: http://www.youtube.com/watch?v=OvJDiZwGGd4)

7: Who’s your favorite guilty pleasure artist and/or what’s an embarrassing song you LOVE?

T: I love Party in The USA. And Call Me Maybe. Anybody who doesn’t like Carly Rae Jepsen can eat a bag of dicks. Straight up.
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WHY: Why is Avril Lavigne still making music?

Avril Lavigne releases the least rock and roll song ever called “Rock and Roll”

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SHE’S SO PUNK AND EDGY YOU GUYS.

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There are just so many questions surrounding the puzzling fact that Avril Lavigne is STILL GETTING PAID TO MAKE MUSIC. A modern day “Who killed Kennedy” of the pop music world if you will, except the exact opposite. Who the fuck is keeping her alive? And WHY GOD, WHYYYYYYYYYY?

I’ll admit I was totally into her song “Sk8er Boi” in middle school, cuz I remember taping it on a cassette tape from the radio and listening to and jumping around my room every night before bed. She totally fit into that anti-Britney/Christina/Jessica mold that was puking blonde highlights and belly button rings into everyone’s eyebalss in the early aughts. Avril made sense back then from a marketing standpoint: grab the attention of the girls who don’t look or act like Britney/Christina/Jessica and give them Avril because they don’t know who Blondie is yet. MONAYZ. Got it.

It is now 2013. And for the past probably 6-7 years of popular music, I am always SO CONFUSED as to why she is STILL releasing songs. Here are some thoughts:

GAHHHHHH. Everything grating in one picture. Image via justjared.com
GAHHHHHH. Everything grating in one picture: faux raybans, shaved sidehead, a fucking HAT. You make it too easy, Avril. Image via justjared.com
  • She’s engaged to Chad Kroeger from Nickelback. That’s pop culture relevant for a few LOLs. (I can’t even write that sentence without laughing a little bit. love is love, good for them, blah blah blah but still. THE most uncool pairing in the history of Canadian pop, right?!).
  • She signed some crazy awesome (for her) record deal back in 2001 that was crazy like 10 records or something.
  • Canada is secretly the most powerful pop music machine in the world (Avril, Bieber, Carly Rae Jepsen, CELINE DION)
  • God doesn’t hates us, he just doesn’t give a shit anymore.

Take a listen at her new Max Martin produced song called “Rock and Roll” below. It’s not horrible from a music standpoint because Max Martin is a pop music genius producer and can do no wrong. But Avril, really?! Still harpin’ on the faux punk “fuck the system, I’m rock and roll” pop canadian princess thing? WHY HASN’T ANYBODY TAUGHT HER WHAT IS COOL. She’s almost fucking 30. Drop the faux punk shit, plz. It’s so embarrassing! There are ways to still look edgy without pretending to be 17 and afflicted. Just ask Kelly Osbourne. Or (cringe) Pink. She manages to not look like a fucking idiot, puts on a fascinating pop trapeze show, and releases non-vomit inducing pop music. Or, you know, you can ask literally anyone who is 30, looks cool and isn’t Chad Kroeger.

Good grief.

7 Questions in Heaven with Celia Inside

7 Questions Celia Inside

Celia Inside (@celiainside) is an artist I met on Twitter. HELL YEAH TWITTER. We bonded over music, tv and HORRIBLE fucking dating stories. It’s cool to be out on the web and randomly stumble across people you vibe with. Sometimes the internet is great. Anyways, CI just released an EP called Remodel that is full of relationship deconstruction, electric guitar and really, very pretty vocals. (Download the EP for free here)

Check out what this very fresh artiste de Boston has to say (on the very first 7 Questions!) about breakups, the very solo recording process and loving Solange.

1. What was your main inspiration to record the Remodel EP? A break-up, a boring winter, an angel speaking to you in dreams?

There was definitely some post-breakup inspiration, but it was mixed with other stuff. I was going through a kind of perfect storm of huge life changes that happen in those first couple years after college. My friends were moving away and getting super busy with work, and I was busy too, but less well-adjusted about it, I think. So I pressed pause on everything, disappeared for a while, and turned my feelings about those challenging and confusing times into angsty songs! And then the title came about later — it was (and still is) the perfect one-word sentence/truth/tough love advice I need to hear. Remodel. Change, evolve; find a way to live your life that won’t make you miserable!

2)Which song is your baby, the one you love the most or that you feel the strongest connection with and why?

 

“Leaving Girls” is pretty near & dear to me, partly because it was the first song to really take shape both instrumentally and lyrically. There are a couple lines there that have really resonate with people, me included, and I like how the title/words leave lots of room for interpretation. I originally wrote it as a kind of friendship breakup song but it can really apply to anyone who is… leaving, I guess. Haha. I also like how dark and unpredictable it can be… along with the many layers going on between the harmonies and the spastic guitars and the synth. That’s my St. Vincent-wanna-be song.

3)The recording process: You recorded everything yourself (KUDOS bc that shit is HARD). Describe the last week of recording/mixing/mastering. Was there a lot of caffeine/alcohol/pot/sex/cuddles with puppies?

Haha — thanks, girl! Yeah, it wasn’t so fun at times. I couldn’t sleep because I was really stressed out, so I would just drink black tea and stay up super late tweaking this and that. I became super nocturnal — more-so than usual, haha. And yes, I definitely cuddled with my puppy on the reg! She’s so affectionate; bless her heart! She should get a producer credit.

4)Where do you see your music going in the future? Are there any new genres you’re exploring now that may influence your next record?

Ah, there is so much I want to do! On one hand, I’m into R&B in a big way. I grew up listening to so much hip-hop and R&B — it’s a part of me — and I definitely want to experiment more with making beats. I’d love to make an R&B mixtape and rap some on it. I used to rap a bit and I miss it a lot! Especially when I hear some inspired hip-hop. I also feel like a lot of people are loving “Stranger,” which is kind of my Mariah Carey/R&B experiment on Remodel. So yeah, definitely more of that hotness. 😉

On a totally different note, I’d like to rock a little harder; I want to see what I can come up with working with a more traditional set-up: guitar, bass, drums, and that’s it. I’m so amazed at what some bands can do with only three or even two people live. Hop Along and Wye Oak come to mind. When you see them play, you’re definitely going to rock out, but there’s so much genre-bending and style-blending going on with their music too. Those are both bands that make me cry while I bang my head!I’ve always been musically pulled in so many different directions. It makes perfect sense to me to make different albums in totally different styles (ala PJ Harvey or The Cardigans, who are both huge inspirations of mine).

5)You’re gearing up for some live shows in the Boston area (right?). How do you feel about performing these songs live? What is your live set up?

 

That’s the goal — to play live in Boston/New York/wherever I am in the near future. And I feel… conflicted. Because these songs obviously require some drums and synth and PEOPLE that I don’t currently have, yet I want to perform solo & acoustically, at least for a little while. Celia Inside is a veryyy new car and I need to put some miles on it before I, like, plan a cross-country road trip, you know? I’m still very new to performing. I actually just played an original song for the first time tonight at an open mic night! So I have some work to do on this front. But ask me again in a year! 🙂

6)If you could collaborate with anyone, dead or alive, who would it be and why?

Hmmm. So I thought about this for a while and came up with the BEST answer: Solange. When you talk about artists, truly original people doing new and incredible things creatively like only they can, Solange is at the top of that list. I’m so in awe of the True EP, partly because her last release (SoL-Angel and the Hadley Street Dreams) was SO good and fresh and then she somehow managed to top that by like 100%. I love the choices she makes — vocally, lyrically, image and PR-wise, everything — and I just… feel her spirit (lol). Completely. She’s totally brilliant and down to earth and cool. So yes, in my dreams, I would collaborate with Solange and we’d become besties and Beyonce would get dinner with us occasionally and stuff.

7)What’s the most embarrassing artist/song you absolutely LOVE?

Haha. First, I want to note that I’m not easily embarrassed when it comes to this stuff! Like, I regularly go to bat for artists I adore that people are too cool for like Paramore and Danity Kane and whoever. With that said… Ashlee Simpson! When I listen now, her vocals can be ROUGH. Like, oh man. But I think there are some GREAT songs on those first two albums she did. “Unreachable” pops into my head to this day. That whole first album is money and then, on the second one, I LOVE “In Another Life,” “Dancing Alone,” “Say Goodbye”…. Omg, I forgot how solid they were! I think her team had a really cool sound going on. Ugh, I love it.

Listen: GRRRL PRTY “Wegula” is HOTTT

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Sophia Eris, Manchita and Lizzo from GRRRL PRTY Image via Facebook

This is the most bumpin’ tune I’ve heard come out of Minneapolis in a while! Can this be a summer jam on the radio stations? LOVE IT. Lizzo, Sophia Eris and Manchita, who are all local musico phenoms who constantly work on a BUNCH of different projects, comprise this new group amazingly titled GRRRL PRTY (vowels are SO last season). Their debut release is a single titled “Wegula”. I’m taking a stab in the dark and guessing ‘wegula” is a lil wordplay on people in bars/parking lots/literally anywhere trying to act superior or simply being a rude dude by claiming a “regular” status. If not, then they’ve added a word to the English language and we should be awaiting Webster Dictionary official status any day now.

Their video above is part of a series called “Lights and a Backdrop” (check out season 1 and season 2) ingeniously crafted by a production company called Evil Ice Cream Pictures. It’s a really cool series that has local musicians perform their tracks in front of-WHAT!- lights and a backdrop. It’s simple and a great way to showcase and spread the word about local talent. Cuz there’s a shit ton of local talent in MPLS/STP. Seriously. Everyone is in a band. It’s amazing.

In case you didn’t know, girl groups are fuckin IN in the MPLS scene. Lizzo and Sophia are also in an R&B girl trio called The Chalice with Claire de Lune. They’ve had a bunch of buzz and success this year. More power to the ladies. It’s refreshing! Plus girl groups were due for a pop culture resurgence anyways. There’s just something about a bunch of women tellin’ it like it is that gets everyone excited. Strong talent, strong opinions, strong style. FUCK. YEAH.