April 12, 2016 1:31 pm

We sat down with Rozes on a couch studded with roses (unintended) at SXSW to learn more about the girl behind The Chainsmokers‘ mega-hit called…yup “Roses.”

The song rose to #6 on the Billboard charts, is a favorite of Justin Bieb‘s, and has become a radio hit, however for Rozes herself, finding so much success in the electronic scene was completely unexpected…


So this is your first time at SXSW!

Yes, it’s very exciting. We drove from Philly tailing my brother’s band down and I drove with my drummer and my boyfriend.

Oh cool so you have a pretty musical family?  

Yeah we’re like the Partridge family.[Laughs] Well my parents actually work in the medical industry but my dad also teaches guitar lessons and everybody in my family plays at least two instruments so music has like always been our thing.

How many instruments do you play?

Well I started on piano, then I went to violin, then saxophone, clarinet, trumpet, guitar…

Wow quite the variety.

I know, I was in a jazz band too.

So how did you end up in the electronic scene?

I never planned to go the EDM route. It just kind of fell into my lap. My brothers were hit up by this DJ, Just A Gentand they were writing toplines and were like ‘hey you know we have a sister who writes music.’ So they sent them to me and then I just wrote this song called “Limelight” which went huge in the EDM world. Then The Chainsmokers found it and so literally what happened was they followed me and messaged me on Twitter that they wanted to work me. So I was just kind of like pushed toward that path, it just kind of happened.

Rozes_Polaroid_SXSWEverything happened so fast. 

Yeah it’s kind of like we never expected it because when we wrote it we were just like oh this is a cool jam. We didn’t think anything of it we definitely did not think radio, I didn’t think radio, I mean I would have never thought that that’s what was gonna happen, like I was gonna get signed or anything. It’s crazy.

Are you comfortable playing live?

Yeah I am, I’m so comfortable actually. Well, I’ve also grown up in theatre so it’s kind of been my home you know. I was the theatre geek that always felt most comfortable when I could throw life aside and put on my alter ego and just be.

Do you have any pre-show rituals you do before you go on stage?

A glass of wine and I put on my crown and my lipstick.

What is your writing process like?

I write all the songs, but I have a producer who I’ll send all of my songs over roughly on piano or guitar and be like ‘here this is kind of what I want to be like’ and they help build it up from there. I recorded the EP (Burn Wild) in a studio in Delaware with my brother’s guitarist, he goes by ETRON. Now when I go to LA I’ll have different producers and we’ll have writing sessions and record in their studios.

What has the music you’ve been writing lately been about?

I would say they’re kind of about how life is changing for me at the moment and it’s like trying to figure out who is real and who is not because I have a lot of people coming out of the woodwork pretending to be my best friend and wanting to catch up and stuff and it’s me trying to file through who’s actually being genuine or not. It’s also about me coping with the fact that people are going to come out just because I have a hit on the radio not because they want to be friends with me and it’s kind of a rough realization but it’s something that has obviously happened.

The personal experience of a sudden rise to fame has sort of become cliche but I still always find myself thinking about what it must be like for people like, say, Justin Bieber. What has it been like for you?

I’ve actually thought about that because I met Bieber when he came to my show with The Chainsmokers at the Shrine Theatre in LA. He’s such a super nice kid and I just wonder if sometimes he feels like are these people just my friends because I’m Justin Bieber, is anyone a real friend? Nobody is prepared for that life. He’s a kid in his twenties and he’s in the public eye all the time, he’s grown up in it. If people had followed me growing up they would definitely be saying “this girl is crazy.” Britney Spears went through it, Lindsay Lohan went through it. I think it’s good that it’s just happening now for me because I got to see life before it all and so I can stay level headed and I’ve got my people that I trust.

That’s so awesome he came to your show I heard he’s a huge fan of the song “Roses!” Has it opened up a lot of other crazy opportunities for you?

Yeah. It’s definitely like having a resume. Like people see your credentials and they are like ‘oh yeah I’ll write with her’ you know. It kind of sucks that it’s that way because people who don’t have that on their resume its just like ‘oh why should I write with that person’ but they could be an amazing writer. You just have to somehow get lucky and get your foot in the door. It’s not really like having a lot of connections, like a lot of people think it is, but mostly you have to make the way yourself.

So do you think you’re going to stay in the EDM route?

No. I definitely plan to get out of the EDM route. It’s just not really my scene. I keep ending up getting featured on tracks because in my free time I’ll just write to music and it’s just kind of how it goes. I think if I were to do another EDM feature it would have to be something different that allows me to keep growing with it.

Have you been writing since a very young age?

Yeah, I think I wrote my first real song in eighth grade.

Awe, do you remember it? What was it about? 

Oh yeah, I remember it. It was like I had been dating this guy, and you know how middle school relationships are you think you’re so in love like “we’re gonna get married!” But it was actually just a horrible relationship and I couldn’t figure out how to get out of it because I had never had a breakup before. So I just wrote a song called “I’ve Come A Long Way” all about realizing how he’s not good for me.

So that was your first real song. Do you find that you get inspired or tend to write about things you are going through?

Oh yeah totally. I’ll feel something and be like I just need to sit down at the piano. People always ask me “what’s the first thing you’ll do when you get home?” and I’m like honestly I’ll probably just sit down at the piano and write. It’s my hobby and my job, and it’s the best thing ever.

Is it harder to write about other people or even yourself knowing now that so many people are going to hear it and listen to it?

I don’t think so. It’s kind of therapeutic for me. It’s like someone accidentally finding my journal. It’s like being able to tell my secrets in a honest creative way and not being judged for it.

What’s next for Rozes?

I think I just want people to be prepared for something different and I don’t want them to expect anything of me, but I also want them to be ready for something that they’ll love, you know. Because what I’m coming out with is so honest and I always say I’m going to always write what’s true.  Whether it’s about somebody else and so hard core true they have to know it’s about them or whether it’s about myself. There’s this new song I wrote called “Under the Grave” that’s actually about myself. So it’s like I’m not even written off you know, I’ll write about myself good or bad too.

Rozes released a new EP Burn Wild in February and is currently working on finalizing her next release.  

March 16, 2016 10:54 am

“We wrote and recorded this album with happiness and excitement. We want listeners to simply enjoy it and not think about it too much.”

That’s what Caleb Spaulding said of The Ides of March, the new album from Hampton, Virginia’s The Brothers Spaulding. Created by Caleb and his brother Will, and executed by a cadre of musical friends, The Ides of March is a nice, easy afternoon listen. While I love the sentiment of the above quote, it is literally my job to think about records, so… sorry Caleb.

The Brothers Spaulding bring a mix of funk, folk, and Americana to their record. This lends a bit of breadth, but it also lends a bit of a wandering feeling to the record, like they haven’t exactly figured out what sort of band they want to be. While it is certainly not inherently a mistake to incorporate disparate styles into one work (quite the opposite), it can be folly if one of these styles does not live up to the others.

On The Ides of March, the culprit is funk. The Brothers Spaulding go for a jam-band style funk feel, think Phish or Slightly Stoopid or most “funk” bands you saw in college. Now, I’m the first to admit that this is not my preferred style, but the funk songs on The Ides of March still fall a little short. Funk is all about groove – does it feel really, really good when you listen to it. While these songs on the record are not bad, they’re not quite all the way “there.” I’m just not sure if I really believe them.

Where The Brothers Spaulding do shine is with Americana. Songs like “New England” and “Been All Around This World” come off much more naturally. The guitar sounds are great in this setting, and The Brothers are able to show off their ear for vocal harmony. The drums are spot on, and the tracks just feel more comfortable all around.

The Ides of March is a nice set of tunes for a lazy sunny day. While the album falls short in areas, it shines bright in others. Perhaps next time around, The Brothers Spaulding will find a way to blend their obvious talent to fit their funk desires. Listen to the album below!

March 10, 2016 2:48 pm

Singer. Songwriter. Guitarist. Pianist. Percussionist. Producer. Performer. How many threats is that? You could try to break the UK’s Jack Garratt down into his constituent parts, or you could describe him like Aussie R&B singer Jarryd James did last fall – “He’s a freak.” Don’t you worry about it though, Jack. Jarryd meant it in the best possible way.

But this is all stuff we already knew. We talked to Jack Garratt after his show in Nashville back in August, so we already had high expectations for his new album Phase.

He did not disappoint.

Phase is a 19 song double-debut record. Six or seven of these had been released previously, either on old EP’s or as singles. While a 10 song record with six or seven “old” songs on it might seem a bit frustrating, a 19 song record still brings plenty of new material to the table. And if you haven’t been wearing out everything you’ve been able to get your ears on for the past nine months like I have, then this is probably not an issue at all. If you’ve never heard Jack Garratt before, then rejoice. You get to listen to “Weathered” for the first time. I’m Jealous.

I’d love to take you through every song, but I figure you have shit to do so I’ll try to get to the important points. I won’t talk about Garratt’s stellar vocal performance throughout the record. and how he utilizes his crazy range bringing emotion and grit. I won’t talk about his guitar playing, or his broad use of synth sounds. I won’t talk about this groovy thing he does throughout the record where he layers half-time feel and double-time feel over one another, switching between the two at will. I won’t talk about how crazy stupid awesome his new video “Chemical” is.

Instead I’m going to talk about the two things that really set this record apart. The first thing is micro: something present in all his songs. Jack Garratt is a superb arranger. His songs are paced immaculately. One of the biggest challenges with really any music, but especially electronic music, is getting a song to go somewhere. To not sound the same way the whole time. Jack Garratt’s songs are little journeys. His combination of different electronic sounds and styles gives him a broader scope than a lot of other artists. Elements of Hip Hop, R&B, Drum & Bass, Blues, Gospel, EDM, and dubstep give Garratt plenty of tools in his kit. His trick is that he’s constantly using all of them, pulling little things from each to combine into his own unique sound. Where another artist may come into the second verse with a little more going on, Garratt comes in with a totally different feel, and totally different synths, or guitar instead of piano. Combine this with Garratt’s ability to sing his absolute ass off, and his songs turn into those said journeys. You’re not sure where they’re going to go next, but you’re excited because you know they can go anywhere.

The second thing that stands Phase apart is macro: apparent when looking at it as a whole. Phase really is an album. While 18 Months by Calvin Harris is one of the best collections of pop songs ever created (I challenge anyone to debate that), that’s exactly what it is – a collection of songs. Phase is cohesive. Phase listens like a Jack Garratt song does. There’s change and excitement. It’s dynamic. But it’s also thematic. Love and loneliness. Worry. Hope. In a world of electronic music dominated by collaborations and remixes, Garratt brings something that is truly original, and quite personal. He took a huge amount of music, probably written over years, and blended it into a whole. There is a defined sound to the album, but the songs still stand apart from one another, and fill different roles. And coming out of it, I feel like I know something about Garratt.

Something other than the fact that he likes to make music that gets your booty movin’.

February 8, 2016 10:55 am

You already missed your chance. The Apache Relay was here bringing the masses heart and soul with their indie-Americana sound. But no longer. On September 21st, 2015 the band posted this on their social media pages, explaining that they are going their separate ways. Let me tell you why that is too bad.

The group formed in a dorm at Belmont University in Nashville, and grew to represent much of what the “Nashville Sound” has become: Indie rock with touches of folk, bluegrass, rhythm & blues, and pop. Pleasant harmony sits in a bed of modern production, and highlights Nashville’s emphasis on song writing, as opposed to song making. While this sound is growing into a formula for some, The Apache Relay was on the front end of it. Though they never quite achieved the status of other artists in their ballpark, like Local Natives or Fleet Foxes, they showed strong promise that they might.

The Apache Relay gained notoriety after their second album American Nomad when they opened a number of dates for pop-bluegrass all-stars Mumford & Sons.  They also got some attention when their song “Power Hungry Animals” was featured in the movie The Way, Way Back. While not exactly a blockbuster, the film supported a pretty stellar cast, and shed an interesting light on The Apache Relay’s song. Look at it in the context of the promotional “music video” they made.

It’s essentially a trailer for the movie. The song plays while clips of video from the film plays over it. Yet it could totally work on its own. It doesn’t have the look of a music video, but with small changes in editing and color, it could. Take away the distraction of Steve Carell, Sam Rockwell, Maya Rudolph, and a few other actors you’d recognize, and you’d be left with a music video that nails the feel of the song. We see images of a coming of age story. A teenage boy struggles through smattering of classic themes: loneliness, romance, body issues, family, youth, father issues, a summer away, friendship, etc…

The beauty of this is that these are exactly the kinds of themes that The Apache Relay should be reminding you of. The modern “Nashville Sound” is built on them. Bands like Mumford & Sons and Local Natives rely on this nostalgia to complete their music. Their songs are striving for an emotional power in addition to just sounding good. Pop and Dance music is escapist; It makes you forget about your problems and just feel good. Adele makes you cry. Indie-Americana has an element of memory tied to it. It’s a return to roots, a call home. The blend of folk and bluegrass style with modern instrumentation and production is the old become new. The past become present. It’s a return to youth, to summer. To that time that you did that thing that changed the way you think.

This is why “Power Hungry Animals” is featured in the trailer for “The Way, Way Back.” Prominently. It comes in at the end. At the time when the trailer is showing you conflict and tension and growth and love. When the trailer needs to say “This movie has warmth and depth and feeling,” it uses this song, and it is the song that takes your interest in the kid and turns it into care.

Yet The Apache Relay is gone. But do not dismay! Front-man Michael Ford, Jr. has made an appearance or two, and their parting message specifically says the members are looking to “explore new endeavors.” There doesn’t seem to be any news on this front yet, but in the meantime, there are three albums of Apache Relay to work through. If that well runs dry, check out some other Nashville indie-Americana acts, like Humming House,  Sugar & the Hi Lows, or Knoxville’s Cereus Bright. Hopefully that will hold y’all out until a reunion comes around.

December 10, 2015 2:23 pm

Live albums are a bit of a lost art these days. There was a time everybody did them, and some live versions were more popular than their studio counter parts (I’m willing to bet many of you have never heard the studio version of “I Want You to Want Me”). While the advent of video live sessions and things like the Spotify Sessions have worked to fill that void, new recordings of bands playing in packed theaters to raucous cheers are few and far between.

Courtney Barnett’s Live at Electric Lady Studios in New York is not quite that but it’s damn close.

courtney-barnett-21-6cfe32152b15be0798da15d1011bdd80fd8b6f91-s1000-c85There are a couple things to consider with any live recording. The most important question is also the reason live recordings are much less popular today – Can the band play? With music production being what it is, there are many acts that simply can’t reproduce what they have on their album. What you get instead is a rhythm section playing along with a computer. In some cases this means the only significant difference between a live recording and the record would be a singer without auto-tune.

This is not something you have to worry about with Courtney. First of all she doesn’t really even sing in the traditional sense. Instead she slurs out her lyrics in a Bob Dylan/Craig Finn talk-singing voice. While this might be off-putting to some, in reality it’s dope as fuck, and in the context of a live recording, it basically means she can’t sing the parts wrong. They weren’t ever quite “right” to begin with.

Taking a step back, you hear the band behind the voice: Courtney on guitar, Andrew “Bones” Sloane on bass, and Dave Mudie on drums. And they can play. Their arrangements are strong and the parts are played right. And coming off the recording is the reason live albums became so popular to begin with: Energy. It sounds like a band playing in a room together, feeding off each other. You can feel it.

Unfortunately this energy can be at odds with the other big “live record question”: How does it sound? Generally speaking, what you gain in energy you lose in fidelity. While Courtney Barnett was never known for her produced sound (rather she is known for her performing sound) there is a noticeable difference between the studio versions and live ones. Sometimes that’s a good thing. Listen to her guitar tones on “Avant Gardener.” They are simply massive. The band sounds like so much more than a trio at times, and she really gets some awesome noise out of her axe. That effect could never come across the same way on a studio track, as you would never know if it is coming from the performance or the production. Here, you know.

But, alas, the sword is double edged, and there are other things that Barnett can never do with a trio. The best example of this comes out in “History Eraser.” It’s a balls-to-the-wall punk love song that revolves around a chanted refrain “In my brain I rearrange the letters on the page to spell your name,” (Fuck yea, right?). The studio version snaps between furious guitar-charged verses and this refrain, chanted over one sustained guitar chord and a tambourine. This has a massive effect. The transition is jarring, and the return to thrashing verse is awesome every time. On top of this, the refrain line sounds like its being chanted by an occult chorus. While the music drops out, the vocal part switches from one voice to many.

The live version can’t do that. The verses are so packed with lyrics that Courtney needs the chorus to catch her breath. That leaves only Bones and Dave to sing the refrain, which the whole song is built around. In this version, it seems the band tried to combat this by keeping the instrumental parts going through the refrain. What is meant to keep the energy up actually stagnates the song. The studio version has the effect of the floor dropping out from under you. The live version is more just a stroll down a hallway. This would not be a two paragraph issue if that weren’t her most popular song.

“History Eraser” gripes aside, this a killer live album. It brings the impressive power of Courtney Barnett’s trio into your living room. The few moments of in-between-the-songs chatting are endearing. The song selection is strong, but as this was recorded years ago, all the songs are off of The Double EP: A Sea of Split Peas. Fans of Sometimes I Sit and Think, And Sometimes I Just Sit, might be a bit disappointed. Instead they can keep their fingers crossed and hope that this is not the last live recording to come out of this Aussie badass.

December 2, 2015 8:44 am

2015 is coming to a close, and another fantastic year of independent music-making is in the books. So what were some of the Beasts favorite things to have come out of it? Well, one thing for sure has been Nashville’s powerfully potent alternative rock band Bully. Though Bully formed in 2013, their first major release Feels Like was released through Startime just last june. Their music packs a punch to all the repressed heartbreak and forgotten angst in your gut, and twists it into a sort of nostalgic defeat.

Bully is the creative Brainchild of Minnesota native and studio queen Alicia Bognanno. Bognanno followed her heart to Middle Tennessee, where she spent her undergrad years studying audio engineering, despite her never having played an instrument. After college and a successful bout in renowned Pixies producer Steve Albini’s studio, Bognanno polished her skills and set out to Nashville, Tennessee. In 2013 she recruited guitarist Clayton Parker, bassist Reece Lazarus and drummer Stewart Copeland (yes, like The Police!) and so began Bully.

Their music is a raw collection of emotion. You can hear the struggle and passion for life in the at times scratchy yelling of Bognannos voice. The 25 year old has somehow found a way to recollect and include the entire spectrum of pain, joy and uncertainty that early adulthood throws at you. “I remember, I remember my old habits, I remember getting too fucked up, and I remember throwing up in your car/ And I remember, I remember showing up at your house, and I remember hurting so bad, and I remember the way your sheets smelt.”

Bully was given full creative control by Startime, under the umbrella of Columbia Records, which is partly why they decided to sign with the label. Feels Like was written, produced and engineered by Bognanno, and offers the listener a sonically candid image of what goes on inside her head and heart. It keeps a purist punk vibe, with a sensible amount of reverb, and buried but punchy drums. The album is an obvious result of passion and commitment, tempered with an impeccable taste for real.

The band is currently on tour in Australia and is booked through May, so they are definitely putting in their share of work. The BEASTS hope to hear much more coming out of Nashville in the following years, as something this genuine can only get better with time.

Make sure to tune into Bully’s new album, and catch them live in a town near you. You can find all their tour dates here.

November 9, 2015 12:24 am

We love Mike Hadreas and his latest Perfume Genius release Too Bright. Perfume Genius pairs gritty pop with glamorous vocals and heightened production with it. The single “Queen” has a St.Vincent-esque guitar sound, with the same trademark Perfume Genius vocals. “Queen” has a certain progression from Put Your Back N 2 It, which was striped down, melancholy and piano based. My favorite lyric from the song, “no family is safe when I sashay”, is showing a ferocious sass that was not present on the last album. “My Body” also sees this enhanced production value bringing in industrial sounds and samples, this style is unlike his last release and blends a whole new world of sounds.


Tracks like “I Decline” and “Too Bright,” however, clearly come from the same mind that created Put Your Back N 2 It. It has those same piano chord structures with heartfelt lyrics about his uncertainty in life and his struggles with sexuality. They do not harness the same anthemic feelings we see on “Queen,” but is really the same sentiment shone through a different (and heartbreaking) light.

While the contrast in mood is sharp on the album, it does still resonate as one cohesive body of work. On “Too Bright” we see sides of Perfume Genius we had not before. His brokenhearted, diary-like songs have never demanded this same amount of attention. Hadreas is really coming into his own on “Too Bright” and demanding everyone take notice of it.

Written by Alessandra Licul 

November 5, 2015 2:22 pm

The first time I heard a Joey Kneiser song was when I found a video of Lucero‘s Ben Nichols singing his rendition of the song ‘Bruised Ribs’ off of Joey’s first record, The All Night Bedroom Revival back in 2010. I fell in love instantly with the honesty and self revelation of the song, so I checked out the whole album and was just as pleasantly surprised. Joey, who is known for his band Glossary, knows how to bring out the feels in even the hardest of hearts.

Fast forward to yesterday when I got to finally view the long awaited release of The Wildness and I was floored again. You see, Joey has a knack for writing all the lyrics you and I wish we could think up and pairing them with quirky lead guitar parts and steady beats with a tinge of country influence. I mean he is from Tennessee so it’s not a huge surprise. While I’m sure we can all agree that good country took a turn for the worst a long time ago, Joey’s music takes all the best parts from that old style country we all enjoyed so much growing up. In my own opinion it is a very hard part to infuse with a mostly indie and soft singer song writer style.jk pic

I think if I had to describe the style of Joey’s music to someone who may not have heard it I would have to say it’s a bittersweet fusion of Lucero and the like Chuck Ragan but with the classic style of artists like Tom Petty, Bob Dylan and Bruce Springsteen- but Joey puts a beautiful spin on the vocals.  I am not sure I’ve heard a more velvet yet powerful voice aside from maybe Noah Gundersen.  If the sheer honesty of Joey Kneiser’s work doesn’t draw you in at first listen take a minute and listen to the intricate guitar parts and  the dynamic hooks in each and every song. There is not a bad song on any album he’s made and that is rare as hell. He does not make hit or miss records.

The video for “The Wildness” is a very interesting idea which I would assume is some one traveling alone on their own path of restlessness, he explains that in order to start something new you usually have to give something up. In finding old parts of himself he had to bury another part of himself.  Until reading his bio I wasn’t even sure what to call the wandering feeling inside of likely every musician and artist but this video definitely captures those feelings.

In his Facebook bio Joey explains that, in an Elliott Smith like realization, without a band he would have to record this new record alone hit him. He orchestrated all parts of it himself except for Kelly’s vocals. He stated he “does not like hearing his voice without hers beside it.” That is a very heavy and endearing fact considering they were once married, but they have always sung together and the respect that takes as musicians is jaw dropping.

If this video is any indication of How rest of the album will sound I will be sitting here holding my breath waiting for an amazing new record, by a man who the beasts feel truly can ‘con a flood into thinking that it needed rain’. Listen to his video premier on American Songwriter Magazine now!

November 4, 2015 12:03 pm

lido 2  The 930 club, in Washington DC, is a quaint venue that holds 1200 guests. Opening for Lido were DJ’s and hip hop artists Brasstracks and Tunji Ige.

Lido (born Peder Losnegard in Norway) is a 23 year old hip hop artist, singer, songwriter and producer. He has produced for artists such as Halsey, Alt-J and even the likes of Bill Withers. His debut EP is I Love You Too and would definitely make a great Holiday gift for all music lovers.

When Lido took the stage at 10 PM the place was packed wall to wall with his fans. He started by playing digital drums and his amazing energy and music got the crowd moving and dancing. He has a beautiful voice and his fans were singing along. His tour runs through November 8th so if you have the chance definitely go see this awesome new artist as he sets out on his musical path!



October 20, 2015 11:21 pm


Los Angeles based indie-pop artist Doe Paoro released her new album After through ANTI this past September and the Beasts are getting all sorts of nostalgia listening to it. The songs show a gracious maturity from her previous releases, both lyrically and musically. It seems to be departing a bit from her experimental vocal ranges and comfortably settling into a more down to earth, pop sensible approach. The collaboration with producers Sean Carey (Bon Iver) and BJ Burton (The Tallest Man on Earth, Sylvan Esso) has created a sort of Indie-rock meets pop princess love child.

With singles like “Nostalgia” and “Growth/Decay” Doe Paoro (a.k.a. Sonia Kreitzer) touches on subject matters and depths that are often neglected in the world of pop music, while songs like “Travelling” and “Regret” show a sort of dark honesty that anyone can connect with. “This record emerged from a very specific psychic space: feeling out of the past but not yet in the future, adrift in the space between two closed doors – and reckoning with the reality that what you are hoping for might not be coming” notes Kreitzer.

Doe Paoro was born and raised in the relatively isolated city of Syracuse, New York. Her sound can be easily compared to that cloudy isolation. Previous to beginning her musical journey, Kreitzer was introduced to Lhamo, the Tibetan folk music, while traveling alone through the Himalayas and meditating for long stretches of time. These influences are also clearly present in her music. Perhaps these influences are what contribute so strongly to the reflective elements in her sound.

All in all, listening to the music of Doe Paoro is a good way to get in touch with your inner being. It is a refreshing escape from the dull world of radio pop music, and is made even more interesting by the sonic depths in her production. Make sure to check out her new album After and get nostalgic as you look back on the year. You can find her current tour dates here.