GIRL IN RED wears TOP by PAUL SMITH, SHOES by P448, and her own jeans
Did you finish Baby Reindeer?
I did, it’s so good — wooof.
I mean, you were really committing to those accents when you were playing [at Radio City]...
I know; I’ve been committing ever since [Ulven talking in a scarily accurate Scottish accent]. I saw some people in the front row, and they were like, what the fuck is she doing?
Kudos to you for having a viral infection and playing that show. It was incredible to watch. You were running in the crowd….
I feel that any day, no matter how shitty, or tired, or sick I feel. I’m like, these people fucking came here from somewhere, and they deserve the absolute best. You gotta give everything.
How does it feel to have this album out for almost a month? And then this tour? In your day-to-day life, how does that feel to you?
I’ve been on tour, so every day that passes, more people learn the [new] lyrics. The coolest part has been touring and leveling up my game with touring and having the best nights. Honestly, it’s been a dream.
I even saw your show in Boston…..you’re not an ordained minister, right?
No, but it’s a joke since a lot of people have been getting engaged at my shows, and now it’s a joke that I’m like a part-time priest now. But maybe one day that’ll be my side hustle, we’ll see.
What was the writing process for this album?
It was a long one. I was in the studio with Matias Téllez. He is my best friend and co-producer — we made the record together. So, I guess the process was just going in and out every day; how can I push myself? And how can I push the music further and make something that really excites me? We did that mostly in Bergen but also a little bit in New York, Paris, and London.
This album is a bit happier than your last album. It’s interesting since there’s moments of such swagger, and almost ego, and confidence. But then there’s moments like [in songs] "Pick Me", "Phantom Pain", and "Ugly Side" that really deal with self-doubt. In this process, did you need one to balance out the other?
That’s kinda where I was mentally. While making this whole album, mentally I was feeling myself on top of the world, but then I was doubting myself so much the whole process. It kinda shines through in the music. I realized I’m just all over the place when it comes to self-esteem. I wanted to play around with that contrast.
What makes you doubt yourself?
I think any artist, anyone who makes things, doubts themselves. I don’t think it’s like a rare thing. Even if you’re not an artist and not making things, everyone doubts themselves. It’s the fear of making something bad, the fear of failure.
Well, even in your song ******, you talk about critics and reviews, and that’s obviously a part of this process once you release it out into the world. How do you make sure that the music business and the politics don’t affect your writing process? How do you let that not dilute your art?
In the studio, you don’t give a shit about those things. You do what interests you and what you think is fun. At the end of the day, if you’re not making things for yourself — why are you doing it?
I remember with my first album, a lot of people were like, Aw, she’s not making this sort of music anymore, like awww, and now with this album, people will be like, it’s not like that album. You just need to value your intuition more than anyone else’s.
When you opened for Taylor Swift, how did that change how you go about headlining your own tour?
On this tour, I’ve been leveling up like crazy. With my energy and taking the tour very seriously, the set design is a lot more fun and playful. What I took away from her tour is that she works so hard. She is such a worker bee. I saw eight shows, eight Taylor Swift shows, and they’re so consistent. Everything is perfect all the time. I saw this show eight times, and I never got bored.
Watching you live was like a religious or spiritual experience. Do you feel like you’re tapping into something deeper than yourself when you’re in those adrenaline moments?
Hmmm. I definitely tap into something, and I don’t know what it is. I could have a really bad day, and once I go on stage everything takes a turn for the better. There’s something magical that happens. I feel like I’m a version of myself on stage that’s Marie — it’s who I really am.
Because there’s a lot of people, and a lot going on all the time. Do you ever want to just dissociate and look at a wall? How do you unwind?
I literally am in a bunk right now, in a dark room, plus I can’t see anything since I’m literally staring into the darkness of this bus.
I brought a bunch of books with me on this tour. So my new thing is drawing, writing in my journal, and trying to scroll through books and not my phone.
Who have you been reading lately?
This is going to sound super dorky. I’ve been reading about Swiss typography, so it’s not a fiction book, but it’s about the history of Swiss design and how it has changed the world. I’m in a weird Swiss design era now. I have a bunch of books on grid design systems and typography, World War II and reading about other people’s lives as creators and designers.
I went to this really cute book store in New York and I bought a book about chairs. I’m trying to take a step away from my phone and the endless scrolling that has made my brain so bad. That’s why I’m trying to take it back with my typography era, apparently.
The scrolling brain rot pipeline is a real thing.
I feel that so heavily that my brain is rotting. All my friends feel the same too.
Are you one of those people with an internal monologue in your head when you think? Or are you more visual? Because some people don’t have internal monologues, but I’m assuming you do because you write songs…
I definitely have an internal monologue and it keeps chatting and yapping all the fucking time. I saw a video of some person and they can’t hear their thoughts in their head, and I was like they are probably living their best life.
How does it feel to be gay code for something that’s all encapsulating?
It’s insane. It’s a once-in-a-lifetime rarity and super special. Especially on this tour, I’ve been getting so many letters. People will hand letters to security and I’ve been reading them backstage and then I send them a message like Hey! I got your letter. You’re amazing.
It’s so rare. I’m so grateful that my coming-out experience and coming to terms with my sexuality, which was really hard for me, has impacted so many people’s lives. It’s beyond. To say that’s nothing, that would be brain rot completely.
Talking about this idea of gay music or gay pop….
You’re talking about JoJo Siwa [laughs]. Personally, I don’t know shit about genres like that, but I do know some of the best music I’ve ever heard is made by queer artists.
On this album, what was the easiest song to write? And what was the hardest?
They all were really hard to write, but "I’m back" is probably the easiest one.
You have that great line about taking a shower in that song.
It’s a funny line, tongue and cheek. I was so depressed I didn’t shower for two weeks in my bed. Not now, obviously, but then sort of being out of depression and see showering as a win. Like cleaning your room and a shower, that’s a win when you’re depressed.
Back to this idea of really pursuing music…. Have you already started new songs?
I was backstage the other day and I had a musical epiphany. I believe a lot of music and art happens in your subconsciousness and I had this really beautiful idea backstage the other day, I think it was last night. I don’t even fucking know anymore. I don’t even know what day it is.
It’s the rot.
Actually, that's tour life. Being on tour is not like the real world. It’s a fantasy life.
We have to talk about having Sabrina [Carpenter] on one of your songs..
I’m such a Sabrina girl…. I’m a siiiinnnngeerrr [singing that iconic line from Sabrina’s recent hit, Espresso]. I’m such a big fan of her and she was my first ever feature on anything.
When you write lyrics, do you have a notebook or do you use Notes App?
I’m a religious Moleskin user. I’m obsessed with stationary and Moleskin, and it’s all in my Moleskin and I have a whole archival system from 2019 until now with the exact same notebook from Moleskin. And I am not sponsored.
Where did you grow up?
I moved back to New York when I was 17. Feel like the bulk of my growing up was done here for sure.
I'm assuming that a lot of the music you listened to growing up is aligned with the music you make now. Who were some of those people?
It's funny cause I actually used to be a scene kid back in the day, I listened to a lot of alternative music: punk, post punk, hardcore etc...bands like Rancid, A Day To Remember, The Distillers. In highschool I loved hip hop coming out of the west coast – Odd Future, Lil B... Going to shows was my shit, and in many ways reminds me of the rave scene. I discovered mad music through the Tony Hawk video games too. But my interest in electronic music definitely came later.
What drew you to releasing this EP now — is it meant to be a summer listen like The Exhilaration?
I actually made Clean Cut at the end of last summer. Lowkey It's a luxury to be able to make a track and then release it immediately, especially as a smaller artist. You wanna maximize the attention your work gets. But at the same time, it always feels like you are releasing past versions of yourself to the world. "Clean Cut" is old to me, but new to you all.
Anyway it's both more and less summery than The Exhilaration, half of the songs were actually produced in the winter. My track with Rubby, "Selfish" definitely gives deep NYC winter moodiness but ironically will drop in August.
Where were you when working on the songs for this project?
Basically I've been in NYC for this whole project. But last summer I spent a lot of time in Berlin and Paris, losing myself, finding myself again type shit. I came back from that trip with all this existential angst... was both super inspired sonically, but like mad uninspired with my vision of myself as an artist. "Clean Cut" kind of emerged from that frustration.
What about “Clean Cut” made it feel right as the first single released from the project?
"Clean Cut" is special because it's like a personal mantra. I wanted to make a break up song but for breaking up with parts of the self that no longer serve you. A sonic reminder to the self. Dance music is so powerful for messages: the repetition and drums kind of take you to a spiritual place. So "Clean Cut" felt like a perfect vehicle to kind of show the world about my evolution as an artist and introduce them to my evolving sound.
What are you most excited about the music you’re making now?
I'm always working toward this personal goal of making fast music chill. "Clean Cut" is def meant to be loud and epic, but at the end of the song it switches to these lush sounding chords — a vision of a brighter future after this epic journey into the self. Dunno... I'm always trying to figure out how to make music that's 150+ bpm be relaxing and vibey – the other songs on this EP were made with that intention in mind and came out really sick. All that to say I'm excited about further honing that intention and sharing it with the world.
Where do you think techno is headed and what do you wish to contribute to that?
I think we're gonna see a return to Producer/MC/artist focused work, DJ's who are producing their own music, live acts being integrated into the rave etc. Feels like we are just on the cusp of this electronic music moment, especially in America. I wanna take that shit all the way to the top. Put people on to a genre of music they don't know about, or didn't know they would be into.
Who listens to Jonah Almost?
Gay guys and baddies for sure. My super fans are all these young gays in Europe/South America haha. But I wanna make music that speaks to everyone! I was speaking with a friend recently who called me a bi-con – I usually try to make my subject matter gender neutral because I want anyone to relate to it. Can be frustrating releasing music as a queer artist or whatever cause you get lumped into that box, but I'm rocking with whoevers fucking with me.
What are some of the backbones of your creative / music-making process?
Spliffs. My Universal Audio interface. The Korg legacy collection. Keyscape. Fabfilter. Oh and insomnia, I don't sleep much, most of my shit is made at like 5am while everyone sleeps.
What are you most obsessed with musically right now, and why?
I'm super inspired by Lone, right now and always. He's my dream collab and one of my biggest sonic inspirations. I just love how dreamy and aquatic his production is. If I could make something half as dreamy as him I'd be happy haha.
Where do you dance?
In my living room mostly. But I'm around the scene. Basement is always fun. My favorite party recently though is that one from Kay Gabriel and Seva Granik, Faggots are Women. Most fun I've had at a rave in so long.
What’s the worst tattoo you’ve seen in Brooklyn?
Haha off the top of my head I dunno... Think I saw a dude with a dick tattoo once. It was like an Elephant's face where his dick was the trunk. That was crazy.
Is there a song you have on repeat?
Where is the sun? By Blue Hawaii.
The video touches on the importance of collaboration in your personal journey as an artist. What was the process of creating this video with a team?
It was super seamless. Leaf and his team were a dream to work with, and everyone on set was so chill and supportive toward the vision. I feel like it's getting harder and harder to find people who are just down to collab and make something cool for the sake of making something cool. It was a group of people who came together to showcase their talents, be it me the artist or the film team. Even the Tarantula handlers Ryan and Juje were so down to just come in and help us make this. I'm super grateful.
How did the video come to fruition? What was it like working with Leaf?
Leaf is so major. He called me up and was like "Yo... would you be down to make an editorial with me?" He's a super talented director so when he started explaining his vision, and I shared my story about "Clean Cut", it was clear that he was tapped in and singular in his approach. The vibe on set was so wholesome and chill, everyone including me was just happy to be there. It's def the most produced video I've done which is really cool. Anyway I was mad grateful he reached out to me, so I came in hot that day to the studio ready to serve.
You mention “earnestness” in the video, which I feel people often associate with corniness. Are you afraid of being perceived a certain way?
Nah I dont give a fuuuuuuuck. Can't let that shit get in the way of putting yourself out there. Some people are gonna rock with you and others won't. It's impossible to be liked by everyone. I spent a lot of time in NYC trying to be liked and at a certain point it just holds you back. For me Jonah Almost has always had an element of performance art, creating a fantasy, a version of myself turned up to 10. What I said in the video about earnestness was in relation to this character building. Clean Cut is about severing ties to this persona that felt outdated, unaligned with who I have evolved into. Earnestness in that context meant being confident in just being myself. I'm just trying to keep this shit fun for me. It's my outlet.
JOHN wears KNITWEAR by FRUITY BOOTY, DRESS/TOP by ASAI, JACKET and SKIRT by MASHA POPOVA, BOOTS by DIESEL
While John has been receiving her fair share of the spotlight, walking fashion shows like Marine Serre and starring in campaigns for Daniel Lee’s Burberry, she’s not phased by the constant attention. Instead, she’s almost unaware of it at times.
“I kind of live in my own world. Someone will recognize me and I will be shocked. I live in my own world and I just make music,” she says. After the release of SHILOH, she crafted a collaborative mixtape called JGSG with New York-based producers Surf Gang, surpassing her UK-specific following and gaining an international audience.
Growing up, the rapper found herself enthralled with many types of music present in her Jamaican home. Often encountering melodies from pop, reggae, and dancehall, she cites Jamaican DJ Super Cat as one of the most important concerts she ever attended. She went alone, not waiting for anyone to tell her they’ve heard of him before. It was on Jamaican Independence day, and it was a no-brainer for John.
In her new EP, Like A Ribbon, produced by Flume, Vegyn, and Kwes Darko, she’s exploring a new side of herself with upbeat, joyful beats and melodies, writing from a place of welcoming her new life.
“Like A Ribbon is like many running threads that coincide and sometimes they get tangled, then they find a way to untangle, but at the same time you’d like to accept that it was all a part of life,” she said.
The five-song EP, mostly produced by her longtime friend Kwes Darko as executive producer, matches Glacier’s apparent eagerness for life and a cherishing of its everyday moments. Her video for “Money Shows”, which features vocals from singer Eartheater over punk-infused guitar riffs, shows Glacier beginning her manifesto for what life has to offer with lyrics like “show up and I always show out/no doubt I cause I know about ways/long days cause I talk about pain / I’m still running I could talk about strains.” It’s clear that Glacier is on a new path. In the video, the rapper sits in a chair while getting her hair and makeup done for a performance, a direct visual for the energy she’s putting out into the world.
look 1: JOHN wears BLUE TOP by ASAI, GRAY TOP and SKIRT by OTTOLINGER, TROUSERS by COPERNI, SHOES by STEVEN MA, BANGLES by DINOSAUR DESIGN, EARRINGS are STYLIST’S OWN
look 2: JOHN wears HOODIE by SRVC, DRESS by Y/PROJECT, TROUSERS by MASHA POPOVA, BOOTS are TALENT’S OWN
SHILOH’s religious themes ring with biblical references in lyrics like “Gabriel cover me/Under angel wings/Stuck on Calvary,” making me wonder about the rapper’s spiritual life. While she was raised Christian — similar to myself and other first generation Caribbeans — she let go of that label a long time ago.
“I pray every day,” she says, still emulating that one ritual she was taught in her large and loving home. John revealed that she’s a Libra, born on October 21st, the same date as myself, although when I mentioned my transition into a quarter life crisis, John simply replied that she feels ageless. “I feel like certain people when they’re 40, they might feel like they have to live their life differently. When I’m 40, I don’t feel like I’ll feel that way, I’m going to live life how I want to.” She’d been referred to as an old soul all her life, transparently wise, vivacious, and, in her own words, “sparky."
With Like A Ribbon’s follow-up, expect to hear John step into herself, accepting the role she plays while navigating her life experiences — all while remaining true who she is. The whole project is a continuous writing process: subjects of her life glossed over in Like A Ribbon will be thoroughly investigated in part two of the project. Upon this release, anticipate tour dates throughout the U.S., where John’s new optimistic sound will inspire a similar blend of energy just like her childhood home.
