Isaac Dunbar Takes Our Pop Quiz
office gave Isaac an impromptu pop quiz where there are no wrong answers... except, of course, the wrong ones.
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office gave Isaac an impromptu pop quiz where there are no wrong answers... except, of course, the wrong ones.
This month, the musical duo dropped their latest single "K.M.B. (Kill My Boyfriend)," a fiery rock anthem to stitch up any heartbreak. Inspired by 90s pop culture, the Clueless-meets-Pulp Fiction music video follows Love and South on a murderous relationship rampage— sending a warning to all emotionally-manipulative men to watch out.
Additionally, Nova Twins released details regarding Supernova, set to come out June 17, as well as performance dates for their upcoming European and US tour. Over Zoom, office caught up with the up-and-coming band to learn more about their newest single, and what we can expect from them in the next few months.
Continue reading below for an all exclusive interview.
How are you?
AMY LOVE— Good, feeling good.
GEORGIA SOUTH— We're in piles of material because we’ve got a music video tomorrow, and we make all our clothes, so we kind of just have loads of material and just rushing to finish.
Oh wow. You guys make all your own clothes?
GS— Yeah, for all of our videos and stage clothes, yeah. Tell me about yourselves. How did you two come together to form Nova Twins?
AL— So we’ve been family friends for years, and we’ve actually been in a band together for a long time as well. But I basically went to college with Georgia's brother, and then I find just became a part of the family. They're all musicians, like Georgia's mum and dad are musicians. Her dad taught us how to play our instruments. They’re all just a great family, and I just never left, didn't want to leave. I just stayed with them, and Georgia very quickly became like the sister I never had. And yeah, we’re on this musical journey ever since.
GS— When we first became a band. It was very much like a marriage proposal like, ‘Do you want to be in the band?!’ We did this handshake, and were like, ‘Yeah, we're gonna take it seriously. And this is it, ride or die.’ And we’ve been like that ever since.
Sounds a bit like Thelma and Louise.
GS— Yeah, we love that movie. We actually wrote a song all about that movie. We love it.
Your music has been described as a mix of R&B, punk, and electronic music. Who are some of your early influences that inspired your genre-bending sound?
GS— I think we just love all different types of music to begin with, and we come together on certain genres, like the heavier side of music and r&b. I grew up listening to N.E.R.D, I loved Timberland's production, Missy Elliott, the Justified albums. But then, in really early days, I listened to Stevie Wonder, Donny Hathaway, Mariah Carey. Growing up, I think it was just a wide array. And then I loved Late Registration, Kanye West's album; and Dr. Dre's production, so definitely that hip-hop side. But I've been in bands since I was like 12 or 13, so just being on the punk scene, just being immersed in it— that was my way into heavy music. I was literally hiding under bars because I was too young to get in. But it’s cool, the different evolutions of our sound.
AL— I guess when you first get into music, it's usually what your parents are listening to. And mine were listening to people like Toni Braxton, and Whitney Houston, and Mariah, and people like that. But then, as I started to discover my own stuff and what I liked. Now, don't get me wrong, I love Toni Braxton. I would say she's an influence in some of my vocal style. Definitely deep. Yeah. But then, at the same time, you know, Destiny's Child was such a big inspiration, freeing a path for Black women. I was watching them on my screen thinking, 'Wow, I could be that.' Well, obviously, no one could be like that. As a kid, you think you can. And that was really helpful for growth, to be seen in that light. And that then spurred me on to listen to people like Missy Elliott and R&B.
Then, when I was 16, I was going to a music college in London, and that's when I discovered a lot of glam rock and bands that also influenced me, like Noodles, MC5's Kick Out the Jams. I also really got into KISS and just really heavy bands. And at the time, I couldn't play guitar. So I was getting in bands. And also, I was in a band with Georgia's brother at some point, in college and things like that. And then, I was just driven by heavy distorted guitars and things like that. And then eventually, Georgia's just dad taught me how to play a few barre chords, and get on with it. And then it kind of took control from there. Me and Georgia joined forces, and that was it.
You’ve talked about the importance of WOC visibility in the metal scene. With this in mind, what changes have you seen come about in the punk music scene, and what do you still think needs to be changed?
AL— When we first started out, [diversity] was very scarce. We'd turn up to a festival, and be the only women and people of color there. So it was always a bit of a culture shock for us because we got into a band thinking, 'We just want to play music,' and then we came up against all these challenges. We were like, 'Whoa, this is not what we expected.' But for us, that kind of kicking back against that— we really found ourselves and found our power. We really had to dig deep to just accept ourselves and believe in ourselves, so when people tell you, 'No,' you can either listen to that, or kick back against that. So I think we decided just to push through. We've been watching the industry change from then up until now, which has been really since the BLM Movement. We've seen a bit more an increase in people thinking about looking at their peers, looking at their roster, looking at their artists, and being like, 'Oh, we haven't hired anybody. We haven't even looked. We haven't even bothered because we just didn't think about it.' When we were in meetings with people who were actually wanting to change, and just openly saying, 'We just never thought about it. You kind of choose people in your circle who reflect you and, and that was just on our team.' And we were like, 'Okay, well.' I think people then start to diversify, and it's really nice to start seeing the changes, and more artists of color coming through on a very white male dominated scene— let's face it, you know. I think we've still got a way to go, and I think on festival bills, we need to see that more. We don't want it to feel like tokenism; it needs to feel like this is a proper increase because there are so many bands out there.
First album you fell in love with?
GS— I love N.E.R.D's Seeing Sounds. I love the album. I had that on repeat, just constantly.
AL— It would probably be a collection of my mum's records because I remember the Toni Braxton record Secrets that she would play over and over and over and over again. Like first thing in the morning, last thing at night— sometimes I'd be like, 'Mom! Just stop!' But I ended up really liking it, and I was just a young girl. I remember that album being quite significant, and me, remembering all the songs, and listening to them, and then taking it into my teenager life and thinking 'Oh, this is about heartbreak.' There'd be a boy that I'm crushing on, and I'm like, 'I totally get this.' I guess that was the first album. It wasn't necessarily my choice, but I did definitely fall in love with it.
I loved listening to "K.M.B." Can you tell me a bit about the inspiration behind this song?
GS— So I guess this song is reminiscent of our love for 90s R&B and that era, but doing it our way, a Nova way, because it's so sassy. And the music video is inspired by all kinds of movies from the 90s, like Clueless, Mean Girls, John Tucker Must Die, Pulp Fiction— so it's that kind of essence.
AL— It's like a fuckboy horror tune, like Jennifer's Body. It's a horror movie, but put into a song about just naughty naughty naughty guys, I guess, and what would happen if they do wrong? Yeah, it was fun. It was really fun.
GS— It's definitely an anthem for anyone who's been fucked off.
What concepts or feelings do you explore with your music and lyrics?
AL— I think we just take things from our reality, in our bubble. We feel like so much happened during lockdown-- whether it was BLM Movement, things that happened in our personal lives, things that we've experienced together as a unit, or things that we're addressing or talking about-- it all goes in to the music, from the actual music to the top lines. How we're feeling would be how a tone would come out or a lyric would come out.
Tell me about Supernova. What was your creative process for making this album?
AL— I think this album really plays on that kind of yin-yang, light and shade, kind of concept. So something can be so sweet, but there could be a really dark undertone to it, and vice versa. Really just sweet-sour, light-shade-- that's what just takes you on a musical journey from I think the beginning to the end.
GS— In lockdown, we had the time to really just get into the production of things and just experiment more, which was great about the lockdown because if we were just touring, we wouldn't have had as much time to just sit back and think, 'Oh, let's experiment in a different way this way, or this way.' It was a really fun process.
As we've slowly been coming out of pandemic-mode, what has been a highlight of this last year for you?
One of my biggest highlights of the last year has been getting my puppy Pluto. I’ve wanted a dog for as long as I can remember and I finally have a little friend who loves me so dang much. She’s so tiny but she acts like my security guard. It's the cutest thing.
Seeing how you’ve grown and developed as an artist, what advice would you give to yourself when you were just starting out?
Some of the best advice I would give myself was to keep going. There would be times where I wanted to pity myself, blame the world for not being where I wanted to be, but I always snapped out of those moments by reminding myself that being a victim of life gets you nowhere. I am 100% capable of making all of my dreams come true, the only sure fire way not to, is to quit.
What inspired your choice to remain independent and release music through your own label, Mama Saturn Enterprises?
I’ve seen a lot of artists lose agency over themselves and their art in exchange for more money & resources to be invested into them to bring about the success of their endeavors. I know I’m going to be successful…what matters to me is that I remain in a space where I own my art, my time and retain the freedom I have to pace my evolution how I see fit. I’m not against partnering with a label, the terms just have to make sense and revolve around the boundaries I’ve set in place not only as a creative but an entrepreneur as well.
What does Mama Saturn mean?
The origin of Mama Saturn is actually a simple story. As I was writing the song (Mama Saturn) my goal was to come up with the yummiest description for people to envision how my hips were moving and so I imagined myself hula-hooping with Saturn’s rings. I decided to personify Saturn as a woman to further encapsulate the essence of feminine energy throughout this song in particular and I called her Mama because my love at that time would call me that. I didn’t foresee my supporters proceeding to call me Mama Saturn but I guess since space is such a present topic in my art it makes sense, so I fully embrace it. The name feels like an ode to my higher self in a way.
Last year you amazed us as Playboy’s December playmate. How did that all come together?
Playboy reached out and asked if I was interested in a job opportunity and I said yes. A huge part of my mission as a creative is pushing the envelope on how women are perceived in society & for our bodies to be viewed as temples that allow us to move through this human experience loving, nurturing, evolving & healing. I thought to myself what better platform to amplify that message, embracing a space that was founded for the male gaze and making it what I want. It was extremely empowering.
In an industry that can really pick people apart for every little thing in their lives, what do you do to stay grounded and true to yourself?
I prioritize therapy, self-care routines and keep my friends and family close to me.
Can you tell me a little about your single, Good Good?
Of course! I wanted to write a song about a good partner, a partner deserving of all the love and yumminess I have to give. There are so many songs about heartbreak and toxicity and I just wanted to have something that highlighted the good sides of love on some Cater 2 You 2.0 type vibes.
When you’re working on new music, what is something that you like to keep in mind, whether it's a certain sound or energy or even just a vibe?
I like to settle into how I feel to make sure I’m tapped in and open to receive. If I’m not in that space I get closed off and begin to judge everything that comes out of my head and then I get discouraged. It’s super important that I just let things flow from inspiration rather than forcing myself to work.
We’re waiting excitedly for your new album. Can you tell us about your upcoming project and what we can expect from it?
I’m so thrilled to finally put out an album!! I’ve been working with Machine Drum a lot on my debut project and it’s been such a cathartic, freeing experience. I’m not thinking about if anyone will like it, just doing what feels right and good to me and because of that, I think it’s going to be absolutely magical and fall into the hearts it’s supposed to.
In a word or two, who is Tanerélle?
Love.
Yesterday, Fana Hues announced her new project flora + fana, due March 25th via Bright Antenna Records.
Check out the exclusive interview with office below.
You grew up around a musical family, what was some of the music you grew up listening to and how does that impact your music now?
My mom and dad were born in the 60s, so there was a lot of soul influence that trickled down from them to me. I feel like its very prominent in my voice and the way I see music.
You’re really inspired by the matriarchal presence in your life, can you attest to how important they are to the development of your creativity and sound?
Being able to watch women have voices that travel gives me the freedom to just be. It only strengthens my creativity and inspires me to create more so I can hopefully be that example for those that follow.
As an emerging artist, what are some of the obstacles you’re facing?
Honestly, I’d say the most challenging thing is having to pivot when budgeting doesn’t allow for some of the ideas I have visually. But, so far I haven’t had to compromise anything creatively. Just sometimes the DIY can be exhausting, and also in the same breath, it can be more fulfilling.
And thinking back to where you were before when you were trying to get your foot in the door, what were some obstacles you face prior that you now have the solution to? What is the biggest advice you’d give your youngest self?
The biggest advice I’d give my younger self is to never sit idle. The only thing that can harm your creativity or the only way the well will run dry is if you stop creating. Period.
Whether it’s a collaboration, hitting a pocket in music you’ve been wanting to, or simply going on tour — How are your fulfilling your inner child’s wildest fantasy?
Honestly, everything I’ve been able to do in the last year has fulfilled my inner child. I knew from a young age what I wanted to do and i’ve been building the platform to do just that ever since. It’s crazy to think that at any given moment somebody somewhere around the world is hearing my voice.
In the new age of R&B, what makes Fana hues stand out?
I think being myself is enough to set me apart. The amount of polar opposite influences I have and openness to curating a creative process that nurtures them makes it so that I'm not in competition with anyone. No one has the exact view as I do, but it’s a human experience others relate to and that gives me free rein to explore and develop myself into a completely new being when I feel the need.
You’re a big writer in general, from poetry to songwriting— how do you determine whether something is just for your eyes and if something is ready for the world to see?
It's a feeling I can’t really describe. It’s a know really. I rarely have to question if something is for others to see or not. It’s usually blatantly clear.
What is the songwriting process like? What traditions do you follow to ensure it’s a good session and what intention is put behind it?
There's no method for me honestly. The best songs can come from me doing chores and singing to an instrumental or acapella. Then other best songs come from sitting with a producer and playing around with things together. I will say that pressure doesn’t make diamonds over here though. I wish I was better with that, but as of now, unnecessary pressure only breeds muck— songs I wouldn’t release.
With the newest project you put out, what intention did you put behind it? What were some of the overarching themes, and how long did it take to create this project?
With all my music and just the way, I live my life in general —honesty is always a theme. To live honestly allows me to create. To be my full self opens up so much that’s for me, I never miss what wasn’t.
With new music, are you're always in competition with yourself to create a new sound or are you always sitting on music?
I wouldn’t say I’m always sitting on music. I feel like once it comes out of me and I’ve made the thing. I move on. I don’t really look back at older things like, “Maybe I should put this out” unless I hear something that calls that same emotion back. Other than that, I'm always looking at what’s next and pushing myself to find that.
The world you create with your music is very complex, can you paint a picture?
The music I make is an ecosystem. It has all of the fixings to be sustainable on its own. My goal is to leave you full after listening. All needs met.