Bleachers, the indie-rock band fronted by one of the music industry’s most sought-after producers, Jack Antonoff, has had a reinvention of sorts, with their latest self-titled record. Having debuted just over decade ago, their signature sound has been characterized by smooth saxophone solos and Springsteen-esque coastal melodies. Yet Bleachers seem to slowly stray away from their established norm. Antonoff himself stated that the album is “like planting a flag in the middle of the journey,” which is evident. Although hints of their previous appendage remain, their self-titled fourth studio album does more than just reiterate their last three. It serves as a marker for the band not in the future, nor in the past – but particularly in the present.  

Coming off their departure from RCA Records, and signing with Dirty Hit, the album’s predecessor is a live album recorded from a show at Radio City Music Hall. Very early on it’s clear that Bleachers is a stark departure from Live at Radio City Music Hall’s pandemic-era reflections. It is riddled with slower, more methodical tracks that place less emphasis on the fast-paced drums and upbeat choruses that define their first two albums, Strange Desire and Gone Now. Antonoff’s ability to feature more measured songs isn’t unknown, as Take the Sadness Out of Saturday Night provided somewhat of an experimental take. Relying on a more acoustic execution in songs like Hey Joe, Woke Up Today and Isimo, he differentiates them from most of his previous works that signifies where the band is now. The gentle nature of the tracks shows a more grounded and secure side of Bleachers fans haven’t seen until now.  

For most of the band’s existence, Antonoff has worked through feelings of grief, loss, past lives, future doubts, and experience of growing up in Bergenfield, New Jersey, through music. Lyrically, Bleachers refreshes fans with a journey that reflects the new and exciting phase Antonoff and the band have found themselves in. Ordinary Heaven supplies, “You dance around the apartment/And I just get, I just get, I just get/I just get to be there”. Antonoff still manages to maintain the connective tissue that longtime fans can appreciate. We’re Gonna Know Each Other Forever supplements this with, “The tired on the wire/The born, strange, desired” which is a play on moments in Everybody Lost Somebody and Strange Desire. Fans are also treated to an uncredited feature of frequent collaborator and close friend of Antonoff’s, Lana Del Rey, on track five: Alma Mater. Together, they deliver a stroke of combined genius, capturing Del Rey’s songwriting prowess with an intro that’s reminiscent of the band’s sophomore album, and works well with Antonoff’s more relaxed vocals throughout.  

Modern Girl, released almost seven months before the album debuted, was an instant hit, solidifying itself as a classic in the band’s discography. It toys with playful lyrics that are a far cry from the more serious words of their quintessential songs of the past. The saxophone, Springsteen-inspired sound comes throughout the song’s entirety, perfectly encapsulating the unchanging parts of the band. Jesus is Dead and Tiny Moves each do the same in their own unique likeness, both capturing Bleachers’ own take on pop-adjacent songs, while Call Me After Midnight creates a light and fun coastal anthem much like Modern Girl.  

Bleachers finds its medium between the new and familiar in its title-track, I Am Right On Time, Me Before You and Self Respect. Each is an optimistic take on the album’s throughline of being present. Self Respect and Me Before You shine as the love songs that perhaps mirror Antonoff’s newfound marital status. Both feel like monologues Antonoff recites to his lover, retaining just the right amount of simplicity that’s digestible but keeping the poetic quality Antonoff is known for. I Am Right On Time shows his stance on finally being “on time” in the present, in a confident yet controlled melody. It’s a perfect way to begin their self-titled reincarnation. They triumph in taking this record to a much happier, more present place, once again delivering another Bleachers victory.   

The post Album Review: “Bleachers” appeared first on SCAD Radio.

“Dear Heavenly Father, I pray that God sends her shitty men until she chooses me. Amen!”

That’s the universal prayer of Girlfriend From Hell, Savannah Georgia’s beloved, bratty, punk trio. Made up of Bassist Nat Durham, guitarist Jaida Maceyko, and drummer Alix Lemiere, the Sav locals are kicking off the month of April with their killer debut EP, Get a Grip. 

Girlfriend from Hell incorporates tongue-in-cheek lyrics similar to modern girl bands such as Dazey and the Scouts and Mommy Long Legs with the defiant outrage of classic riot grrrl groups like Bikini Kill. The songs showcase a mix of meaningful activism and dark humor, drenched in the band’s bombastic and fierce personality throughout the record as a whole. Durham’s verdriven bass lines, Maceyko’s deep, crunchy guitar riffs and Lemiere’s energetic drum rhythms create a classic, hardcore punk tone, while Durham’s shrieking vocals call a certain audience out on their bullshit (No Respect) as well as tell stories of drunk decisions (Shots) and forgotten birthday presents (Kitty Flask). 

While a comic tone is present in some of their songs, they’re not to be listened to through that lens exclusively. For example, take Bikini Car Wash, a tirade about the absurd cost of living, with a twist. The tune begins with grievances about paying bills and the overpricing of basic human necessities such as groceries. The band then proceeds to chant, “Overworked and underpaid, my hips deserve a raise!” encouraging the audience/listener to sing along. The chorus, “Capitalism has stripped me down, all I have is my bikini now,” is as thought-provoking as it is playful, a mere wink to the listener mid-mosh.

Before the release of Get A Grip, Girlfriend teased the EP with their first single, AMEN!, in July 2023. According to Girlfriend, the song is a rebellious reclamation of all the vulgar comments men have said to them. Every single line is drawn from some sort of misogynistic statement, resulting in a fed-up two-minute tune that any femme-presenting listener could relate to. The song features quick, engaging tempo changes between the verse and chorus, with a nasty breakdown kicked off by the clever line “rock, paper, let me watch you guys scissor.” What’s even more brilliant about AMEN! is that by singing along, not only are you releasing frustration towards the disgusting comments, you’re also participating in them. The song raises the question of how you, the listener, might contribute to the patriarchy, while simultaneously allowing you to stick your middle finger in its ugly, stupid, face. 

What’s most important about this EP, however, is the sheer volume of their voices when declaring, “We’re Girlfriend from Hell, and we want revolution Savannah style now!” in their song, To The Front. The song is fast and furious, and, in the fashion of Kathleen Hanna, invites traditionally less welcomed communities to get the fuck up to the front: queer folks, trans folks, anyone “punished by the police state,” those fighting against poverty or for sobriety. In essence, Girlfriend From Hell has everyone’s back, and if they must revolt, so be it. 

Get a Grip is bold, unapologetic, raw, and original. Girlfriend From Hell acknowledges the collective anger of queer, trans, BIPOC, and other marginalized communities, and makes art with it, while allowing themselves to have fun with their craft. So whether you’re whipping out your handle of Tito’s and jamming to Shots, or getting out your frustration to No Respect, there’s no denying Get a Grip is bound to connect with any punk rocker that stumbles upon it. Amen to that!

The post Say AMEN! to Girlfriend From Hell’s Debut EP appeared first on SCAD Radio.

Photo courtesy of Maya Eiben.

“It’s not the size of the dog, it’s the bite of the dog,” chants AJ Grey, prowling through the crowd at El Rocko lounge, piercing fans with an inescapable gaze. Self-described as “grunge with a kiss of metal,” The Maxines are a Savannah-based band bursting at the seams with love for their craft and devotion to their message. With an authentic approach to lyricism and organic method of composing their songs, they’re taking the local scene by storm, attracting a diverse cult of dedicated music fans. Consisting of singer AJ Grey, Emma Smith on bass, and twins Maddie and Coco Oke on guitar and drums, this headbanging quartet is full of femme rage and a call for change, whether you like it or not. 

The Maxines formed in 2021, a year in which “we all felt a little lost,” as described by Grey. “I had tried to form bands in the past, and they never worked. And I was like, okay, I’m going to try one more time, but this time, it’s going to be with all women.” Smith joined the band shortly after the album release bash in 2023. “Emma was always at our shows,” said Grey. “So she already knew all the songs.”

One of the band’s defining qualities happens to be their identity as a girl band. “In this world, we have to [support each other], because we’re always having to fight for our space and fight for our right to claim our space. And so to be surrounded by other women that are aware of that…that is really empowering,” Grey told me, describing the band as a singular ecosystem rather than a collection of separate entities. “When I’m on stage with these women, it is only support. Only this feeling of, ‘we’re gonna crush it. I support you, I believe in you.’” 

And the on-stage chemistry is impossible to miss. As Grey charges into the audience, Coco and Smith hold down the fort with a rhythm section comparable to clockwork, tied together by Maddie’s ethereal guitar playing. Each band member deeply engages with their individual instrument while staying in tune with each other simultaneously, producing a pristine sound that is true to the studio recordings of their debut album, Skin Tight.

Released on October 1st, 2023, Skin Tight is a heavy, grungy album dripping with anger, passion, and electric, masterful musicianship. Opening with the defiant tune Salmon Pants, the band unapologetically channels a collective outrage against the patriarchy and explores a broad yet universal truth: reflecting on how women face the audacity of men on an all-too-frequent basis, primarily in public spaces. The song doesn’t hold back: as the guitar builds up with fury and the drums louden, Grey sings, “Fuck your shitty integrity, fuck your condescending approval, it doesn’t mean anything to me.”

While The Maxines embody plenty of feminine fury, their lyrical subject matter covers more than just issues unique to women. “We’re not talking about specific gendered issues necessarily all the time. It’s just human issues,” said Maddie. 

Take their title track, Skin Tight, a perfect example of everything The Maxines stands for: a call to action, specifically, a call to “go against it,” according to Grey. Skin Tight is more than an invitation to the listener, it’s a challenge. Challenging their listeners is one of the many things The Maxines do best, asking, “Don’t you cry for him? Don’t you moan for him? Don’t you bleed for him?” on top of a heavy, Alice In Chains-esque riff and a headbang-worthy rhythm. 

“We’re very prone to stay comfortable,” Grey told me. “And in order to stay comfortable, we keep our mouths shut. We put our blinders on. We protect our hearts by not exposing them.” 

While their lyrics are an important aspect of their band identity, it would be a sin not to touch upon what the band refers to as “The Maxines Sound,” a unique mixture of each member’s influences. Grey’s stage presence and vocal cadences stem from that of femme rock legends like Joan Jett and Gwen Stefani. The Oke twins credit bands like The Smashing Pumpkins and other alt rock legends, along with heavier grunge bands of the 1990s. 

“One of [the] biggest bands that I love is Stone Temple Pilots,” said Smith. She also credits Alice in Chains, alongside classic rock bands and contemporary rock. “I’m a ‘Rock Band’ kid. So, anything that was on there or Guitar Hero.”

“When it comes to the Maxines sound, I think that that kind of goes back to how we operate as a band…being like one ecosystem,” said Grey. Originally, Salmon Pants was a thrashy, eight minute long tune, until the band settled on toning it down to fit their grungier spirit. The band credits their instinctive chemistry as a group when it comes to their free-flowing songwriting process, which relies on their instrumental communication when building, changing and evolving their songs. This results in that authentic, raw, emotionally-driven feel.

The Maxines debuted a fresh new tune, Bloodstains, live at El Rocko lounge in early February. It’s passionate, gritty, and features a killer bass riff. “The idea behind that song is [that] I kind of have a problem with people jumping on a train just for the sake of jumping on the train,” said Grey. “My parents have always told me, do your own research, be inquisitive, ask your own questions…so I kind of just have a problem with things not being authentic, and things not being real.” 

Bloodstains is also one of the first songs written with Smith. “I’’ve never written anything before. So it’s really [great] to get creative with learning new things. And [Bloodstains] was very fun to write with them, because…everybody has ideas here and there for each other’s [musical] parts,” Smith told me.

In terms of what’s next, the band hopes to start branching out into other Southern states, as well as playing with some experimentation on their next album. “We’re doing some things that we haven’t done before, which is really exciting,” said Grey. With a debut like Skin Tight, it’s only natural to get pumped about what’s happening behind the scenes. You can catch The Maxines at local venues such as Lodge of Sorrows and El Rocko lounge for a hard and heavy theatrical performance, as well as Southbound Brewery on May 4th for the Hello Summer Fiesta. 

With that being said, The Maxines are bound to leave a legacy behind on the Savannah music scene, which is exploding with a variety of other hard rock, metal, and punk bands. An experience a live show with The Maxines is nothing short of special, and, most importantly, inclusive. “You can tell [the Savannah music scene] is a safe space for a lot of people,” said Coco. 

“For us to be offering that space where [everyone] can just come and they can just be their authentic selves and feel safe and loved and and feel like they belong,” said Grey, “that’s an honor.” The band is living proof that dedication to their cause doesn’t only benefit their image, but those that engage with the band. The Maxines are near and dear to Savannah, forming a bond with the city, the scene, and the music lovers involved, that is, for lack of a better term, Skin Tight.

The post Real Talk With The Maxines appeared first on SCAD Radio.

It’s almost Stick Season, and I can’t stop crying.

It all started at the Iron Blossom Music Festival in my hometown, Richmond, Virginia. Noah Kahan stepped out onto the stage, looking like he’d been plucked straight from the crowd of granola 20-somethings. The first chord to “All My Love” strummed from his guitar, and the crowd erupted with toe-stomping energy. People clapped and screamed and sang along with every word. This carried on till about halfway through the show, when everything fell silent. A single spotlight lit Kahan as his bandmates left the stage, and he performed “Call Your Mom.” I’m not a sappy person, and I loathe crying in front of other people. Though, as Noah Kahan poured his heart out alone, I found myself breaking down.

If I’m being honest, I had no idea who Noah Kahan was until his latest album, “Stick Season.” I remember hearing “Northern Attitude” on Tik Tok and wondering where the tune came from. It was only after buying my tickets to Iron Blossom, that I realized Kahan would be headlining and began my deep dive into his discography.

When I first listened to “Stick Season,” something immediately clicked for me. There’s a deeply personal quality to Kahan’s lyrics. His words are uninhibited, laying all his scars, regrets, and desires out for his listeners. “Grab a past box of photos, I rip myself open,” sings Kahan in “Still,” a track lamenting a failed relationship. He puts care into every lyric, crafting a hyper-specific narrative that grounds listeners in his experiences. 

Kahan’s authentic sound matches the message behind his lyrics. His blend of acoustic melodies with fast-paced pop-rock elements puts a modern spin on folk that draws you in. A youthful irreverence threads through “Stick Season,” highlighting an emotional state so singular to coming-of-age that it becomes universal. Kahan pushes that feeling, confronting the bitterness and embarrassment associated with growing up in a smalltown and how one can both resent and yearn for the place they come from.

Grief and loss take many forms in “Stick Season,” where Kahan expresses how loss, whether it be the loss of a relationship or a loved one, can cling to you and drag you down a path you never expected. Mental health has been a focus of Kahan’s well before “Stick Season.” In his 2018 EP, “Hurt Somebody,” Kahan describes feeling trapped by his fear of moving forward. Later, in his “Cape Elizabeth” EP, he stews over the future, his love life, and the inevitability of loss. 

Kahan’s raw depiction of mental health and depression hits home especially in our post-COVID, media-driven society, where disconnection and trauma still linger. To combat the growing mental health crisis, Kahan transformed his own experiences into The Busyhead Project, an initiative to support mental health care and accessibility. Since its foundation in May, Busyhead has raised over 2 million dollars from “Stick Season” Tour tickets and donations.

Kahan’s success is on an exponential incline. After an overwhelming response from fans, Kahan extended his “Stick Season” tour with additional dates in the U.S., Europe, and Australia. Since releasing his extended album “We’ll All Be Here Forever” in June, Kahan has collaborated with musicians Post Malone, Lizzy McAlpine, and Kacey Musgraves. I wouldn’t be surprised to see future collaborations between Kahan and artists like Hozier, Boygenius, and Olivia Rodrigo. Kahan and Hozier have had two viral performances together this year, one of which I had the chance to see at Iron Blossom. Kahan has also shown appreciation for indie supergroup Boygenius and popstar Olivia Rodrigo, who covered Kahan’s song “Stick Season” for BBC’s Live Lounge earlier this month.

Artists like Noah Kahan are hard to come by and a privilege to witness. It’s a truly special experience finding music that makes you feel seen, and Kahan’s art accomplishes just that. Good timing and social media may have aided in Noah Kahan’s success, but it’s his heart that will keep fans like me listening.

The post Noah Kahan: From Hidden Gem To Overnight Success appeared first on SCAD Radio.

Christopher: Hello everybody. My name is Christopher Chin from SCAD  Radio, more than music, and today we have a lovely guest, Fia Rose. She is the  drummer for the band Chalk Talk. Woo. Love Chalk Talk. So Chalk Talk is a  band from California. Where did you guys actually like start?

Fia: Originally from San Diego.

Christopher: So it’s specifically San Diego. Did you guys meet in high school? What was the whole like founding of the band story?  

Fia: Okay, so, at the end of seventh grade, I started at a music school and three days before I was supposed to start, I went to a Cage, the Elephant concert with one of my friends and we met these two other girls in the pit and we’re like so small. 

Christopher: So you guys didn’t go to school together? 

Fia: No, no, we never went to school. I was the only one that went to a different high school, like all through the band. Okay. But basically in the pit, we met these two girls and it was super fun. Like I didn’t know any of their names, but I  just knew them because we were dancing with them and it was fun. 

And then three days later I went to the music school and I walked in and the first person I saw was one of the girls. And I was like, oh my gosh, hey, like I  saw you. At Cage, the Elephant. Like that was so fun. She was like, oh yeah.  Like my name’s Nina by the way. So Nina is the singer and guitarist. 

And so we went through like, like two or three years together in the music school. And then it was like randomly, we were like, let’s hang out one day.  And that day we were like, I’m bored. Do you wanna jam? And we did. And we ended up writing like “Seals”, like from our first album.  

Christopher: You guys were in high school at this point or?

Fia: Yeah, we were freshmen in high school. We were like, damn, that was kind of fun. Like let’s do it again. And like literally within a month wrote the entire first album. That we have. And then we were like, okay, like what do we do now? And so Nina was like, I know this girl in my class who plays classical piano. Like maybe we could ask her to like maybe play keys for us.  

Christopher: Mm-hmm. 

Fia: Or something. And so she was like, yeah, this is so easy. ’cause like you guys just went basic chords and like stupid rifts. Yeah. And so we got her on board and then we were like, we really wanna record and. We threw a party at  Nina’s house that ended up like we were charging like five bucks at the door or something, and like turned out the entire like, district, all the high schools found out about it. 

Christopher: Oh wow.  

Fia: It got rolled by the police, but like, damn, we made so much money. Christopher: And you were just trying to have like a house show.  

Fia: Yeah, we were just trying to, it was like our first show ever. We were so bad. And we had a DJ play after. I walked out to get something from my car and  I came back and the cops were like at the door and I was like, oh. And so, that was fun. But everyone there was like, you need a bassist. You need a bassist.  And we were like, yeah, we know. Yeah, of course. But like we already have the like, Recording booked and everything. So it was like kind of a rush. And one of our friends was like, I’ll play bass if you teach me. And so two weeks before we recorded, we taught our friend Katie how to play bass.  

Christopher: So she never played bass? 

Fia: She’d never played an instrument in her life. The first time she’s playing an instrument as in a, yeah. And now she’s a beast at it.  

Christopher: Oh my gosh, that’s so funny. Yeah. Your guys’ music has a very like, strong feeling of, I like a lot of the riffs. You guys have a very like individual tone for most bands. Like I feel like a lot of bands. That start out are still trying to find what they want to sound like. But you guys kind of from right off the bat knew exactly the kind of style that you played. Was there a lot of like strong inspirations for you guys or did you just fall back into it?

Fia: Yeah, so originally I think we were very inspired by the surfy culture of like where we grew up. Mm-hmm. In like the small town Encinitas in San  Diego. So definitely there’s a lot more of that influence in the first album. I  think for first album it was like always in Frankie Cosmos and like that vibe we really liked. 

And then when Covid happened, we were able to like, okay, let’s rethink, let’s like still have our style, but let’s pull inspiration from somewhere else. So we had these like songs and we were like, if Angel Olsen wrote this, how would she perform it?  

Christopher: Mm-hmm.  

Fia: ‘Cause we had so much time. Yeah. And so it was awesome. 

Christopher: Chalk Talk’s, feeling, I definitely always think about it. I’ve told  you this in the past about it being very like, dreamy bedroom, roomy 

Fia: Yeah.  

Christopher: Like the type of music you just listened to in your room.  Fia: Yeah.  

Christopher: Like laying in bed.  

Fia: Yeah. And, and what’s funny is because like, I think like since we were so young when we wrote it, it was like high school-like feeling, you know. 

Christopher: Yeah, totally. For me, for like your newest album sometimes I  call You, which came out in 2022, definitely go listen to it. It’s fantastic. The whole feeling, at least for me, for listening to it as long as I have, it feels like an exploration of nostalgia while also a feeling of wanting, like wanting someone or some, someone in particular usually, but going through the motions of all these feelings. 

Cause some of the songs are. I’m still, you know, standing still. It’s all about not being still stagnant, still being in love with the person. Whereas newspaper, it feels like the overall you don’t care. And then the album kind of ends with a, a  mix of both, you know? 

Fia: Yeah, and you know what’s like crazy about that is like, I feel like for each of the songs, like one person in particular writes it. And kind of like maintains the song as we’re like making it. And so when Nina was making “Standing  Still”, I was like, Nina, you have no idea how much that is aligning with my life  right now. Yeah. And she was like, I just made the lyrics like randomly like, I  don’t know. It’s like, that sounds exactly like what I’m going through. 

And I was like, I know so many people that are going through that can relate to it. So you’re doing a great job.  

Christopher: Because you guys recorded that last year. Was it last around the same time last year?  

Fia: Yes. Okay, so actually like a week ago. Like a year ago, last week. We finished recording.  

Christopher: Okay. That’s cool. I really liked the whole album and I was, I.  Trying to think that. I was like very much trying to think on the way here too,  especially like, I was like, what kind of music is this? With the top song from  that album being loveseat with 67,000 views, and of course your top song of all  time is 222,699, which is “Worse than Steve”, which  

Fia: Yes 

Christopher: You love, right?  

Fia: We are such a big fan of that song. You should definitely keep streaming it no matter what.  

Christopher: Oh my gosh. 

Fia: That’s a joke.  

Christopher: Why do you hate it so much?  

Fia: Because it’s like, okay, first song we ever put out, and literally I didn’t know how to run Spotify. Like I didn’t know how to like actually put it out the right way and just randomly one day we woke up and it was out and I was like,  what? And like we, I didn’t know how to like plan date. 

Christopher: It just like went out, a random day, and you’re like,  

Fia: and we chose that as a single ’cause it was catchy, but then it just got to the point where I was like, oh my God, this is too catchy. Okay. And it was like poorly recorded too, because we did it all in one day because we only had enough money to record our entire album in one day. I mean that from that  whole album, it’s just live. It’s just us playing one time.  

Christopher: It’s just one take?  

Fia: Yeah. All of them.  

Christopher: Of you guys all together. Oh my gosh.  

Fia: There’s like some with like some background vocals, but that was literally it. And so kudos to us. That was fun. But, We just didn’t know what we were doing basically, is what I’m trying to say. 

Christopher: So it definitely comes from that very D I Y surf garage. Fia: Yeah, no, literally  

Christopher: Falling down the stairs music.  

Fia: Yes. And so with like, “Worse than Steve”, I think like why I hate it so much is because like, what is that song even about, like, about be Worse than  Steve? No, like I was asking Nina and she was like, oh, it’s about my plant named Steve. And we were like, what? And now we say that it’s about Steve Buscemi.  

Christopher: The song’s about Steve Buschemi.  

Fia: Yeah, because like that’s funny.  

Christopher: I mean, I think everyone is worse than Steve Buschemi though. Fia: Yeah. 

Christopher: Because Steve Buscemi is the best.

Fia: I wanna make shirts that say, fuck Steve.  

Christopher: I want you to make more support your local girl band shirts ’cause I need one of those. 

Fia: Don’t worry it’s in production right now. But yeah, I don’t know. 

Christopher: For those of you who don’t know me and Fia are actually friends  outside of 

Fia: Yeah, we’re bros.  

Christopher: Outside of just strictly music.  

Fia: This is our first time meeting ever.  

Christopher: Yeah. Ever. but it is funny because, how did we meet? Fia: Through Cam.  

Christopher: Through Cam?  

Fia: Yeah. 

Christopher: So Cam is one of my friends. 

Fia: Cam is my boyfriend.  

Christopher: Yeah. And he was like, oh yeah, my girlfriend’s in this band called Chalk Talk. And then I, ironically, started listening to him to do an interview and then I was like, wow, now it’s top three on my Spotify or something like that. Something crazy like that. But so you guys just finished touring over the summer, last summer. Where’d you get you guys went just the west coast all the way up? 

Fia: Yeah, we started in Oregon and went, worked our way down back to San  Diego. That was such a fun process. If anyone gets the chance to tour, I’d say to it instantly, I wanna do it again so bad. And we’re planning to do East Coast. 

Christopher: Oh yes! Yes!

Fia: So don’t worry.  

Christopher: Yes. So excited. 

Fia: You’ll see us. 

Christopher: So, What was that like with the touring? ’cause? Did you fly up there or? 

Fia: No.  

Christopher: How did you guys get up to Oregon and come down? 

Fia: So Stella, the keyboardist has her parents have a minivan, and we took the minivan. First of all, we had rules. We were like on what snacks we could bring because we don’t want the car being stank.  

Christopher: Yeah.  

Fia: And okay. By the end, it was crazy because we had no time to like actually organize it. 

Christopher: Oh my God.  

Fia: And also I was like knitting and crocheting in the back. Every single day.  Christopher: Is that how you started your Schmookie business? 

Fia: Yeah, basically I was, that’s, I was like, I have so much free time. Like,  what else would I be doing? There was like yarn scraps everywhere.  

Christopher: Oh my gosh.  

Fia: And like all that crap. But yeah, we loaded everything up in the minivan and we went up a week before we stopped. Stella goes to Berkeley. Okay. And we stopped at her house for three days. She showed us around and then we went up to Portland for three days and we looked around and then going back, it was just playing Portland. One night we went to Coos Bay, Oregon for one night, we went to Berkeley for one night, LA, San Diego. It was all like one after another.  

Christopher: So you guys played like six or seven shows total?

Fia: Yeah, it was like, A little bit over two weeks. The whole thing.  

Christopher: Okay. Not too, too bad. Yeah. What was the sleeping arrangement? Did you guys just like sleep in like campgrounds? 

Fia: So one night, yeah. That was probably my favorite night. Okay. So this is,  Oregon, Coos Bay. 

Like, what? We got a, okay. We toured with this other band named Bex, who’s awesome. You should definitely check them out. And she was like posting if anyone wanted to add any more stops on our tour. And this pizza place in Coos  Bay was like, we’ll give you a down payment right now if you come. And it was like too good of an offer to like, so we went there. They said that we could stay.  They had an apartment above. The restaurant.  

Christopher: Wait, so you guys played at a restaurant?  

Fia: Yes. 

Christopher: It’s the same energy as like the Denny’s concert.  

Fia: Yeah. No, like actually I feel like everyone like was like, what are you doing right now? That’s so for it. I don’t know the, the person that opened for us,  The singer dropped out last minute, so they were just playing vocal tracks on top of it, and they had a cardboard cutout of Darth Vader, like it looked like he was singing, and it was just the strangest energy ever. I was, I was like, where am I right now? 

So back to the story. So they said that we could stay in this apartment, and we got there and they were like, oh yeah, we actually don’t have that anymore. And so we were like, bro, Like now we’re stranded. And this was like two hours away from like any major city. Yeah, yeah. And so we found a campsite that had one like campground left on it and it was A T V campsite. 

So we went there. We thankfully like packed a tent just in case like, I think one of our dads was like, come on. Like just take it.  

Christopher: Just take the tent. Yeah.  

Fia: Yeah. And. I remember we gave him so much crap. So we went to the campground. As we were pulling in, there was like two wild porcupines that were just like in the street. Yeah. And so anyways, we got there. It ended up being like 1:00 AM  at this point. We get to the campground, we’re like unpacking and we had to leave at five in the morning to start driving to San Francisco for that show. And so, I’m a pretty heavy sleeper.  

Christopher: Yeah. Yeah.  

Fia: And it was all four of us, like sardines in this tent.  

Christopher: Oh, okay, did people roll over on top of others?  

Fia: I was like not, like we had a air mattress. Yeah. And I just like, was fully off of it. I was just sleeping on like ground, but it’s okay. 

I didn’t wake up, but apparently all of them did because there was scratching on  the tent in the middle of the night. They were like something was happening to our van. Like we woke up and that’s what they were saying. I was like, what? I  get out the van, the back of the van is wide open and there’s crumbs everywhere,  like I think a raccoon got into our van, and ate everything. And like all over  Stella’s keyboard is just like, filled with crumbs crazy.  

Christopher: Oh my gosh. Was that the best story from tour? Was that experience?  

Fia: I loved that one. Yeah. Yeah. I don’t know. That was just so funny.  Christopher: And then for the actual concerts themselves? 

Fia: Yeah.  

Christopher: How was that? What was that like?  

Fia: It was so fun. I think it took us, I mean, we were playing a few shows before tour. Over summer, but like, I think it took us to practice rounds to really get our grip. In Portland, we found out that the venue that we were playing at like was creepy. So we ended up, we were just like, let’s just play under a  bridge. So we did, and like we ended up getting, so many people like to show up. And there were these people that were like rollerblading around us, like it  was awesome. And like it was fire. But it wasn’t like playing like a real venue until San Francisco we did. And that was just so fun. I think we just caught our groove. We were like, it’s the California air, we’re back. But San Diego 

definitely was the best because we’ve played the venue so many times. They know us and we were able to play as long as we wanted. I think we played like for an hour and 45 or something. Like we played every single song that we could.  

Christopher: How long was the normal, like It was like an hour, maybe 40  minutes?  

Fia: Yeah, probably like an hour. Yeah. But we were just like last stop on tour.  Christopher: Mm-hmm.  

Fia: I had these guns from playing drums every day. And I was like, I can do this all day. And so we were just looping songs, like playing as hard as we could, as loud as we could. It was so fun and Rory came up. My roommate and she flew out to like play lead guitar for us. It was so fun. We’ve never had that before, so it was just like added such a. Like better vibe. 

Christopher: So she had like some solos and stuff going. You guys just don’t  usually have that much.  

Fia: Well, like for newspaper, like we, we got like one of those like string  vibrator things that like, was making that really sick noise. 

That like, we’ve never been able to like, play live with. And so like I think everyone hearing that live was like, oh my god. 

Christopher: So, what is your favorite song to play live, though, usually?  

Fia: Yeah. So recently I like, I like “Loveseat” a lot because at the end we just completely stop and like Nina slows the guitar down. And then gradually like picks up and we just play as hard as we can. Yeah. And like I tell them, I’m like, break my drums. Like, I don’t care. Like, yeah, yeah,  yeah. Like we get into like, Like the fastest beat that you can like ever do it.  And like, like the basis is like hitting the symbols so hard that like the symbols are falling off the stage. 

And it’s so fun. I’m like, I don’t, don’t care. I don’t care in the moment. You know, like whatever. But also George’s is super fun, like mm-hmm. The pacing on that where it like speeds up so fast. I think just like, it’s just a vibe. Like in 

concert. Yeah. Like you can tell like everyone. Is like super chill and then they start moshing and then it gets, gets really chill again. 

Christopher: Okay. That’s always really fun. So do you play with the electric kit or do you play, you play an, you have an actual kit that you play live with?  

Fia: Yeah.  

Christopher: That’s fun.  

Fia: That’s just to practice while I’m at school. 

Christopher: So what is it like balancing a band life with school, especially being a student here at SCAD?  

Fia: Okay, so when we all went to college, we were like, okay, like either this is coming to an end and it sucks, or we can like all make the mutual agreement that like if something happens, we will like, do everything we can to like, help it happen. If that makes sense. Yeah. Like when we get a really big opportunity,  we’re not gonna say no, like we will fly out for it. Mm-hmm. Which is just, it’s happening soon, but like, yeah. It’s fun.  

Christopher: That’s great.  

Fia: We were like, we’re gonna devote all of our breaks to recording, and playing shows and we have, so far it’s been awesome. I don’t even care about the numbers. It’s just like, these are like my best friends and like it’s so fun to do  it. I don’t know what I would do in San Diego if I didn’t have that, you know?  

Christopher: Yeah, totally. 

Fia: So I think it was just, we were all like feeling the same way that we were  just like, let’s just keep going. 

Christopher: Just keep playing. Making music just for the fun of it, not other  reason.  

Fia: Yeah. And in high school it was like every weekend we were playing a  show, like it was so fun, but like even during Covid, like I’m so grateful that,  yeah, we were all home. I was like setting my driveway. I have like square  drive. 

Christopher: So did you guys, did you guys play in your driveway?  

Fia: I had like, there’s like 10 feet in between us and I would set everything up  and have them just walk up to it, play the instruments, and then clean it. Then I  would put it all away. So it was like we were still able to do it. Like obviously wasn’t ideal. 

Christopher: Yeah, yeah, of course.  

Not usually, but at least you were able to play some music and I think definitely with the music, that’s definitely why like our mutual friend Ronan has started playing guitar too, because he was like, I wanna learn all the Chalk Talk songs.  It’s like, okay, okay, okay. That’s definitely really fun. So how did you come up with the name Chalk Talk? How did you guys come up with the name Chalk  Talk?  

Fia: Okay, so this was, this was right before the show that I was telling you about mm-hmm. That we had at Nina’s. And we were like, okay, we need a, we need a name to put on a poster to like send to our friends and it had just gone through so many different names that it got to the point where I literally, I  looked at everyone. I was like, I don’t care anymore. Like you can just choose.  Like, I don’t even care. This’s not important, but Nina came up with it. We liked like Snail Mail and like things that like sounded similar and so Nina think she just thought of it and then she looked up what it meant. And it’s like when a  football team is like super unprepared and they like get on the chalkboard and just kind of like scribble some stuff and they’re like, okay, whatever. Like let’s  just try it. Okay. And so Nina was like, I guess that kind of like represents us.  Yeah. Because we’re just like, shit. Like last minute, whatever. So it just stuck. 

Christopher: That’s really cool. And isn’t there beef with another Chalk Talk?  

Fia: Yes. Oh my God. Okay, so there is, okay, we’re stupid. We, we just put it on the, on the flyer and like, since it just stuck, like we didn’t even like look to check if that was even a band name before. Which it was. And so when we were putting our stuff on Spotify, I looked it up and I saw the other Chalk Talk and  They are like older, I think they’re like thirties, like they’re in their thirties right now. Mm-hmm. And basically, They don’t have an Instagram, but we do, and it’s “ChalkTalk.Band” Follow us.  

Christopher: Very smooth plug. 

Fia: Yeah. But we got tagged in this photo and it was of these old white guys,  and they were like, oh, Chalk Talk killed this set. And we were like, yeah, we know, bro. Like Slack commented and then we get a DM from this guy and they’re like, I don’t think you understand, like you’re trying to like, copy us. Like you’re posing as someone that is so not on your level. And we were like,  bro, like,  

Christopher: oh my God, what?  

Fia: And we literally said, we were like, go back to MySpace, bro.  Christopher: Go get an Instagram. Like what? Like that’s actually really funny.  Fia: Yeah. They’re from like Connecticut or something. 

I don’t know. But it was like early two thousands I think they were playing, but  like obviously they haven’t done anything since. We’re the new Chalk Talk  bitch. Yeah.  

Christopher: They haven’t like, they’re not even playing concert anymore.  Fia: We’re relevant.  

Christopher: They, they don’t even play concerts anymore?  Fia: No.  

Christopher: Yeah. Okay. Who cares? 

Fia: It’s just like, it was like a throwback photo that they were Oh, yeah. And  then they tagged us in it. We’re like, yeah, that was dope.  

Christopher: Then they first went to your account. It’s just four girls from high school. You’re just like, oh, what the hell? That’s so funny. Oh my gosh. So for actually writing your music, what is like the process that you guys usually go through for writing music? 

Fia: I like, honestly, it’s such a mixed bag, like, I feel like we all have our own songs and when the time’s right we record them. I made “Loveseat” in my like small like room at college and I just like made the lyrics. I made the guitar and 

then I just like kind of sent it to them. And we have just this like stockpile of songs that we’ve like never gotten to get recording yet. And I think like our album was a way of like sifting out. Like, okay, yeah, this has potential, this doesn’t, yeah, yeah. Yeah. Standing still was actually supposed to be on our first album. Mm-hmm. But we just. We didn’t, there was like some part of it that we hadn’t figured out yet, and so we were like, what if we take that? 

That’s why it sounds more like our older stuff, in my opinion, I think but I don’t know. I mean, like Katie wrote “George’s” herself and like figured it out. I think it’s, we all take care of our own instruments. Yeah. Unless the guitar is like a  hook or something like you know, obviously. But I feel like we show each other the inspirations. 

Like if we need help, like we collab obviously.  

Christopher: Yeah. ’cause you wrote ” Cool Campus Crush,” which is my  favorite  

Fia: song that, yeah. Nina. Nina wrote “Cool Campus Crush” mostly. Oh, okay.  Yeah. That was fun. I feel like that was our first song where we were like, okay,  yeah, we can do this in college. Yeah. You know? 

’cause it’s like such a college, like mm-hmm. New crush on the campus.  

Christopher: Yeah. I like to, I like to say that it’s about, my buddy Cam, but it’s totally not at all.  

Fia: It’s totally not. I didn’t even know him when that was written, so I’m sorry. Christopher: Rip Cam. 

Fia: If I did, it would be about him.  

Christopher: That’s sweet. We love, we love Cam. And what’s that like, the dynamic of two drummers together?  

Fia: Oh it is awesome.  

Christopher: Do you guys ever the competitions?  

Fia: No, I still think he’s better than me. 

Christopher: Oh really?  

Fia: But like, yeah. I mean over summer, I was probably a lot better than him with my jacked, jacked arms.  

Christopher: Yeah, the noodle Cam arms versus the jacked Fia working arms. Fia: He’s really good at like blast beats and like Jazz.  

Christopher: I mean it makes sense what he listens to. Yeah. I like though it’s funny. It’s like blast beats and then Jazz.  

Fia: Yeah, I know. 

Christopher: And then you’re like rock and the very like indie kind of surf beats that are very. Vibey  

Fia: Yeah. 

Christopher: Cam’s, like experimental. That’s all he does. But speaking of which, why is your nickname Fia? Where does that come from? Like, I, like all  I was told was just like, don’t call her Sophia. ’cause that’s not her name. It’s Fia and that’s it. And I was like, what?  

Fia: Well, my name is Sophia, but I don’t like being called it. I was called it until sixth grade. I went to like a really small school and I walked into like a  class of like 15 kids and five of our names were Sophia. And I was like, okay,  oh my gosh, this is not gonna work. This is not gonna work out. And so,  someone snatched Sophia before I could as a nickname. 

Well, I mean just their name, their full name. Yeah. And then someone took  Sophie, someone took, so. I grabbed Fia and then someone took Foa. Yeah,  that’s, and so like, I don’t know, just like. Being called Fia in that class. It just literally stuck. Like, I also, like, my best friend’s name is Mia, so it’s Mia and  Fia. And so, yeah, I don’t know.  

Christopher: And then, yep, all the way up to college now.  Fia: Yeah.  

Christopher: Everyone just knows you as Fia 

Fia: Yeah. I think it’s like, I don’t know, just a lot more like original too. I feel like if someone says Sophia now, like I don’t even really respond to it that much.  

Christopher: Yeah, no, I think it was, it was really interesting with that one,  ’cause I was like, Who the hell is? Yeah. What kind of nickname is Fia? No, for real. Or I was like, what kind of name? Because like I originally thought that was just your name. Like that was your name was Fia and then Cam was like,  no, that, not even remotely. True at all. But so you guys, in the next couple of weeks you’re flying out to San Diego, right? So you guys are gonna go record next or what’s going on?  

Fia: We’re recording. We started recording a song right after tour. We had like five days before, like we all left. Mm-hmm. Yeah. So we started a song, we’re going to finish it, and then while we’re up there, Magdalena Bay is playing in  LA. 

And so they’re a pretty big band. And we got asked by U C L A, which is where Nina goes mm-hmm. To open for them. And it was kind of like that idea,  crazy idea of like, okay, this is too big of an opportunity to miss out on. And like, yes, I’m in week. eight or nine. Could have been, I don’t know, like probably the worst timing for me, but so worth it. Like I’m so excited.  

Christopher: That’s pretty a huge opportunity. So are we gonna be able, hoping to be able to see a new album sometime within 2023 or?  

Fia: I don’t think an album, maybe like a single or two is what I’m thinking.  Christopher: That’ll be fun. Definitely. Really excited.  

Fia: Yeah. And also something to add is Great Face is printing our vinyls and cassettes. So you will be able to purchase those at the Savannah Grave Face.  

Christopher: Awesome. That’s so great. Well, we’re looking forward to being able to hear all the music and the next step for Chalk Talk. Hell yeah. Chalk  Talk band at Chalk Talk band. At Chalk Talk Band. Yeah. Well, thank you so much for coming in and talking all about everything and music. Thank you and we’re so excited. Everyone, definitely go check out Chalk Talk on Spotify. And just enjoy all their music. Thank you so much for listening and thank you so much for coming in.  Fia: Thank you. Bye guys.

The post Interview: FIA ROSE appeared first on SCAD Radio.

Photos by Emilio Garcia and Megan Atwell

On April 13, I had the privilege to be asked to photograph the band Mt. Joy. My friend James reached out to me and I gladly accepted. I had heard of the band before, but I had never listened to them. Though, who am I to deny a free ticket to see some live music. Of course, I had to maintain that the music was of least importance as I was asked to take pictures–the real event of the night. I had not taken concert pictures in a while and to be offered this opportunity was a perfect way to dust off my digital camera. I was accompanied by our General Manager, Megan Atwell, so we could work together as a team.

We got to the venue and were kindly escorted through a side entrance for press (a bit surreal) and got our press passes along with our tickets and seats. We were then taken to the front of the stage where the photographer’s pit was and made our own little camp there with our gear. The band was the only act that night with no opener preceding it, so it took a little while before the band finally came out to play. We were allowed access in the photographers pit for the first three songs where I spammed the shutter button on my camera and tried getting every angle humanly possible of the band and each member individually. There were some very unfortunate stage placements of the band members with both the bassist and drummer being almost five feet behind the rest of the members, so getting proper portraits of them was definitely a challenge. The light show was captivating, with a lot of variety in color adding to the psychedelic ambiance of the performance, which was a very sweet surprise for me.

The three songs had passed, Megan and I had to go to our seat–located right in the middle of the lower seats at the Civic Center where we switched our lenses and continued taking pictures. This was when I finally tuned into the music, no longer immersed through my lens, and realized how average the music sounded. When I say average, I don’t mean bad, but they sounded like every other famous indie band. Again, not a bad thing, but rather an observation of their music. There were a few psychedelic songs that I enjoyed but the rest were not as compelling to me, with one song even making me feel like I was listening to Christian rock. The thing that disappointed me the most out of the whole concert wasn’t the music, but rather the visuals. We easily discerned them as being made by AI, a very disappointing decision made by the artists who do not see the irony in their choice. While being experimental in its nature, it does not have that humanity that makes art impactful and meaningful. To AI, it is only numbers and data. To humans, it is life itself.

During the intermission, Megan and I decided it was a good time to leave. I can honestly say that I had a good time and to be behind the camera in a new setting and context was refreshing and another reminder as to why I could see myself doing this forever.

The post Mt. Joy Review and Concert Photography appeared first on SCAD Radio.

This article is part of SCAD Radio’s SXSW collection, in which some of our radio members visited the music portion of the SXSW Festival and Showcase in Austin, TX.

In a medium-to-small dark bar with a stage set up in the corner of the room, to which a group of people started to crowd around, appeared a woman with an eye-catching silhouette. She looked like a Victorian next-door-type-of-girl ghost who got trapped within a Scott Pilgrim universe, donning a baby blue lace-sleeved nightgown and vibrant red hair with multiple space buns. Accompanied by a fellow drummer, this turned out to be the musician and act of the night: Ena Mori.

A Japanese/Philipino artist, Ena Mori is one of those hyphenated musicians. Mixing different influences into her overall pop sound, she can be described as art-pop, synth-pop, indie-pop, dream-pop, and the list goes on. From her attire and how she carries herself (and from the fact that she brought her stuffed octopus plushie to decorate the stage,) I expected nothing less of an eccentric- and most importantly-  authentic performance. What really drew me into this concert was the playful energy she brought, which is impressive considering that Mori mentioned it took her 33 grueling hours to get from the Philippines to Austin, Texas. 

More extensively, I fell in love with Ena Mori that night because of how she made me and others feel included and seen just by singing about her insecurities, taking the time between songs to talk about her mindset behind such songs. Some of these songs include “TALK! TALK!” where Mori discusses how the song is about talking to herself, not due to isolation brought by the pandemic, but from the fact that she has a lack of friends. Another song,  “KING OF THE NIGHT!”  is about her being a geek in high school and considering herself a loser. It’s through her lyrics and choice of talking points for the audience that one can see how much introspective thought Mori puts into herself. However, her superpower is turning those introspective thoughts and insecurities into self-realizing anthems, raising the energy of the stage and crowd through her facial expressions and longing arms that reach out into the air. This goes to show just how much Mori feels every lyric she has written in her own imaginary company.

Getting deeper into the night, the energy and self-love from Ena Mori came out more and more throughout the set. And as a perfect conclusion, Mori sang “WHITE ROOM” to close out the set, encouraging the crowd the clapping of hands and repetition of the lyric: “who are we to say that we are not enough?” As one final burst, Mori outs all her emotions by proudly beating a floor tom and releasing the drumsticks to the floor like a mic drop. A percussionist at heart, Mori not only lets the banging of the drums, cowbell, and tambourine resonate throughout the crowd, but her words and personality as well. If you enjoy the likes of Japanese Breakfast ,with the vocal modifications of Remi Wolf, and the music production of MUNA, then you are heading towards the path of Ena Mori.

The post SXSW In Review:  appeared first on SCAD Radio.

The album starts strong with “Best” as her opening track. The song has a subtle progression in the strength of her vocals and sound, thereby building a connection with the listener as we are immersed in her confessional lyrics. She admits “I never was the best to you” as a repeating mantra in the chorus. We are met with a brutally real takeaway from Abrams as she insists on taking ownership of her own faults and mistakes. 

One of the most notable songs on “Good Riddance” is “I know it won’t work”, once again an inherently emotional piece evoking a longing brought upon those who have suffered through their own heartache. I absolutely adored this track and it made its way onto quite a few of my playlists. It is unmistakable that her vulnerability comes from a need to tell her truths, almost imitating a diary entry. 

The layering of instrumentals in a few tracks lends itself to being difficult to interpret in some cases. That being said, it is clear that the effect Abrams is aiming for is to cloud the listeners’ minds and recreate her shared feelings of confusion in the situations she’s depicting throughout the album. On the other hand, oversimplified tracks such as “Amelie”, while maintaining her intimate nature in her music, are her weakest as they

feel repetitive and lack the compelling storytelling that stronger pieces, including “Where do we go now?” and “Will you cry?”, possess. 

In my opinion, the bridges of each individual song communicate the vital message she is trying to convey to the audience. My personal favorites are “I should hate you” and “Faultline”, the two songs equally as devastating as she navigates the wreckage of post-heartbreak. “Faultline” goes as follows: “And all of my imaginary friends are scared of you / I’ve gone and cried to them in our bedroom / Most nights, I will pretend I left this sooner”. This not only appeals to our generation as dreamers, but it encompasses the isolation that comes with loss. 

“Good Riddance” isn’t completely overflowing with sorrow, though, as we approach the end of the album we are met with “The blue”. A story of love and feeling understood by a partner unfolds with the delicate intertwining of her vocals and instrumentals as she details her growing affections. The budding love is conveyed as the intensity in her voice grows alongside the progression of the track. 

The closer, “Right now”, comes as a strong relief of the self as she dives into her own identity and doubts. She describes how she feels “so high, but can’t look down” and her distance from her expectations. However, she comes to the inevitable conclusion that she would not be herself had she not taken steps to get there. In sum, she finishes off the album by coming to terms with her mistakes and pain in acknowledging “I feel like myself right now”. 

As a whole, the album serves its purpose of being a dedication to her own emotions and intention of sharing her very real experiences for the betterment of the listener. Even going through the first listen, as a self-proclaimed lyrics person, I felt as though I was having a conversation with a friend and someone who feels in the same way I do. You learn so much about Abrams as a person and an artist. I could not give a stronger recommendation to give “Good Riddance” a lesson.

Best Tracks: “I know it won’t work”, “Right now”, “I should hate you”

Worst tracks: “Amelie”, “Difficult”

The post Gracie Abrams Delivers An Emotionally Powerful Story With New Album “Good Riddance” appeared first on SCAD Radio.

General Manager – Dylan Gutierrez : “Not Giving You Up” by Big Time Rush

Content Director – Vinay Ranganathan : “Everybody (Backstreets Back)” by Backstreet Boys

Events Director – David Levy : “Claridad” by Menudo

Events DJ –  Negan Fu : “Year 3000” by Jonas Brothers 

Music Coordinator – Hailey Feller : “She Looks So Perfect” by 5 Seconds of Summer 

Program Director –  Ell Pikor : “Big Time Rush” by Big Time Rush

Production Director – Megan Atwell : “BOOGIE” by BROCKHAMPTON

Branding Director – Taylor Eby : “Bye Bye Bye” by NSYNC

Social Media Director – Kshirja Raje : “Somebody To You” by The Vamps 

Events DJ (ATL) – Caroline Moody : “She’s Kinda Hot” by 5 Seconds of Summer 

Assistant Content Director – Clove Morgan : “Heartbreak Girl” by 5 Seconds of Summer

Assistant Events DJ – Christopher Chin : “Intergalactic” by Beastie Boys 

Assistant Branding Director – Logan Fitch : “Pop” by NSYNC 

Assistant Music Coordinator – Zach Nguyen : “Can We Dance” by The Vamps 

Assistant Program Director – Tatiana Zavala : “Valentine” by 5 Seconds of Summer

Assistant Social Media Director – Avery Naylor-Johnson : “Daydream Believer” by The Monkees

Assistant Production Director – Riley Samz : “Butter” by BTS

Assistant Production Director – Mairyn McGilvray : “Boys” by The Beatles

Listen now on Spotify Staff Picks 

Check out who’s who on “Meet the Staff” 

The post Staff Picks Week 7 appeared first on SCAD Radio.

General Manager – Dylan Gutierrez : “Right As Rain” by Adele

Content Director – Vinay Ranganathan : “Skinny Love” by Bon Iver

Events Director – David Levy : “Concussion” by girlhouse

Events DJ –  Negan Fu : “All Too Well” by Taylor Swift

Music Coordinator – Hailey Feller : “So What” by P!nk

Program Director –  Ell Pikor : “Mr Loverman” by Rick Montgomery

Production Director – Megan Atwell : “The Dress” by Dijon

Branding Director – Taylor Eby : “Plan B” by Megan Thee Stallion

Social Media Director – Kshirja Raje : “We Are Never Ever Getting Back Together” by Taylor Swift

Events DJ (ATL) – Caroline Moody : “Before He Cheats” by Carrie Underwood

Assistant Content Director – Clove Morgan : “Hits Different” by Taylor Swift

Assistant Events DJ – Christopher Chin : “Boys Don’t Cry” by The Cure

Assistant Branding Director – Logan Fitch : “Cool” by Gwen Stefani 

Assistant Music Coordinator – Zach Nguyen : “Haunt You (feat. Chloe Moriondo)” by X Lovers

Assistant Program Director – Tatiana Zavala : “Take It Or Leave It” by Cage The Elephant 

Assistant Social Media Director – Avery Naylor-Johnson : “Heather” by Conan Gray

Assistant Production Director – Riley Samz : “minnesota is a place that exists” by glaive

Assistant Production Director – Mairyn McGilvray : “A Case of You” by Joni Mitchell

Listen now on Spotify Staff Picks 

Check out who’s who on “Meet the Staff” 

The post Week 6 Staff Picks appeared first on SCAD Radio.