Most sane people, I think it’s fair to say, love fall; anyone who doesn’t, I simply don’t trust (same goes for people who don’t love pickles, the movie Ferris Bueller’s Day Off, and Kylie Minogue’s “Love at First Sight”). Fall in our old home of New York is a beautiful-yet-fleeting time, usually a week long, in terms of weather, at best; here in Los Angeles, it’s less established in terms of traditional timing (this week, mid-October, it’s regularly in the mid-80s), therefore even more important to replicate in other, more controllable facets of life, like, say, giant, heavily themed pumpkin patches.

Flash back to the fall of 2014—we’d just moved from Brookyln to Los Angeles and, being longtime samhainophiles (kind of a word), we sought the best of pumpkin patches in a town that we realized was equally samhainophilic. Our search brought us pretty definitively to Mr. Bones Pumpkin Patch, a very well-curated patch in Beverly Hills (it’s since moved to Culver City) that verged on tiny Halloween-themed amusement park, with games, rides, way too many celebrities, set-decorator-caliber staging, and refreshments (we enjoyed the snow cones, as you can see). Oh, and pumpkins. One thing they didn’t have at the time—a petting zoo.

Cut to today—we have an adorable kid (no, it’s proven, we had him tested; also, see above) who we now want to introduce to the over-the-top LA pumpkin experience. But checking Mr. Bones’ Instagram feed, we learn that they now DO have a petting zoo. And that the celebrities seem to bring along professional photographers, makeup artists, and lighting crews, judging by the photos (ah, 2014 Instagram vs 2018 Instagram).

Our beef (pun kind of intended) with petting zoos? By and large, they’re sourced by meat and/or dairy farms, which we’re morally opposed to supporting, being longtime ethical vegans. But even more so in this particular context: How fucked up is it to take you kid—who you’re constantly exposing to these books and stories personifying animals and empathizing children with them from an early age—to meet, pet, appreciate, look in the eyes of all these real animals that are going straight to slaughter and/or cruel confinement as soon as this adorable pumpkin patch calls it a season? Very fucked up is the answer.

So we embarked on a mission to suss out the few area pumpkin patches and general purveyors of these emblematic autumnal gourds that don’t include amongst their attractions petting zoos, pony rides, pig races (no really), or anything else we felt unfair to our voiceless friends. We’re sharing our findings herein but if you’re reading this and have any additions or edits, let us know—this is far from an exhaustive list. And a huge thanks to Jordyn from PETA Kids who gave us so much initial information about some of these places when we reached out.

Mr. Bones Pumpkin Patch, Culver City, CA
Oct5-30, Sun-Thu 9AM-8PM, Fri+Sat 9AM-9PM
I know, I know—they were the whole reason for this journey of animal-friendly pumpkin patch discovery in the first place.  But, turns out, while they do indeed feature a petting zoo this year, the company’s owner was raised vegetarian and they went out of their way to not source animals from a meat or dairy farm, instead tapping friends in Ventura who have a farm where the chicken, sheep, and goats roam free—”the ranch is essentially a sanctuary and they are basically family members of the people who own and operate the ranch,” they told us (you can see our full back-and-forth here). Some hardliners take the ‘animal use is animal abuse’ stance, but, for us, that’s pretty good and much more faithful to the whole animal-bonding idea behind these petting zoos.

Photo: Ksenia Moore.

Irvine Railroad Park, Orange, CA
Sep15-Oct31, weekdays 10AM–5PM, weekends 8AM-6PM
The top feature photo was taken here this past weekend and, though it is indeed a hike from Los Angeles proper (about an hour and a half, depending on traffic and from where you’re coming), it’s pretty great. As the name implies, there’s a miniature railroad that runs around the park with narration that sheds light on some history of the park and surrounding area and some holiday-specific decor, in this case including a not-very-scary (in a good way for tiny kids) haunted tunnel the train runs through. The overall park theme is pretty old west, with wanted poster stands you can pose behind for photos, themed building facades, and even an area where kids can pan for gold and strike it rich! As mentioned above, we went on the weekend and it was indeed pretty packed, so be forewarned—expect crowds and a potentially full parking lot if you go on Saturday or Sunday. Their pumpkin selection (and photo ops) are pretty stellar though. The park is adjacent to the Orange County Zoo but is totally unaffiliated with it, so your dollar isn’t going to support them if zoo’s aren’t your things either (same goes for the pony rides which the zoo operates right next to the pumpkin patch).

Riley’s Farm, Oak Glen, CA
Oct1-30, weekdays 10AM-4PM, Saturday 9AM-4PM (closed Sundays)
Riley’s Farm is heretofore unknown to us working apple orchard + living history farm, featuring pick-your-own fruit, living history education, dinner theatre, group banquet facilities, and extended, historically-themed overnight stays. So, yeah, awesome. For any fellow east-coasters who grew up taking yearly field trips to Colonial Williamsburg, this sounds like our new local version. The farm let’s you hike out into their acres of pumpkin fields and pick your own or you can purchase pre-picked pumpkins (say that five times fast) in the farm store if you’re not looking to haul it all the way back. The farm does have some resident farm animals that they sometimes use in their public house in terms of dairy; other than that, we were told they just kind of hang out on the farm.

Your Local Farmers Market
If you’re not looking for a themed experience and are good without all the rides and games but still want something more locally minded, check your local farmers market—many vendors make an effort this time of year to bring their own locally grown pumpkins to market.

Like we said, if you’ve got more tips for us, let us know; otherwise, we hope this list helps you celebrate compassionately this autumn.

Like we mentioned at the open of our last mixtape, one of our favorite things about putting those together is having to push past what we already know and are exposed to in terms of music and seeking out the very new, things we’d almost certainly miss or never hear otherwise. Doing so results in some beautiful discoveries more often than not. With this most recent foray into the unknown, our big take-away was New Orleans band, People Museum, an experimental pop duo comprising producer/trombonist Jeremy Phipps + composer/singer Claire Givens. As we’d mentioned last month, we’d hoped to interview the band to find out more about them and were lucky enough to do so recently, talking about the band origins, the music scene in New Orleans, and more.

You can read the full interview below, stream their debut full-length here or via Spotify, and purchase the album via iTunes or your favorite discerning local record store. Photos by Daniel Grey.

raven + crow: Alright, first thing’s first—how’d you two meet and how did the band develop? Were you both in bands previously and already on the hunt for a new project or did this just naturally develop from an existing mutual friendship?

Claire Givens: We met at a spot in the French Quarter in New Orleans called Marigny Brasserie after a mutual friend suggested we would be good collaborators. Jeremy had just gotten back from living in Los Angeles for a few months pursuing a solo project and I had just come off of a music project that broke up pretty dramatically after 3 or 4 shows. I was definitely itching for a new musical partner. We went to our buddy’s house in the Treme the same day and started writing songs. We finished two complete songs and realized it was a perfect match. The music basically developed our friendship.

Are you both originally from New Orleans?

Claire: I am from North Louisiana, Monroe, which is basically the polar opposite of New Orleans culturally. Jeremy is from Uptown in New Orleans.

What’s the music scene like in and around New Orleans? I know a band from Baton Rouge (thought they’re here now—Moon Honey, do y’all know them? Nicest people in the world), but I can’t off the top of my head think of many bands from NO that don’t live very precisely in the jazz or swamp rock worlds.

Claire: I LOVE Moon Honey! They seem to be killing it in LA. The New Orleans music scene is really difficult to describe. Parts of it are the exactly the same way they’ve been for 50 years (Frenchmen street jazz/funk scene), but if you go downtown or to the Bywater, some pretty radical things are going on. We love what the Pink Room Project and people connected with them are doing. It’s a mix of house, hip-hop, and punk that is what New Orleans is to us in this moment. Nondi is also a very interesting performer who mixes meditation with R&B vocals. It’s a shame that a lot of great music and musicians here don’t get the credit they should because it isn’t what people expect or are trying to take away from New Orleans. They want a Disneyland experience.

Right, no, I can’t imagine a ton of people coming to New Orleans from the outside are looking for anything beyond the traditional or even cliché—New Orleans playing New Orleans. But I’d read that you all view the band as a kind of means to explore the sounds of future New Orleans—can you explain that a bit? What do you see as the future of New Orleans sound and music and even the arts there?

Jeremy Phipps: When I said future New Orleans I meant we’re taking elements involved in traditional New Orleans music like my primary instrument, trombone, but filtering it through effects.

It wasn’t a concept I created in the beginning. It was a practical way of trying to fit inside the soundscape I created with synthesizers and other futuristic instruments.

I think the future of New Orleans art is building a bridge between tradition and progression. It’s inspiring some amazing art.

If your music is any indication, then definitely. How do you two break up song-writing tasks? Or is it different song to song? I know you’re primarily the singer, Claire, and, Jeremy, you play trombone, but there’s a lot more going on there song-to-song.

Jeremy: I usually make a full instrumental track and send it to Claire. She spends some time with it, writes the lyrics and melody, then when she tells me she’s ready I’d go to her house and record a demo. That was the process for the 9 songs on the album and all the other songs that didn’t make IDYTC.

There’s not much debate between us, she gave me the freedom to express myself and I gave her the freedom to express herself. We trust each other a lot.

That’s great. And I feel like that freedom plays out in the creativity shown in the songs too.

I don’t generally like to play the comparison game, but I did find it interesting to discover you toured with Rubblebucket, Jeremy—that’s honestly one of the only sonic parallels that I can think of for your particular sound. I feel like there is this shared approach to the song structure—layered, hyper-melodic, vocal-forward, beat-driven and even a little dance-y at times. All aspects of sound that draws me to both of your bands. Do you feel like that very general musical umbrella is some of what you’re exploring in terms of the future of pop music?

Jeremy: I’m a huge fan of Rubblebucket, so when I got the opportunity to tour with them I soaked in as much as I could. Alex Toth, their leader/trumpet player and Adam Dotson, their old trombonist, are big influences my horn playing. I don’t listen to many horn players so they are definitely the exception.

The album cover immediately brings to mind modern dance and movement to me—does anything like that enter your live shows ever?

Jeremy: I’m constantly dancing on stage. Our weird drum beats inspires the atypical movements.

And is it just you two on-stage for those or do you build out the band for live performances?

Jeremy: It’s a 3 piece live band at the moment. We have an amazing drummer and producer Aaron Boudreaux playing with us.

Any plans to tour out west? We’d love to see y’all live.

Jeremy: I lived in LA, Koreatown for awhile, so I’m dying to play a show in LA. We’re definitely wanting to go west early next year.

Oh, excellent. Finally, we love talking names—can you explain yours?

Jeremy: This is a funny story actually. When I lived in LA, way before People Museum started, a friend of mine brought me to stand outside the arena the VMAs was held in. Along with a couple thousand people you could watch the stars walk back and forth to their dressing rooms through a huge glass.

It’s a surreal and a bit invasive experience. Most of the stars would just ignore us but every now and then one would wave and everyone would cheer.

I felt pretty jaded from it until I saw Willow Smith wave at us! Hah! I love Willow Smith. After that I could see the appeal in it.

Anyway, I said to myself “this feels like a People Museum.” I wrote that name down and held on to it until I started this project with Claire a year later.

Yeah, I’ve never done that. Maybe I should. That place is right down the street, I think. What about the album title, I Dreamt You in Technicolor?

Claire : This came from one of our first songs we ever wrote together that we never released called “Technicolor Dream”. We decided to not include that song on the album, but we felt like “I Dreamt You in Technicolor” perfectly summed up this soundscape we made. It’s all this crazy dream, full of our memories and color and life.

Nice. Well thank you both for taking the time to talk and we’ll keep an eye out for a live show in 2019.

Every time we do one of these, we discover new future-favorite musicians. More than anything else, it’s the thing that keeps us doing these mixtapes year after year, pushing us past complacency and into creative experiences we likely wouldn’t otherwise have, both in terms of recorded music and live performances of artists we first discover and then share on these pages.

Last month, the big impact new artists for us were Your Smith and Sorcha Richardson; this month, New Orleans duo People Museum is our musical obsession, and we’re hoping to bring you an interview with them in the coming weeks. In the meantime, you an enjoy one of our favorite tracks form their new album on our mixtape and, if you like what you hear, give their entire debut a much-deserved full listen (not to be confused with these guys’ new album, which is also likely awesome).

Also in the exciting new-to-us realm, Tokyo/Berkley’s Curling, who self-describes as “Crosby, Stills, & Nash meets Cap’n Jazz” which is fucking amazing, like their track “Still Green”; Belgium’s Pale Grey, who plays some pretty catchy shit; Brooklyn trio Big Bliss, whose debut full-length both reaches back into new wave’s best and forward into new new wave’s best; new experimental cold wave (if you like waves and over-categorization of music) from Athens, Georgia’s Mothers; and English electronic duo Maribou State.

In the welcome return category, South African artist Petit Noir (AKA Yannick Ilunga) is back with a wonderful new EP; Gabrielle Smith (who we interviewed back in 2015) is back with the newly minted Gabby’s World; SoCal’s own Trevor and Tim from Tall Tales and the Silver Lining are back with an album as Parting Lines (Trevor’s another past interview subject); friends of the studio Moon Honey have a just-released album full of crazy-insane-prog-psych-rock-your-face-off-ness (video from the single we feature below); Bristol’s Elder Island are back with a very much smoothed-out, slick sound; Los Angeles’s own Viaa gives us some trademark hook-filled pop; more LA love—Kito teams up with New Zealand’s Broods for a lovely nuanced single; studio favorite Amber Bain out of Buckinghamshire, AKA The Japanese House, has a just-released single that’s kicking the mix off; and conversely, Toronto’s Lowell closes things out for us with a beautifully epic, danceable, anthemic track that we should all bounce around to and sing at the top of our lungs at least a few times this fall.

Enjoy, friends. And remember—love wins.

It might seem odd or overly precious to fixate on a corn chip, but there’s something to be said for the perfection of the simplest of things in our diets, especially those things that hold up other foods (literally in this case). And for anyone who hasn’t had Chicas chips, take it on good authority that they’re really, really good.

Doing some light research online, we couldn’t find out a ton about the company beyond your standard About web page, but were intrigued by some of the messaging on the packaging and what exactly makes them so very good. So we reached out to the Southern California company that makes the chips, Arboleda Foods, to find out more. We ending up talking with their head of marketing + design and daughter of company owners, Sarah Chaidez (below, first row, far left), about the origins of the family-run business, what it means to be an immigrant-run business that bills itself as ‘proudly American’ in the current socio-political environment, and why we can’t stop eating these chips. Seriously. Can’t stop.

raven + crow: So, first thing’s first—we love your chips and salsa. We’re honestly pretty obsessed with the chips especially at this point. I think we’re mainly interested in finding out a little more about the history of the company and how it came to be—can you tell us a little about how it all started?

Sarah Chaidez: We started in 2010 selling a homemade salsa at several So-Cal Farmers Markets. The recipe originated from the owner Irlanda Montes’ mother. The salsa was so good that it needed good chips to sample it with. Fortunately for us, none of the chips Irlanda found in markets got of her approval so she decided to make her own. To her surprise, people started requesting the chips and she started getting up at 5am to make a few batches before heading to the farmer’s markets. The chips started to become so popular that she soon had to rent a small commercial kitchen to be able to produce them.

That’s awesome. Like I said, we LOVE the chips, so it makes sense. Cool to see such a direct supply-and-demand relationship though. Was food culture a really big part of Irlanda’s upbringing?

Yes, she was born in Ecuador. During her upbringing she saw her father and mother go to the open air market every day to buy fresh ingredients for their daily meals. When she came to the United States, she continued the tradition of having fresh cooked meals daily. Good homemade food was always on the menu and it always brought the family together.

That’s something that I feel like has only recently again become more common in our post-war culture and upbringings here in the States even though it’s so deeply rooted in so many other cultures. The salsa really is great too, but what do you think it is about the chips that make people love them so much?

The salsa that we have right now is a new recipe originating from the original. The original recipe had to be refrigerated and we needed a shelf-stable salsa to be able to place it along the chips. On the other hand, we have kept the original recipe for our chips from the beginning. What makes them great is not only the recipe, but the process of how they are made. Chicas™ recipe is not a common chip recipe. Therefore, the process of making them and frying them is different than what you see out there. Also, we added the uniqueness of rice bran oil which makes the chips lighter, fresher, and healthier.

What goes into making the chips, in terms of ingredient sourcing and then actually producing them?

We make sure that our ingredients come from very reliable companies. They work hand-in-hand with our needs and the needs of our customers. We believe it is not just the ingredients that make the chip, but the time and labor it takes to make them. The process itself is similar to most other chips, but we proudly can say that we put lots of love and care into their production. The biggest difference is that some of the processes is done by hand to keep the unique flavor and texture of our chip.

Why do you all use rice bran oil? Is that a family tradition or something more born from recipe testing?

We did very extensive research about all types of different oils. We found out about rice bran oil having lots of health benefits and having a high smoke point. This made it a perfect match for our chip. Even though this oil is more complicated to get and more expensive, we definitely wanted to add some good-for-you ingredients into our chips.

Yeah, we had no idea we loved rice bran oil so much. Who knew? Can you tell us about the name, Chicas—‘girls’ in Spanish—is that a reflection in the people that run the company?

When we had just started the company, Irlanda’s sisters came along to help. They spent endless hours in the commercial kitchen frying. This was new to them since they all worked in office environments before, but this became a time of bonding and laughter. Traditionally in South America, instead of calling each other by name, they would all call each other ‘Chica’, which means girl in Spanish. With Irlanda and her three sisters in the kitchen, you can imagine this word was used a lot. At that time the chips were called Arboleda Chips, named after the company. Eventually Irlanda’s sisters moved on to do other things, but Irlanda never forgot those times she spent with her sisters. Later on we wanted a simpler and catchier name. So, in honor of her sisters, Irlanda named them Chicas Chips.

I know you’ve said that the company started out and remains very much a family endeavor—can you tell us a little more about that?

When the company first started in 2010, Ray and Irlanda invited various family members to help including her mom, brothers, sisters, a sister-in-law, nieces, nephews, son and daughters. Time passed where many came and went, but to this day it is still a family business. Ray and Irlanda, as husband and wife (above, first row, middle), are heads of the business, and their two daughters—myself and my sister, Nastassia (above, first row, far right)—handle marketing, accounting, and purchasing.

Very cool. You all are based out of Harbor City, right? Is most everyone at the company Los Angeles natives?

Pretty much! Irlanda came from Ecuador at the age of thirteen and Ray came from El Salvador at the age of six. Even though Irlanda kept a lot more of her Latin traditions, they both have embraced American cultures. Nastassia and I were born in the US and raised as LA natives. Our other employees are a mixed of Los Angeles natives and other immigrants from other Latin countries, like Mexico, Peru and Honduras.

On your chip bags, you have a graphic going across the top that reads ‘PROUDLY AMERICAN’—why was that important to put front-and-center for you all?

Ray and Irlanda are entrepreneurs. They have started different businesses in the past before becoming successful with Chicas™, and they are beyond thankful that America has given them the opportunity to do so. Where Chicas™ is now would not have been possible without all the opportunities that are given to us here in the states. We are proud to be here and proud to be able to give back by creating new jobs.

Do you feel like that sentiment has taken a different tone or is seen in a new light in what a lot of us see as a political and social climate that’s soundly anti-immigrant?

The political situation that is going on right now does not take away from the beauty this country represents. Throughout history there have been seasons of good and bad. There is a lot of negativity in our country today, but our focus is on the good of our country and the kindness of many Americans. We will continue doing our part to do the right thing and will continue to embrace our Proudly American representation.

Beautifully put. For the most part, has the experience of starting and running a business in Los Angeles been a good one? I mean, as a fellow small business owner, I know it’s tough, but seems like you all are doing really well.

Irlanda and Ray have had many ups-and-downs, especially since they started their business right after a very bad economic period. They are truly fighters, and the company has persevered even though many times they felt like giving it all up. The company is stable and growing now, but tough would be an understatement. It definitely takes everything you’ve got. We truly are fortunate to have a really good product that has kept our hopes high, and seeing the response we get from our customers gives us an eagerness to strive forward. We trust in God that soon we will be able to say that we are doing really well.

Likewise. We’ll do our part by buying as many chips as we can eat. Which is a lot, trust me. I have a kind of nerdy product packaging question—I know back in the day you did more of the traditional tie-closed bags for the chips, but now you have what I honestly have to say are the nicest chip bags; they open really easily and look really nice and non-crinkly after being opened. How did you manage that or who makes those for you, if you don’t mind me asking?

The reason we started with twisty-tie closed bags is because being a small company that was just starting, we only had the equipment and knowledge to seal them this way. To our surprise, people loved it! They felt like they were getting chips out of a home kitchen. The reason we upgraded is because as we grew we needed something more secure for shipping and food safety. The bags were now in store warehouses, exposed to cross contamination, or too easy to break open. At this point we needed to think of our customers and provide them with the same chip quality but better packaging. Ray, Irlanda, and I come from a graphic artist background, therefore we knew that presentation was essential, so we are proud of our creation in and out. In regards to the material, it has been a long journey to get the best film for our chips, making sure it is American-made. The company that makes our bags as well as our cardboard boxes are local family-owned business as we are.

Oh, cool—I had no idea the bags were American-made too. That’s great. Any future plans for expansion—either in terms of products beyond salsa and chips or into other markets—on the horizon?

We are striving for continued growth. We are working to get into new markets, expand our online store, and also expand into the food service industry. For now, we are just in the Southern California area, but soon we will be in some Northern California markets. With regards to other products, we are always fiddling with new recipes and products. But, as you can see, we have to be extremely happy with a product to be willing to put our effort into it. More than anything we want to provide our customers with lots of satisfaction that will keep them coming back for more.

Well we’re hooked.

If you’re interested in trying Chicas chips + salsa, check their locations page on their site for stores that carry them. Or just come to our house. We likely have a fresh bag.

All photos with the exception of the feature one courtesy of Arboleda Foods.

This is how it goes with us. As we near the end of the year, the lofty web-posting goals of monthly mixtapes coming out at the beginning of months slowly slips to the middle, then to the end as we get busier and busier with all the other, non-web-related things in life (which, happily, is many and much), to the point where we’re, for example, releasing the ‘August mixtape’ on the actual last day of August. But what can you do? Priorities are priorities and IRL > URL. Also, from what I’m told, no one really reads blogs anymore? Even blogs you call ‘web journals’ to sound more sophisticated?

So, mreh.

But music! Always music! ‘This month’s’ mixtape starts off with the new Robyn, because how could it not. And, maybe as a result, we have a bit of a Robyn feel weaving it’s way through a number of the subsequent tracks—the exciting new single from Christchurch’s Yumi Zouma; a new danceable track from London’s Millie Turner; and a somewhat more subdued song from an exciting, new-to-us artist out of Dublin, Sorcha Richardson.

Also on the new awesome artists front, we’ve got Melbourne’s Jordan Dennis, who gives us a nice, laid back late summer hit with “Crumbs”; Utah duo, Sego, who walks the line between drone core and catchy pop; Toronto’s Verzache, who’s cooking up some nice foot-tapping bedroom music up north; Brooklyn-Minneapolis duo Tiny Deaths, who we interviewed earlier this month; Richmond’s own Lucy Dacus, who Claire from Tiny Deaths turned us on to in said interview (typing this from Richmond, VA, for what it’s worth); a beautiful single from trio, DYAN, that seems to call just as many places home—Winnipeg x Los Angeles x Cincinnati; and a catchy, fun single from Your Smith (née Caroline Smith) out of Minneapolis.

Then back to some studio regulars and also from Minneapolis, trio Bad Bad Hats is back with what’s looking to be one of our favorite albums of the year so far; moving only slightly eastward, St. Paul’s Hippo Campus just released a promising, woozy new single from a forthcoming full-length; we’ve got a new single from Portland, Oregon’s Liyv, who we featured last year; and we have one of our favorites from Mitski‘s new one.

Enjoy the music and enjoy these last days of summer, friends.

The whole concept of the sophomore slump is a pretty cruel one—that you can never live up to that first creative exploit with your subsequent effort. Which is why it’s always so nice when the opposite happens, especially in music, when you can hear a band getting so much more comfortable with their sound that their collective voice comes through so much more clearly and confidently. That’s the case with Minneapolis-Brooklyn duo Tiny Deaths, composed of vocalist/song-writer Claire de Lune + producer/instrumentalist Grant Cutler. The new full length, Magic (out next month), pushes their creativity beyond the whispering wash of your traditional dream pop into a new, more decisive, more compelling realm of music.

We took some time to talk with Claire about the band and their forthcoming sophomore bump (likely would have gone with ‘trump’ had things panned out differently a couple years back).

raven + crow: So, first off, thanks for talking. We really like what we’ve heard from the new album so far. I feel like I’ve got my own opinions on this, but wondering how you feel like your sound has evolved since Elegies.

Claire de Lune: Thanks so much! This album means a lot to us. I think we’ve become comfortable enough with our sound that we’re able to push the boundaries a bit about what a tiny deaths song sounds like. Some of the songs on this album are a pretty big departure from the “dream-pop” label and I like that about it. We’re not scared to explore.

Yeah, we’re definitely hearing a lot more of you in these new songs, which I love. I feel like it reminds me of early noise pop vs later noise pop (e.g. Velocity Girl), where you can actually hear the settling into a sound and maturing in the music—it’s great. I’m wondering though—this shift in sound, is it something that came about pretty naturally for you both or was it something you more set out to do in deliberate manner?

I think it came about really naturally. We’ve been making music together for 5 + years now, and I think at first we were more conscious about trying to create a world for the sound to live in and to stay within that. Now that we’re sort of firmly living in that world it gives a lot more space to stretch that and the evolution sort of just happens over time. Also, lyrically I was super inspired by things that aren’t relationship-based for this record, so there aren’t as many “love” or “breakup” songs on it, whereas the last record was basically entirely a breakup record, an “elegy” to a relationship.

How do you all break down song-writing responsibilities between the two of you?

Grant makes the instrumentals and I write the lyrics and vocal melody.

You’re split geographically speaking, right? How does that affect your song-writing?

Grant moved to Brooklyn before we’d even officially become a band, and it’s really never been an issue. We just bounce ideas back and forth over email and when it comes time to track vocals, Grant is always in the studio with me. It’s still super collaborative, it’s just long distance.

Yeah, I heard an interview recently with a band we’ve long loved, Wye Oak, and they were talking about how used to living apart and writing in that manner they’ve gotten that, now that they live in the same place for the first time in a long time, they think they’re going to have to manufacture that distance to keep the song-writing strong. I could see how that’d really develop into a healthy creative pattern for two people, weirdly enough. So, I’ve always felt like it can be a challenge for some electronic bands—especially duos, where the responsibility is split between just two people—to create a compelling, engaging live show where it doesn’t just come off as someone singing over pre-recorded tracks. How do you all approach your live sets?

That’s actually something that’s always been important to me, because I feel like a lot of electronic based music is super boring live and you’re just distracted by the light show and I really didn’t want to be that band.

So true.

Grant actually doesn’t play live with me but I play with a group of really amazing live musicians for almost every show (I play solo, stripped down versions very rarely). I’d way rather invest resources in making the songs sound the best they possibly can than invest in some crazy light show or costumes or something like that. Music is #1, always.

Nice. Are you all planning to tour to support the album?


We’ll be sure to keep an eye out for you when you’re in Los Angeles. Can you talk about the band name? I’m guessing it’s a reference to the French expression for an orgasm, but wondering what the story behind it is.

Yes, that’s what it’s referencing. I guess it’s not much of a story, I just thought the name was a perfect balance of sexy and sort of dark and macabre, which I feel like fits the vibe of the music pretty perfectly.

That balance, in general, is very French. And the new album title? Magic—is there a story behind that?

The name of the album comes from the title track, a song called “Magic”. It’s a song about being a youth during this crazy time in history, and the fear but also the freedom that comes with that. When I wrote that song I knew instantly that it was sort of the perfect mission statement for the album, which I really feel is at its heart, a growing pains, coming of age record. So it became the title.

Yeah, crazy times indeed, but they do tend to bring out the best of us at times, creatively—I feel like there’s a lot of that going on here. We always like to get an idea from bands we like of other bands they like since you’re out there playing shows and maybe hearing a lot of what we aren’t—who are some lesser-known or up-and-coming musicians you’re liking of late?

My friend Katy makes music under the name “Morly” and she’s so great, I’ve been listening to her music a lot.

I’m also really into this sort of crew of young women coming up and taking over indie right now. Phoebe Bridgers, Julien Baker, Lucy Dacus. They’re all making really great music with really incredible lyrics.

I’d never heard Morly or Lucy Dacus, but they both sound great, thanks. And Julien Baker + Phoebe (fucking) Bridgers are superb. Awesome. Thanks again for talking and, again, love the new work.

Thanks so much! Thanks for chatting.

‘Eclectic’ is a word that’s thrown around when it comes to music, or, more accurately, collections of music. But this month’s mixtape strikes us as especially eclectic in earnest. Maybe it’s this unrelenting heat that’s effectively vaporized our brains and pushed our aesthetics to the outer boundaries or maybe independent music itself is changing, getting more diverse. Regardless, we have a pleasingly erratic, explosive-feeling mix for you this month, bookended by new music from midwestern brethren—Milwaukee, Wisconsin’s Collections of Colonies of Bees + Minneapolis, Minnesota’s Poliça in collaboration with Berlin-based orchestral collective s t a r g a z e.

The remainder of the mix is largely new-to-us artists (which may owe something to the aforementioned diversity) with some beautifully hyper-melodic pop from Portland, Oregon’s Wild Ones; woozy, glitched-out electronics from multi-instrumentalist + multi-disciplinary artist Schaus (also out of PDX); catchy, earworm-y pop from South Australia’s MANE (née Paige Court); subtly swooning experimental dancehall from Canadian musician Lou Canon; Swedish indie pop from Malmö newcomers Hater; another earworm from KC’s Hembree; Boston teen sensation (just wrote those words) Clairo Cottrill with Reading producer SG Lewis; and Kalbells, the solo project of Rubblebucket singer and saxophonist Kalmia Traver.

Finally, we’ve got some welcome returns from Los Angeles’ own (by way of Chicago) Sudan Archives; Oxford electronic artist Chad Valley (née Hugo Manuel, frontman of Jonquil); the return of Lund, Sweden’s The Radio Dept.; and Melbourne’s golden boys, Rolling Blackouts Coastal Fever. And, while it’s not a return, we’re featuring a track from Lindsey Jordan’s Snail Mail, out of Baltimore, who’s new to the scene but sounds anything but, with addictive songs and a voice that’s beyond her 19 years—this is one of our favorite tracks amounts many on the band’s debut full-length, Lush.

Enjoy and stay cool.

This month’s mixtape brings you—as usual—a ton of new music that we’ve been enjoying in the studio, by artists new + old.

Welcome returning longtime studio favorites include the Brooklyn band with a funny name, Rubblebucket, who kick things off with the catchy, true-to-form lead single from their coming fifth full-length, Sun Machine, out in August; Swede, Victoria Bergsman, better known as Taken by Trees (and maybe even better known from Peter Bjorn and John’s 2006 hit “Young Folks”), who’s taken a welcome electronic-leaning turn with her new album, Yellow to Blue; French singer, songwriter, and superb dancer Christine and the Queens (AKA Héloïse Letissier), who seems to be shifting to moniker and public persona a bit to the simplified ‘Chris’ (and who has giant billboards in Times Square and down the street from us in Hollywood—bully to you, Chris!); SF electronic duo Cathedrals, who are back with a sultry new single, “Hits Me Like a Landslide”; Los Angeles’ own king of glitch, Mark Redito; and a band we’ve followed for a decade, Minneapolis-based (now) duo Now Now (né Now Now Every Children), who are back with their first new album in six years.

New (to us) artists include Richmond, Virginia’s very own Natalie Prass, who gives us an infectious, fun track from her just-released album The Future and the Past (check out the video below); Nashville-based Sophie Allison and her band/alter ego Soccer Mommy; two cousins from London who comprise Otzeki, a jagged, electronic pop duo; Singaporean singer-songwriter Linying; and a newly formed electronic LA trio we’re excited about, Overjoy.

Then we’ve got some other returning artists whose work we’ve featured in the past, including English electronic musician Sam Breathwick, who writes and performs under the collegiate name Vasser; Swedish songstress Matilda Mård, AKA  Many Voices Speak; NYC-based pop Aussie, Kate Kay Es; and London duo and crafters of addictive dance music, HONNE.

Enjoy! And, as always, if you want to hear past mixes, scroll back through these pages for 3+ years of music or visit and follow us via MixCloud.

Art—fern + adorable quilt of Japanese textiles made for us by good friends.

Let’s start out like this—we have no beef (hah) with jackfruit. It’s great.

When properly prepared, it’s a superb replacement for things like pulled pork when looking to eschew the animal from your diet but wanting that texture—the fact that it doesn’t have much taste by itself is a boon as, when rinsed and drained well, brined jackfruit soaks up most any flavor you pair with it. We’ve even lauded the tree-born tropical fruit (the largest in the world) on these very pages as far back as 2012; twice that year, actually (big year for jackfruit).

But that’s part of the problem—we’ve been eating jackfruit for a long time and we’re honestly a little sick of it; it doesn’t have much nutritional content, it comes canned in brine, which means a lot of sodium even after heavy rinsing, and if you do want to deal with a fresh jackfruit, you’re in for a daylong affair and a lot of hard work (and reportedly a possible kitchen remodel—they evidently often ooze latex-like sticky white goop when cut up).

But the other morning we were visiting the local mushroom vendor at our excellent neighborhood farmers market and noticed a sign next to the kind oyster mushrooms touting their versatility in animal meat replacement, specifically calling out that the fungi make for a great vegan pulled pork. And after some experimenting with recipes, we have to wholeheartedly agree—a single (roughly $6) giant mushroom stem hand-peels into excellent pork-like shreds and holds up much better than a lot of its mushroom friends, giving a nice, meaty texture, even after cooking for hours. Best yet, the inherent umami taste of the fresh mushroom plays well with savory, smokey flavors, giving you superb sandwich fixings and taco fillings with a pretty easy prep. And giving us native southerners a cruelty-free and much healthier way to enjoy some childhood classics.

Here’s what you need:
1 medium yellow onion, peeled and sliced thinly
6 cloves garlic, smashed, peeled, and cut into chunks
2 cups vegetable broth (we make our own, which sounds like a heavy lift, but once you’re in the habit, really isn’t and is highly recommended; if you’re not up for it though, go with low-sodium store-bought)
1 tablespoon packed dark brown sugar
1 tablespoon smoked paprika
1 tablespoon kosher salt, plus more as needed
1/2 teaspoon freshly ground cumin
1/4 teaspoon freshly grated cinnamon
1 large fresh king oyster mushroom stem, hand-peeled into long shreds
1 cup barbecue sauce (optional; homemade or store-bought)
olive oil

So, this is really easy. First off, we hear tell this works great in a slow cooker, but we don’t have one, so we do everything in a large, heavily lidded cast iron Dutch oven on medium-low heat in the oven (around 200°F) for four to six hours.

First, shred the mushroom—after washing, pat dry and then, by hand, start pinching ends and pulling up strands, peeling them back and off into shreds, kinda like those old mozzarella-like cheese sticks adults used to (maybe still do?) stick in kids’ lunches. Set aside in a dish and coat the shreds with a mix of the paprika, sugar, salt,cumin, and cinnamon. Now heat about two tablespoons of oil in the Dutch oven stove stop over high heat and the sliced onion and chucked up garlic in a fairly even layer; allow the onions and garlic to come to simmer and then top them with the mushroom, carefully following that up by pouring in your broth. Add the lid and bring to a boil (you’ll see steam forcing it’s way out); turn off the stovetop heat and place the Dutch oven in the non-Dutch, regular oven. Keep at around 200°F and cook until the mixture’s mostly absorbed by the mushroom, leaving it a little saucy and checking regularly to make sure it hasn’t dried out altogether (if it has, just add some water and cook a little longer).

That’s it. Now find some nice, soft hamburger buns or fresh tortillas and get to enjoying, animal-free.

We both came to really appreciate music in an age still dominated by full-length albums; an age of first cassette tapes, then CDs and then, when we hit college-age, vinyl, in its fledgling re-emergence.

So, yes, we’re rather old, but more to the point, we still often think of consuming music in doses akin to traditional album formats—10-15 songs, all tied together in some sort of theme, even if it’s just in the sense that it shows you a snapshot in time of a particular artist or artists and their work; side A, side B, with strong openers on each side and ending on something with a tone of finality and/or summation.

Whether it’s intentional or hard-wired, we often approach these mixtapes in the same way—this month, we start with one of two brand new and timely songs by one of our favorite bands, Braids, each of which tackles how we interact with each other in this digital age. In their own words:
“For those of u that have ever taken selfies, contorted ur body for selfies, pushed up ur breasts, hid ur breasts, hid ur ass, pushed up ur ass, exaggerated ur bulge, exaggerated ur collarbones, turned up the contrast, softened ur lines, been ghosted, ghosted, used tinder, failed at tinder, fallen down an instagram hole, deleted and downloaded it, deleted and downloaded it, deleted and downloaded it, wandered the drug store for clarity, thought hair dye could ease ur pain, at least for a couple days, and flipped the bird at 1 or all of these things – these songs are 4 u. We hope you can sing with them, scream with them, dance with them, laugh with them and dream of how u want to feel and deserve to feel. Take a moment for urself.”

In a kind of echo to that opener, we end the mix with the return of  Belgian musician, rapper, singer, and songwriter Stormae who gives us his first original material in five years, “Défiler”, about being left behind and having your head stuck in your phone and wondering maybe which is worse. Last month, Stormae’s label Mosaert presented its very first fashion show at Le Bon Marché Rive Gauche in Paris to mark the release of its latest collection, Capsule no 5“. Dubbed an “enhanced fashion show”, the whole thing combined movement and choreography by dancer and choreographer Marion Motin with an intricate set designed by Mosaert and Le Bon Marché’s creative teams and Stormae’s 9+ minute song setting the sonic backdrop. The video for the song, by Sacha Wiernik and Luc Junior Tam, captures the whole impressive event.

And giving the spine to the mix (or kicking off the ‘second side’, whichever you prefer) is another significant return—that of longtime favorite Lykke Li.  The Swede-turned-Angeleno has teased a new album out June 8th—her first in four years—and, by the sound of this track and another she’s released, fellow fans will not be disappointed.

In-between those three musical pillars we have a dreamy new song from Nashville’s Bantug; the return of Sydney-born, Paris-based songwriter Jack Grace; and some dystopian hip hop from Chicago’s Air Credits (“music from the not too distant future, when the planet’s water supply has all but ceased, the landscape turning to desert, the desert turning to wasteland”), which features Show You Suck, who we featured a couple years back. Then we’ve got a string of AKAs that played SXSW this year—breezy hip hop, also from Chicago, from Knox Fortune (AKA Kevin Rhomberg); something a little jazzier from the always-impressive Cadence Weapon (AKA Toronto’s Roland “Rollie” Pemberton); and a beautiful  soundtrack for dreamily driving through the desert from Slisbee, Texas’ Lomelda (AKA Hannah Read).

We’ve also got the first new work from DJ/producer/mash-up-artist/musician Girl Talk, featuring Brooklyn’s Erick the Architect; a nice pick-me-up from Brooklyn’s Maria Usbeck; more melodic electronic music from France’s Kidswaste featuring DC’s Manila Killa; a bouncy sing-along from Sydney’s Alison Wonderland; a glitchy banger from Stockholm’s Baba Stiltz; and something a little more pop than noise from Meghan Remy’s U.S. Girls.

As always, enjoy.

Below, the aforementioned video/fashion show and the lovely cover art for Braids’ new split single, by photographer Melissa Gamache.