R&B artist Jhyve breathes new life to Toronto’s burgeoning music scene in his “Conversations” EP

Hailing from the creative hub of Toronto that was minted by Drake, R&B singer-songwriter-producer Jhyve gives us another reason to pay attention to the Canadian metropolitan powerhouse.
With guitar in hand, Jhyve is the latest star emerging from Toronto’s musical firmament thanks to his singular soul-focused sound.

Born Jamaal Desmond Bowry, Jhyve comes by his genre blend honestly. His mother sings in a gospel choir and his father is a former DJ who bumped soca and calypso at community parties with his own “big ass” soundsystem. Jhyve took those influences from his parents, immigrants from the Caribbean island of St. Kits, mixed them with the late-90s R&B he grew up on and added alt-rock picked up from his university dorm-mates who played guitar and got high all day. Everything filtered in.

“I wouldn’t have the sound I have today if i didn’t have all these honest prolonged exposures to different types of music coming up,” he says. But while his music is influenced by the the past, it stil sounds cutting-edge. “People confuse paying homage to duplication. There has to be reinvention. Don’t be brothers, be cousins.”

The jack of all trades performer falls in line with other boundary-pushing artists like Miguel and SZA, and his latest EP is Conversations, a five-song cycle about relationships that displays an introspection and vulnerability rarely seen in modern R&B, at least from the guys.

“Men hardly get out of a position of strength and nobility in love songs,” Jhyve says. “We always come at it from receiving the best love ever or being hurt by an ex. It’s very rare that you get more range of emotion. Conversations covers that range.”

The title track is about how men aren’t just about one thing, but actually enjoy conversation, too, while “Feel Something” is about romantic disconnection and “Convince Me” is about insecurity. The dark and moody “Human,” with a cinematic video to match, stems from a messy breakup in Jhyve’s past that inspired lines like: “you got problems like the rest of us / fighting demons like the best of us.” While “Keep Doing You” is about catharsis and closure, set after a relationship and offering redemption and emotional release as it ties in with his own experience chasing his dreams.

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Gundelach Exclusive FAULT Magazine Interview


Interview: Kee Chang
Photography: Simen Skari 


Norway’s Gundelach, a.k.a. Kai Gundelach, released his self-titled debut EP in 2017, which secured him a Pop Album nomination at Spellemannprisen (the Norwegian equivalent to the Grammys). Last week, the DJ-turned-solo artist unveiled his debut LP, Baltus, a thoughtful and inspired collection of tracks that continues to showcase his Nordic-noir sensibilities and haunting, falsetto vocals. It’s infused with undeniable feeling that’s sincere and melodies that are unshakably catchy. And while deeply introspective lyrics set to gloom-tinged, dreamy synth-pop is nothing new, most other artists use blunt chisels on big slabs—Gundelach is working in scrimshaw. Among the LP’s stable of uncommonly spectacular tracks, “Duck Hunting” and “Past the Building” are sonic checkpoints that seem to do this still-infant artist on the rise most justice. Just don’t expect confetti canons. Baltus is a porcelain sorrow.


FAULT: Is Gundelach a common surname in Norway? How often do you get asked about your moniker?

Gundelach: It’s not common at all, actually. Even Norwegian journalists ask me that same question. It’s a German/Danish name. I don’t come from a German family, but I guess there were some ancestors.


FAULT: Maybe we can start with your most recent single off Baltus: “Past the Building” featuring ARY.

Gundelach: That track means a lot to me. It came together quite quickly. ARY and I had just gotten to know each other in the studio. I helped her with some of her tracks and she helped me with some of mine. I feel like we make a pretty good team writing the lyrics and the melodies. The track is about relationships that are a bit toxic. I think it’s the only track that I listen to pretty regularly after finishing the album.

FAULT: So “Past the Building” came together pretty fast. Is that usually the case?

Gundelach: It’s really different for every track. When you write with another person like that, you don’t sit for a long time and wonder whether what you wrote is good or not because you get confirmation right away, you know? If you sit with someone that you respect musically and that person says, “That’s a really good melody,” you don’t have to listen to it over and over again for days, which can happen if I write alone.


FAULT: Going way back now, your first-ever single in Scandinavia was “Alone in the Night.” It’s another “melancholic daydream” as you’ve describe your sound in your own words. What inspired that cut?

Gundelach: I was pretty heartbroken at the time. The premise of that song is about the feeling you have when you’re in love with someone, but you don’t know if the feeling is mutual anymore. It’s that place where you kind of know it isn’t, but you’re too afraid to ask so you go around thinking all these dark thoughts. I had this studio just outside of Oslo at the time. I was just sitting in the studio by myself and I had just figured out how I wanted to make music, which I had been trying to figure out for three to four years.


FAULT: In every relationship, there’s one person who loves the other person more. It’s devastating, isn’t it?

Gundelach: I’ve thought about this a bunch of times. It’s not always a bad thing, though, because it can turn from one side to the other. But it is always one person that loves the other person at least a little bit more.


FAULT: On the second-ever track you released called “Spiders,” I know you started with long chords, improvised vocal melody, and then wrote the lyrics. Is that a natural progression for you with songs?

Gundelach: Yeah, that’s kind of my go-to method for writing because I tend to improvise in gibberish. I almost always start with the arrangement of instruments to have two bars or something and then improvise over that in gibberish English. I think that’s pretty cool because, when you sing in gibberish like that, subconsciously, you always say some words that are really good. If you let yourself improvise, you don’t have time to overthink stuff. Then I build the lyrics around those words. I really like working like that.


FAULT: When something big unexpectedly happens—when Pharrell plays “Spiders” on Beats 1–does that feel like a seismic event? Does it ripple out into other opportunities in a way that’s very cause and effect?

Gundelach: Of course it’s always cool when stuff like that happens and I remember that particular instance really well. I was in Berlin. I had been clubbing the night before. My phone rang and it was my manager saying that I had to turn on the radio because Pharrell is playing my song. Of course that’s huge. But I don’t know how much it did for me. I got exposed to new listeners, I guess. For me, and for many other artists also, when stuff like that happens—when you get confirmed for a really cool festival—it’s always cool, but you’re also thinking about the next thing. I wish it wasn’t always like that. I wish you could just appreciate the cool things that happen in your life, instead of thinking about what your next goal is. It’s like buying a Porsche and then sitting in that Porsche thinking about wanting a Ferrari or something.


FAULT: What do you remember from your earliest days performing live and transitioning out of DJing?

Gundelach: That was pretty intense because, even though I had been making music for quite a few years, I shared it with almost no one. I was in the Oslo club community and culture through DJing and knew a lot of music people that knew I made music, but they hadn’t heard it. I was just so nervous. You couldn’t talk to me at all for two hours before I would play. I just remember being super uncomfortable. Now it’s something I can control. And I guess I say that but yesterday I performed on live radio and chocked up on the first line of a song. It’s weird when you have to sit down to do an interview and talk in a low voice like I am now and then have only ten seconds before you have to perform. Your voice isn’t warmed up at all. It went fine, though. I didn’t stop the song or anything. I just came in wrong, I guess.


FAULT: If anything, I think that makes you more relatable to people listening in. It’s disarming and human.

Gundelach: They told me that same thing after the show. It’s true. I guess if you choke up and you’re unable to perform at all, that’s not very good, but if you have a bad start and you get really into it by the end, you’re golden. As you say, it’s a human thing. People see that you’re just a dude trying to sing a song.


FAULT: I know there was a tragedy in your personal life when you flew to New York City to record the EP in 2015. [Editor’s Note: Kai learned upon arriving in the city that his friend back home committed suicide.) Did you find that colouring the material you had already been working on in a different way?

Gundelach: It’s crazy. I had worked out the songs before I got there. When that happened, the only thing that felt right was to be in that studio and just record. It was so weird and scary and everything. Suddenly, all those songs had a different meaning to them. It definitely coloured the whole thing. When you’re emotional, that affects your singing—you hear it in the voice. That was an intense experience.

FAULT: Music entered your life early it seems. You were making music for six years by the time you went public. You sang in children’s theatre at age nine. You learned guitar at ten. As you said, you were nervous to share your work, so what opened up that possibility? Did it become a necessity for you?

Gundelach: The thing is, it wasn’t necessarily that I was nervous. It was just that I wanted to be good enough before I put anything out there. I think a lot of artists I know maybe jumped into it a bit too quickly because they had some demos and a manager reached out to them or a record label reached out. I just wanted to be good enough at the craft before I released anything so I could have control in both the production and the way it’s presented to the public. I wanted to have creative control so I waited until I felt I was ready. But then I guess I wasn’t because you’re never ready. You have to jump into it at some point.


FAULT: Do you think a lot of DJs have the desire—sometimes the secret desire—to make original music?

Gundelach: I do think a lot of DJs have the desire. But most of them want to make club music because they’re in that scene. That’s what was different with me, I guess. I didn’t want to make club music necessarily. I wanted to make music that’s quieter than what I’m putting out now honestly. In the beginning, my songs were just acoustic guitar and maybe one synth. It was really mellow. Then I started adding drum machines. I got more interested in analog gear and hardware. It was a natural progression to introduce that into the music. I guess I had a really different dream for myself when I was DJing because I didn’t want to be playing clubs. I wanted to play stages and nice rooms, and to have a live thing with a band. It’s different.


FAULT: Can you tell me about this unique work experience from your past where you, from what I understand, sang to old people as a sort of therapy? It really underscores music’s capacity to heal.

Gundelach: I felt a bit underqualified for the job. But I felt like I got enough from it on a personal level because it was really important work. I had a great time with those people. They were mostly demented people. You would be sitting there having a normal conversation with one of them and they would start over and over again. They’re just living in a loop, you know? It’s a bit scary. Music has this function where it allows the brain to remember. They suddenly “wake up” when they hear music from their past. I couldn’t play everything on the piano. I had to learn all these old songs and it took up too much time for me to continue so I didn’t have the job for that long. But it was really meaningful to me at the time.

FAULT: Do you still have ambitions to act? I know that’s been a part of your narrative as well.

I do, yeah. My synth player’s girlfriend is actually a renowned director here in Norway and she asked me a couple of times to come and try out stuff with acting. I haven’t gotten any parts yet, but I’m not really working to get them either. If the right project is there for me in the future, I would love to. It’s also a bit scary to jump back on the horse after not having done it in such a long time, I guess.


FAULT: Where do you find yourself pulling a lot of inspiration from, apart from music?

Gundelach: I’m not reading so much right now, but I tend to read a lot. There’s this Norwegian author that you should check out named Kjell Askildsen. He’s the master of short stories in Norway, but he’s also pretty acclaimed worldwide. I have all of his stories. I sometimes read to get into the headspace that I want to be in—not the authors’ necessarily, but into the headspace of the literature. The same goes for Oscar Wilde and Hemingway. That’s a good way to get into the right mood to write music, for me at least.

FAULT: What new challenges did you face while working on Baltus? Did it feel very different in the studio?

Gundelach: It did because this was the first time where I was the main producer and it’s my first album. I had a technician who also co-produced some stuff, but mainly, I worked as the one producer and that was really different. We also had a kind of deadline that was long so it was really intense. It was every day, all day type of thing in a room with no windows in this huge building. We had to go up to the roof at least every third hour to get some light so you could feel that it was daytime. And since this is an album, I really wanted to make it a cool listening experience from beginning to end. I worked super hard on the tracklist. There’s one song called “Control” that we worked on for a week, but all the other songs were a lot quicker and I liked that. I hate it when you can’t figure out one section of a song and you end up changing it like 12 times. You get so sick of the song and end up hating it, you know? Sometimes it feels good to start on the right path and then you can just finish it pretty quickly. I’m happy with the result.


FAULT: Deadlines can be good, too, right? With anything creative, you could conceivably work on it forever.

Gundelach: That’s true. Deadlines are really important. It’s a really good thing.


FAULT: Are you excited to go back on tour soon?

Gundelach: I’m really excited, but I’m a bit terrified as well because we’re going to some European cities that I’ve never played before. I just hope that people come to the shows. I’m trying to have a bit of a different set-up to make stuff even more organic and depend less on backing tracks by bringing more hardware onstage. It’s an overwhelming project right now, but I think It’s going to be really nice in the end.


FAULT: I found a YouTube clip of you performing in the cabin of a plane. That had to be a weird experience.

Gundelach: I think that’s one of the weirdest things I’ve done in my life. If I got asked again, I would say no because it was super awkward. Those people hadn’t signed up for any concert. You’re just standing up there with really shitty speakers. But it was kind of cool as well, I guess. They paid pretty well so that was nice.


FAULT: And lastly, what is your FAULT?

Gundelach: Oh, shit—my fault… It’s my fault that I play too much computer games right now. I’m really into that stuff nowadays. It tends to eat a lot of my time, which should be spent on planning this tour.


FAULT: Which games are you playing?

Gundelach: I’m playing this game called PlayerUnknown’s Battlegrounds. I play Counter-Strike as well.


Baltus is out now. For more information on Gundalech, visit www.gundelachmusic.com

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Dylan Sprouse – Hollywood’s next IT Boy – Exclusive FAULT Online Cover




Things have changed drastically for Dylan ever since his early days as a Disney superstar – but all for the better. Dylan is currently diving head-first into his soon to be opened meadery All-Wise Meadery,  all while expanding his wings into independent film and proving to the world that he’s a multi-faceted performer. Dylan is part of a new generation of actors that bring hope to the industry. At the close of award season, we spoke to Dylan as our March Online Cover Star about all things Hollywood and the positive aspects of the #metoo movement. In spite of his young age, he’s wise beyond his years and sets the examples that we’ve so desperately needed to have. Here’s Dylan Sprouse – FAULTs and all.

Let’s talk about your newly started business – All-Wise Meadery. What do you reckon is the most rewarding part of being an entrepreneur and what advice do you have towards young people looking to start their own business?

I would say that the most rewarding thing for me has been the realization of this project with my friends who are now also my business partners. Particularly because they were people who believed in me and not only invested their time but also their money in the prospect that we could really succeed together. The only advice that I’ve got for young entrepreneurs who are looking to start a business is that it’s easy to think that you won’t succeed if you don’t put a lot of your own money upfront and that’s not true. The first step to actually succeeding is just starting and thrusting yourself into uncomfortable scenarios. Just learning the ropes of how to open a business and really getting in there. If you look at it from the outside and you never step in, you’ll never figure it out. And you’ll never get anything done. So I would say just start. Immediately.


What were the biggest challenges on an emotional level that you’ve encountered along the way?


The biggest emotional challenge was, on a similar level, knowing that my friends invested so much in the meadery that our futures were intertwined. If one of us slips up, all of us do. That was particularly nerve-racking. But on an emotional level, probably the most rewarding thing has come recently when we were actually stood in the space of All-Wise Meadery after nearly two years of trying to put it together. Seeing it physically, tangible – was just overwhelming.

Your latest released film – Dismissed – features quite an intense troubled young man. What catches your eye when you’re going through a script and how did you manage to identify with Lucas?

There are a bunch of different things. One criterion that I use is doing something that I’ve never done before. Even if we’re talking about a negative character – in the case of Lucas. But also – Do I think that the cast and crew will be good to work with? That’s huge for me. You could be doing the coolest role ever, but if you don’t like any of the cast and crew, it’s going to be a terrible shoot. And it will also show in the end result. I’ve been away for so long that I want to stretch my acting again and I want to do things that are different. When my audience sees me in a role, I want them to go like – he’s definitely got more range than I thought he did.

How did you manage to identify with Lucas or empathize with him in any way, shape or form?

I only identified with a part of him. Definitely not his actions. But with parts of him, I certainly did. The stress of wanting to succeed for your family’s sake in a classroom setting is something that I think any student can identify with. The fact that you’re potential future hinges on a single individual and their personal opinion of you can be really damaging and frightening. I think that’s the part of Lucas that I really identified with. When I was young, we were kind of a lower class family and so I was very desperate to bring things to my family and elevate them. That’s something that made me relate to Lucas. It was the struggle of having to succeed in any way and not just for yourself, but also for your loved ones and your family that made me understand him.



When looking at your acting career – it’s been Disney and then you’ve gone into independent film. How do you feel you’ve managed to find your identity outside of the Disney bubble, considering the fact that you were involved in it at a very impressionable age?

It was a little bit of everything. Diving into my hobbies, like my meadery, has defined me in a way. I also think that taking time away from the industry and letting people forget about me for a while was a good thing. Furthermore, I think I’m also trying to do different roles. The truth is that I don’t think I’ve got the angst to define myself against Disney. I don’t care that much. But at the same time, I would like to do other things. Needless to say that I played Zack for 7 years before I took my break! Doing the same thing was tiring after a while.


You and Cole are very distinguishable in terms of the paths that you’ve both chosen to pursue. Yet while growing up, you still had to go through self-identification – while having someone identical to yourself by your side, working in the same industry and being in the public eye. Was it difficult for you to find your own separate ways?


I don’t think it was too difficult. As twins do, sometimes you just try to push away from the other, in terms of fashion and hobbies. And I think we did it in college, but it was never a moment of us being like ‘no, fuck you, see you later’. We were never combative about it. We’re actually pretty tame. There are twins who go through this mental awakening whereas we were just like ‘meh, I like this, you like that’. Although we were also careful not to step on each other’s toes. At the same time, I don’t like photography for example; I don’t personally like doing it. Even if Cole hadn’t started his photography, I wouldn’t have picked it up. If I started doing photography after he did it, it would seem bizarre.


Would you say that you’re quite opposite characters then?

I think yes and no. I mean, we’re not super different, but definitely, enough so that we moved into different directions with our hobbies, for sure.


Hollywood is currently ablaze with sexual accusations left and right. Have you ever witnessed similar occurrences while on Disney?

I’ve never seen or experienced anything of that sort while I was on Disney. But my heart goes out to people who have. What’s giving me hope is that so many people are responding to it. So many people are speaking out, which is the first step in order for a major movement or change to take place. I’m hopeful, I have hope. In a way, I think it sounds bad right now, but actually, it’s a great time to be in the entertainment industry. The bad times were previously. Because people were literally being bullied into being silent. Now is the good time to be in this industry because this bullshit isn’t going to happen anymore.


What do you think people in the industry should do to in order to make it safe for both men and women?

I think that these occurrences are happening by and large because of individuals who are corrupt. The best thing that can be done is what’s already being done. But it’s also boycotting and taking a personal stance against artists that you don’t agree with. I hear the same thing a lot, which is ‘I really dislike them as a person but they make great films.’ Well okay – you shouldn’t watch them then. Because when you do, you support their personal habits indirectly. People are notorious for having really corrupt practices and we hold them as artists still. And without naming names, I would say – just stop.

How do you support good art and not support bad behavior if the two are intertwined?


You can be a good artist and not have a bad behavior. The two aren’t linked. I think people like seeing and talking about this idea of the ‘insane artist’. There were painters in the medieval period who used to cut people’s heads off and everyone went like ‘oh my god, he’s the best’. Okay, but at the same time, he’s cutting people’s heads off and you shouldn’t be supporting a guy like that. There are so many great artists in the film and television industry that don’t cut people’s heads off that you should support. It’s baffling to me how people support the movement and wear black at awards shows yet continue to support artists and filmmakers like these. It’s very hypocritical – take a stance and really stand by it. I think that way everyone can bring change to the industry from inside his or her household.


What’s your FAULT?

I’ve got an intense love of food – up to a point where that’s a fault. Because I’m not a chef and I’m not equipped to cook well and I’m also lazy. So I spend so much money on food that it’s becoming ridiculous.


 Interview: Adina Ilie

Photography: WOLAND

Hair and Make Up: Valentina Creti using Charlotte Tilbury


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Contact Lenses: The End of the Glasses Dilemma

Glasses wearers, this is a call out to you. There are numerous situations when glasses just get annoying, and what’s worse, there’s nothing that can be done, as glasses are vital in providing the ability to see clearly for some. Or is that really the case? Yes, everyone, contact lenses do exist, and you should have heard of them by now, this is the 21st century after all.

If you are still a bit squeamish at the thought of wearing contact lenses and sticking your finger in your eye, then perhaps it is time to overcome your fears, because contact lenses do so much more than allow you to see. They can transform your life, whether that is dressing to impress on a night out, or just for sheer practicality. Move on over glasses, let contact lenses show you what they can do.

Dress to Impress

Source: Pexels

Date night or time with friends? Contact lenses can elevate a look in the simplest of ways. Choosing an outfit with colours that match your eyes will make them stand out more, ideal for when you are sharing loving gazes with your other half. Nowadays, buying lenses online is becoming more popular, as you don’t need to make the extra effort to go the shops, and you can order them in time for the next big night out. In some cases, such as with Vision Direct, you can order at 8pm to receive the following day. Contacts and nights out also go hand-in-hand on a practical level too, especially with couple’s time such as a cinema date. 3D films are a nightmare with glasses, as you end up having to wear the 3D glasses over your normal glasses. Not a way to show off your fashion prowess. Contact lenses change this though, also making for a more comfortable and stylish evening.

Fitness Fun

Fitness Photography – Female Fitness Mod” (CC BY 2.0) by vanitystudiosphotography

Treating yourself to some more fitness gear feels almost as good as getting glamorous for a night out. Not only is it a source of motivation for working out, but you also get to strut your stuff at the gym or on the sports’ grounds in the latest sportswear designs. It sounds great, doesn’t it? The issue is glasses. Granted, glasses look the picture of sophistication with formalwear, but when you are going to be running and jumping around, having to keep adjusting your glasses is not fun. If you are someone who works out regularly, monthly lenses will avoid this inconvenience and contacts can actually improve your performance as a result. Wearing lenses does not have to break the bank either, as you can get cheap contact lenses that work. This way, you can afford more nights out, clothes and gym sessions.

Just with these simple tips and tricks, making the switch from glasses to contact lenses is easy and makes a big difference to even the smallest things in life. No more awkward moments on nights out such as the double glasses look or worse, glasses ruining a first kiss because they are in the way. Contacts let you feel better in your own skin, and all that’s left is fashion, fitness, and fun. Impressive.


Get to know Liza Anne with FAULT

The Beast from the East is in full swing when we meet with Liza Anne in East London, just days before she heads back to the States to embark on a Spring tour, including a stop in her hometown of Nashville: ‘I haven’t played there in like three years, so that will be fun’.


The buzz surrounding Liza Anne and her music is growing within the US and beyond, and it isn’t hard to see why; her deep and genuine lyrics, brought to life with haunting authenticity by her outstanding vocals, resonate with people on a level that is perhaps unexpected, given the vibrant pop energy of her latest album, Fine But Dying. Speaking with as much passion about her music as she does about dairy-free cheese, Liza is refreshingly open as we talk about everything from her family and future, to her own relationship with mental health, and a surprising admission to being something of a Hilary Duff fangirl…


So, you were performing at Kings Cross last night, how are you enjoying things in London?

I love it! I lived in Clapham Junction for six months one summer, and I’ve been here so many times it’s as if I was at home. All the clothes and record shops I like to go to are near here, so it’s a great place to be. And there’s so much good food too!


Last night was so fun, although I was worried because I woke up and couldn’t speak a word, so all day I just watched Princess Diaries and drank ginger tea! I did an interview with Radio X too, which was amazing – they played four songs from the new record, two of which are actually my favourites.


There were some great reactions on social media following that, about how your songs spoke to people’s own struggles with anxiety and mental health. Do you find people relate to your music in that way quite often?

I think that people are just waiting for someone to give them permission, in a way, which was the same for me for so long; I was just waiting for someone to give me a space to be fully myself or to feel whatever emotion I was feeling, so it’s interesting how people react when you create that space for them to exist in. More often than not people are just beyond kind and generous about how much the songs have helped them, which is really sweet to hear.


What’s been your journey through music, to get to where you are now?


When I try and think of what I wanted to be when I was a kid, I can’t remember anything except the moment that I wanted to start doing this. I started writing poetry when I was 8 years old, and started putting my poems to music when I was about 14. I think Taylor Swift was pretty big then, and I was like ‘Oh my gosh, I could totally do this!’


Interesting! So, was Taylor the sort of music you were into back then?

I definitely did not listen to a lot of Taylor Swift! I didn’t really listen to much country music, even though I grew up where that was very dominant. I listened to a lot of The Cranberries and Joni Mitchell, but I grew up in a really religious household, so I wasn’t allowed to listen to much ‘secular’ music.


My first concert was Hilary Duff – August 11th2004! I genuinely, to this day, am obsessed with her. She’s incredible! My aunt, who’s kind of my muse, gave me a mix tape when I was about 13, which had Joni Mitchell and The Cranberries on it, and I was like ‘Oh my God, I could sound like this!’


That’s really interesting about your aunt, what is it about her that makes her your muse?


She’s a visual artist, and she’s just one of the most raw, real and kind human beings I have ever met. I think she just looks at life in this very specific way, which gave me permission to look at life as I needed it to be and as I wanted it to be. As well as her giving me records when I was a kid, her husband was the one who loaned me a guitar for the summer when I went to camp, and I learned how to play it there.


Are there any artists that you’re into at the moment you think we should keep an ear out for?


So many! I mean St Vincent isn’t exactly up and coming but, my gosh, I cannot get over her! It is just the most refreshing thing to see a woman do something so unapologetically. There’s so much intent behind what she creates. As far as new things I’m loving, there’s this one girl, Caroline Rose, who is unbelievable. I came across her on Spotify last week and I have listened to her record maybe 10 times since then. She’s incredible – her lyrics, her voice, everything about her.


It’s not that I only listen to female artists, because there are a lot of male artists that I really do enjoy, but I think it’s so important, as a woman, to support other women who are carving out a space for themselves. I think I naturally gravitate towards those sorts of acts.


Your songs address some rather dark and melancholy emotions, but still manage to be very ‘pop’ in style – how do you go about balancing that sound with the subject matter?


I think you have to sometimes trick people in a way; like, people might avoid [the music] if it felt heavy, but if you lure people in with a poppier sound, they accidentally end up finding more of themselves.


I think I realised early on that what I wanted to do was appeal to the person who, perhaps, wouldn’t necessarily enjoy or choose a sad song, but they’re the ones who are usually suppressing those emotions the most. I wanted to give even the most unlikely person a door to more of their emotions. That’s not to say that I haven’t written a slew of sad songs too!


How do you think your sound has progressed over the years?


I think from playing live shows, I started to want to feel louder, to have more of a full, cinematic sort of show; I was just by myself with an electric guitar, so there was only a certain level I could really reach. I started listening to St Vincent when I was already quite far into writing this album, as well as Lady Lamb, Broadcast and The Cranberries – and all of those things that I was naturally pulling from before felt like they finally had a place in the art I was creating. So more than just being something I enjoyed, I realised I could channel those things in my own music.


Your new album, Fine But Dying, is out this month, which is pretty exciting! How have you found writing this latest record?


It’s crazy, I wrote the first song on this record three and a half years ago! It’s always therapeutic. I think that writing, or art in general, has the ability to save whoever is experiencing it, as much as they let it. I went into this record wanting to be on different terms with my panic disorder than I had been before; I wanted to have a healthy relationship with it, and I wanted to have a healthier relationship with myself and with my partner. I think the intention behind making the record was for it to be a cathartic experience.


And what sort vibe do you want people to get from it, is there something in particular you’re wanting to communicate?


Like with any of my music, I just want people to have this space to completely be themselves, to feel their emotions and feel free and validated. I want to create a portal for people to explore themselves, just like I want the shows to feel like this wave of emotion – with high energy moments and real introspective moments. I just want it to feel natural and alive.


What’s next for you? Is there anything on your bucket list you want to tick off soon?

I don’t know, play Jools Holland probably! I just want to keep outdoing every last thing I did. I don’t like setting crazy goals, I feel like it removes you from the present moment in a way. It’s like, thinking ahead to the biggest thing that I might do when I’m in my thirties sort of takes away from the fact that I’m 24 now, and I get to record and tour this record that I wrote, you know? I think I just want to try to be as present as I can over this whole journey.


And lastly, Liza, what is your FAULT?


Oh no, so many things! I guess with the job that I have, you can get a little bit self-reliant and self-centred in a way. I mean, I don’t feel like I’m an egotistical person but sometimes I’m just like, damn, Liza, you should really consider people outside of yourself. Absolutely that.


Fine But Dying is available to buy now. For more information visit www.lizaannemusic.com

Words: Jennifer Parkes

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I Am With You – new editorial by Holger Maass

Blouse: Rebekka Ruetz
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Pullover: Rebekka Ruetz
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Vest: Rebekka Ruetz
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Photographer: Holger Maass
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Model: Vlada Petrenko @Woman Model Management, Milano
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Hair & Makeup: Jani Danilakis

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