On episode 21 of BTRtoday‘s When We See Each Other (WWSEO), I chatted with singer/songwriter Mel Fine. We talked about their anthem “In Between,” coming out as non-binary, speaking your unapologetic truth, and more. Listen to the episode HERE.
Also, share and subscribe to this podcast where ever you listen to podcasts. Rate and review WWSEO at Apple podcast. It helps with the algorithms!
When We See Each Other is a bi-weekly podcast centering the work of BIPOC, queer, Trans, non-binary musicians/artists, and also friend musicians I’ve known for some time.
The pod gathers from a broad range of genres, stretching from spoken word to indie rock, pop, alternative, noise rock, hip hop, reggae, dance hall, metal, calypso, funk, etc. The show is sort of a mixed bag, where artists are interviewed on their creative process, and how identity influences their work.
We talked about her upcoming album Rejection Letter, how women aren’t allowed to be angry, bringing children into a world that at most times seems incredibly toxic, and the process of being a creative. Basically, we touched on all the things!
I also played two singles from the album: “Martha’s Vineyard,” which was released in January, and “Afraid,” which dropped last Thursday. Both singles are available on all streaming platforms, and also Bandcamp.
When We See Each Other is a bi-weekly podcast centering the work of Black, queer, Trans, non-binary musicians/artists, and also friend musicians I’ve known for some time.
The pod gathers from a board range of genres, stretching from poetry to indie rock, pop, alternative, noise rock, hip hop, reggae, dance hall, metal, calypso, funk, etc. The show is sort of a mixed bag, where artists are interviewed on their creative process, and how identity influences their work.
Please rate and review this podcast at Apple podcast!
On this episode of BTRtoday‘s When We See Each Other, I talked with poet and performance artist Stephen Jackman-Torkoff from the queer musical collective The Queer Songbook Orchestra. The Queer Songbook Orchestra is a 13-piece chamber pop ensemble based in Toronto that focuses on surfacing queer narratives in pop music. They released “Medicine for Melancholy” with Bonjay in November of last year. Check out the video for the track HERE.
It was a pleasure talking with Stephen, and they also read one of their poems, “Magic.” My favorite line was, “Be the flower you wish to grow in the world.” They also informed us on what exactly is miracle poop, lol. Listen to the interview HERE.
When We See Each Other is a bi-weekly podcast centering the work of Black, queer, trans, non-binary musician/artists, and also friend musicians I’ve known for some time. The pod gathers from a board range of genres, stretching from poetry to indie rock, pop, alternative, noise rock, hip hop, reggae, dance hall, metal, calypso, funk, etc. The show is sort of a mixed bag, where artists are interviewed on their creative process, and how identity influences their work.
Please rate and review this podcast at Apple podcast, Tune-In, anywhere you listen to podcast!
On this week’s of BTRtoday‘s When We See Each Other, I interview Black trans artist Anjimile. His album, Giver Taker, is scheduled to be released on September 18th, under the record label Father/Daugther Records. His gorgeous single, Maker which delves into gender/Trans identity and coming out, is so generous in sound and movement that you must listen, and mark the date for the rest of the album! It’s definitely going to be memorable! Also on this episode, there is music from R&B rising star TruVonne, and the contemplative track by composer Shannon Sea. You can listen to the interview and entire episode HERE!
A couple of months ago, I met up with the other members of my band, just to hang-out and play some songs. We’ve been on a hiatus from playing out and practicing, since we’re practically broke and looking for employment and better lives (the real, on-going telenovela). This has been a really difficult year for so many, not just us. So good riddance 2008.
Anyway, we’ve been needing some sort of release for some time now, and meeting up just to play, not our set or unfinished songs, just to play loudly like we didn’t give a shit anymore, and feel the frustrations, the beast, bleed out. This release felt like the best sort of cure for the thwart that’s been illing, suffocating us for some time now.
Of course I was late on the day, which sucked, because it takes forever to set a kit that’s not your own up, especially when it’s a piece of shit kit. If anything this is a good metaphor for life: never set-up or play anybody else’s piece of shit kit.
Anyway, Maggie was fooling around on the keyboards, and Hanna on her bass. I quickly tried to set the mouse trap of a kit up. It was my worst set-up time ever: half an hour! After doing a three week residency at the Delancey earlier this year, I could set-up in like 5 minutes, 10 tops. Well, that was mostly nervous adrenaline, mixed with shots of Red Bull.
We were just messing around, spur of the moment playing, and then we started talking about this metal band that shared the studio space next door to our old studio, and how awesome we thought their musical arrangements were (lately we’ve been getting into metal). Maggie started talking about how she wanted to write a grave song, and of course that just started it all. Hanna started jokingly singing about loving a lover from the grave, while Maggie was playing on the keys, a blues progression to match Hanna’s bass and vocals. I came in with a slow blues beat, and it went straight to hell after that. We were so excited. We had to play it again, and this time record it. We were hooked on what we had made, it felt so good. It honestly felt like a drug rushing through my veins.
We couldn’t get the melody out of our heads, even after our session at the studio ended. We kept humming this sketch, it was like a nursery rhyme. We just kept singing it over and over again, all through the streets of Manhattan’s Port Authority, laughing when one of us added a scandalous line to the lyrics.
I raced home hoping Hanna had emailed us the short recording of the song. I remember I couldn’t sleep that night, and for once it was for a positive reason. I kept giggling like a kid about our night, and the song. Ha! my poor lover, she puts up with so much. Luckily, she didn’t kick me out the bed that night.
Anyway, we never had a chance to meet again before the holidays to flesh the song out, but Hanna did this incredible just keyboard version of it at home.
The name of the song is Carcass of Pleasure, our attempt at a metal song, well the lyrics are metal, but the melody is more blues, pop maybe? You decide.
After listening to Carcass, I suggest listening to Something In the Middle (see previous post) right away (on loud speakers, and dance around in front of a mirror, I do it all the time in just my underwear, and a broom as my microphone), since they sound so good together.
Enjoy, and as Yo! Majesty says, Never be afraid… Let the music set you free!
COCOYEA 
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