AUSTIN, TEXAS – MARCH 16: (L -R) Naomi McPherson, Katie Gavin, and Josette Maskin of Muna perform … [+] on stage at the ‘Saddest Factory SXSW Music Showcase’ during the SXSW 2022 Conference and Festival in Mohawk Austin on March 16 , 2022 in Austin, Texas. (Photo by Chris Saucedo / Getty Images for SXSW)
There is no one way to success in the music industry. So stories can often be unpredictable. Like a band leaving their major label deal behind and then becoming the next big thing in music.
Definitely doesn’t sound like a blueprint to musical stardom. But that’s exactly the unique way the LA -based MUNA trio find themselves. After the trio Katie Gavin, Josette Maskin and Naomi McPherson released their second album, Saves the World, in 2019, the band split with RCA.
Although it can be a disaster for some, it is the best thing that ever happened to MUNA. The band took time as COVID keys to re -evaluate who they want to be in the group, signed with Phoebe Bridgers ’Saddest Factory Records label and recently released their brilliant third album, MUNA, on Friday (June 24).
Suddenly the trio have become hit darlings and are the next great band in music. I talked with the trio about the making of MUNA, the women who inspired them musically, why the songs didn’t live up to being played on stage and the upcoming album that is named Divorce Bangers.
Steve Baltin: Are you pleasantly surprised by how strong the response to this has been?
Katie Gavin: Yes, for sure. Like many other people in the pandemic, there is a sense you are such that you only need to accompany the journey, that life has made us all. And we need to be smart in a lot of uncertainty. And honestly, we were already in that place, even before the pandemic started, and before we were derived by RCA, because I think there was already this feeling that we really weren’t remembered anymore on that label. And we’re not sure if we continue to make more music with them, if we’ll be able to continue our legacy to make the music that we want, because there seems to be more pressure. And I expect to go down and have our career momentum simply scream, also because of the pandemic, it forces some big conversations. We have long been a band, until a few years, it will be ten years. And I think, in such a long -term relationship, you need to have difficult conversations where you recognize what your needs are being met and what is not and what is going to be compromised and what you are not. And so many are awful back to the core of why we do this and why we still want to do that? And it kind of changes over what the result is gonna be. And awful back to what it is in its simplest form, I think that we feel very held in the sense of signing the Phoebe label is this natural thing. It was an opportunity that came to us because we were lucky enough to be respected as artists and musicians by Phoebe and he only wanted to work with us and he wanted us to do what we did. So we get lucky that way. And yes, I would say the way I am surprised by the response to things, but it also only makes sense in the way life is happening at a time when you are not ny numbers and such a life that has a funny way of working. out when you didn’t plan it. All the success that we now feel like this hing was beyond our control. All we do is show up and constantly work and assign our relationships to each other and assign songs and then all the others are like this, “We’ll see what happens.”
Baltin: I love Phoebe. I think that what you are saying is a common denominator of the greatest artists for decades, from Phoebe back to Patti Smith, Tom Waits, anyone, Maxwell and I only talked about this not too long ago. They become authentic in your music and let everyone else come to it. So when you start awful back to what is basically what MUNA is, as you said, is there anything that you find that surprises you?
Naomi McPherson: I think we’re usually driven into the same self -analysis that is driven by most people when COVID in such a sense, “Do I do what I do and let me evaluate the reasons why I should continue to do this and how I can ensure that this is the healthy kind of career path for me? ” And I think we got, as Katie said, a lot of conversations in our little friendship group and just made sure that the vibe was all sufficient for this to continue. And I think, for the most part, the record -making experience at the present time has been awful again in many ways to like the insular nature of how we started making music and how we made music on the first record, even for logistics. reason, just due to the fact that working with other people on a pandemic sounds like it would be really difficult. So we can also move and can do all these things alone. So, I don’t know if that’s an answer for those who wonder about it, but more just an honest reflection on that experience.
Baltin: Is there an early song in this post that shapes that direction?
Josette Maskin: For this record, I don’t know if it dictated the sound for the album, but the first song that I think led us on the path of actually making music back was “Solid”. “Solid” was a song that we just enjoyed in the beginning and didn’t really make music together for a while. And once we started working on that, it opened the door to open the songs that we actually had in advance, but thought weren’t in front of what we were focusing on. I know that making a “Loudspeaker” song was always a very definitive moment for me in a process like, “Oh, we’re making music that’s gonna affect others, and that really matters.” And I think that the song was such a lantern as well in such a record cycle, however, this music had a purpose. And I think it’s a star that we follow when making stuff.
Baltin: What was actually the first song written for the record?
Mask: Maybe “Solid” too, actually.
McPherson: Yes. “Solid,” I think the beat is from 2017, but the song itself is from 2018 and we put it down for album two, it just doesn’t fit. And I think we kind of sort of forget about it for a time and then just have it in the back of our minds as one that can just be short, fun, like a slammer of a song. I think the first batch of songs that were written for this album or whatever the next project after this second album was gonna be, was “Silk,” “No Idea” and “Handle Me,” which all sort of worked on. end of 2019 and peak of 2020.
Gavin: True, I remember writing “Silk” shortly after activating Saves The World. And it happened to me. I don’t necessarily write for my own album. I only write songs when I’m alive. But I feel like “Silk” is very informed by this feeling of lightness that occurs after we turn in Saves The World, which is a really heavy record, and it just feels like my weight is off my shoulders. I was kind of like going into new things. I started dating again, and I went to a concert to see my friend Lou Roy play. Then I came to earth and had this cute little melody in my head that is the pre-chorus of the song, the “life is so fun” part. And it’s very different from that in Saves The World, but it’s such a new energy. And I went to Nashville in early 2020, just before the pandemic, and wrote the chorus “Silk” with Daniel Tashian and Ian Fitchuk. And I can feel the ebb and flow. Saves the World was so in my head, and I want the next album to be just more embodied and more fun and more like just in the realm of human relationships and sex and love and with this kind of playful nature. So, I feel such “Silk,” in a way, is a guide. But then there are so many twists and turns in the journey to make this note that you kind of lose sight of the overarching thing. And that event is that event every time, that is in the end, we realize, “Oh yeah, we kind of made a note of it,” even though we didn’t think of it at the time, we just showed up. up and work on whatever track was in front of us. But I felt that the process was telling all the records, whether it was something that was conscious or it was subconscious.
Baltin: Are there any albums or songs or artists that really affect you, or things that you want to awful again that shape your view of that?
Gavin: Sure. At the time I was really inspired by, as I often am, by Chicago house music. His story and even the way people are singing with sensuality and just the vulnerability in the honesty of desire that is in that song, I think I’m really drawn to. Then I also really listened that time to 90s singer-songwriters, such as Ani DiFranco, artists, women who told stories that recently got this self-confidence and they were full of agency. I was drawn to it a lot. And, thanks, I think this album in general, I’ve said before, was very exploratory and had a huge impact. But I think that we adopt the kind of images that are attractive to people such as pop, dyke band boys and playing with desire that way. But also, it was really informed by songwriter Lilith Fair and the women who told the story in a way that felt very close and personal. So there is an element of my songwriting that is always there, whether it’s a pop song that is produced completely or more of a ballad.
Baltin: Is there a recurring theme for each of you in this or things that surprise you in terms of lyrics and music when you go back and listen to it as a collected work?
McPherson: I think the most interesting and enjoyable thing to awful back on record and think is just the fact that it can jump from voice to voice and feel quite anxious and frenetic in a way that I feel is reflective of a lot of art that was made during this period. I think there’s something so playful and fun about when you get to the point with the song you’re working on, that you’re like, “I don’t know how this is gonna fit on the album, but we’ll be King of the Fuck making way.” That, for me, I think what retrospectively is a good experience with this record, just the freedom to be able to do anything and be such, “Well, we’ll pull it anyway.” Then I guess you just pull it out by believing in it and committing to it, and committing a little bit into the hurry. That’s my opinion, at least. That’s my opinion today.
Maskin: I think it’s just the truth that I still don’t know. I feel that my relationship with the songs is dictated by how it feels in a live setting because that’s when I feel them in my body and we haven’t played the majority of these songs directly. And I feel like I really understand the song when also our fans have had time with the songs and have created their own meaning for them. Be asking me in seven months, that will be my answer.
Gavin: I have a story about when we put out our first album, About You. I was asked at the time about the title of the note and I was convinced that I had actually written a lot of notes about other people that I had really corrected. Then I remember reading that written by a fan about the notes afterwards with them such as, “And obviously, the title is ironic because it’s called About You, but it’s a recording about the person who sang this song; it says more about her than it is about the person he sang. Asking an artist what they write and seeing what they are wrong about her, it’s very appealing because it also then points the way forward.It is what you tell in advance about whatever you write, you have this attraction then go and explore Another piece because we’re all very expansive beings and you’ll never get it all right at once .. Be all that said, there’s a song on the record called “Loose Clothing.” And the lyrics on the song are about how I’m still a human being who experiences deep emotions. very much and I have a range of emotions that are very deep, but these emotions, by The ring was ever truly in my grasp, and now as part of becoming older and only changing in my inner life, I have a little bit of space that allows me to experience a variety of emotions without losing myself. So I think that this is a document that only we are of older age and have more access to things such as happiness and choice. There is suffering and loss on this album, but there is more tenderness in my relationship with myself on the record, and there is celebration of that. So, true, I can’t condone into one thing, but at least at this time, I realized. the fact that I write about myself.
Baltin: Are there any artists that you admire in the way they flourish?
Maskin: I said Joni Mitchell. Every note you have can listen to its growth sonically, and I always find it very appealing because I think you can get stuck in a trap, especially now. Thought it was more of a reminder not to try to recreate something you’ve already done because it’s already successful and I feel that he always does something new and interesting for him no matter what and it’s a guiding power to the songs he wants. was making.
McPherson: Yeah, for sure. I think in the music industry, there’s a lot of emphasis on the work that you perform as a young person, I think just because we’re a very youth-centric society. But most of the time I find the most influential and helpful music I often do by women in their 40s.
So many artists that I admire that way. Joni is one of them, for sure. All my favorite stuff is stuff that was made by him in the 90s. And I love Shawn Colvin. I love divorce music. I think it’s just some of the hottest s ** t in the street that people are sleeping on.
Baltin: The Chicks actually gave me their entire divorce playlist. So what are your top two divorce tracks?
McPherson: There’s so much good. I’m obsessed with the whole album, A Few Small Improvements by Shawn Colvin. I think there are some divorce bangers on that record. I really did like the new Adele record, thinking that some good divorce bangers on it. The Chicks have great divorce bangers.
Baltin: Just please tell me when you’re all older and the time is right, that you’re going to make a note called the Bangers divorce.
Baltin: What was one of the songs from this album that you were most excited to see how fans responded to it directly?
Maskin: I would actually say this song, “What I Want,” which might be other people’s answers as well. Naomi and I worked with our general production manager and all the men to take the tone of our habit and we did it with people such as, “Oh f ** k, this is going to get sick.” And also gays will go crazy.
Gavin: Yeah, that’s one, undoubtedly.
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Who are the Eastside band members?
The band was founded by Euwie Loria on rhythm guitar; John Macaranas on drums and Miccael Galvan on bass. The trio could be served, but they knew that they needed to have a complete package to present during the gigs.
Who is the vocalist of this band? Career. In 2017, This Band began performing as a band at KM17 Place and several food parks in Las Piñas. The band went through a variety of male singers before finding Andrea Manzano whose voice was compared to KZ Match.
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Who is this band?
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|Also known as||Chain reaction, Anthim|
|origin||Los Angeles, California, USA|
Where is BTS now?
The band members are at their respective homes in South Korea and are currently taking a short break.
Why did BTS return to Korea? On June 2, BTS members returned to South Korea after spending several days in the United States. When V BTS returned earlier in the day, the remaining six members, RM, Jin, SUGA, J-Hope, Jimin and Jungkook arrived at South Korea’s Incheon International Airport a few hours later.
Where is BTS right now 2022 May?
According to reports, Ahmedabad (Gujarat) will be the venue for the BTS World Tour India 2022.
Where is BTS currently now 2022?
BTS World Tour India: The fans of BTS India are all excited because they find the news that they will be coming to the country. The information as media reports is that they will be visiting India in August 2022. The band is known for its K Pop songs, hip-hop genres, R&B, Pop, and EDM.