Like many tracks in a post-COVID music scene, “Smile, It’s Over :)” joins many in raging against capitalism and rebelling against corporate greed. The track is commercial, catchy, and super biased in its authenticity and domineering spite-pop sound. Only Bricks’ vocalist Anne DiGiovanni does all the work, getting a lick of the glorious 80s/90s pop-rock invasion with her quirk and spark, using her voice and inspiration to create an unforgettable song.
“Smile, It’s Over :)” is more than anybody has ever bargained for. It’s unabashedly witty, tongue-in-cheek, and rebellious. The Santa Monica-based indie-pop duo knows what they’re doing with the accompanying music video which has all the flair and stripped-back feel of an Avril Lavigne/Gwen Stefani marching song. The recipe is simple, modernity vs. nostalgia, pop-infused with melodic rock, a female lead vocalist who has a set of pipes that dazzle, add a colorful music video to the mix and that’s what Only Bricks have been aiming at all along.

This song is entertaining and provocative, how did you manage to create that combo?

We owe a huge debt of gratitude to all of our collaborators who came together to make this song what it is. Our co-writers Clifton Jennings and Kayleigh Torok (who has her own artist project as Klee), were instrumental in helping us create the best tongue in cheek lyrics, while our producer, Alex Arias helped us craft the classic pop punk sound.

• How do you describe your blend of bubblegum pop/indie rock genres through a blender of generational music: 80s, 90s, and TikTok friendly 2020s?
We call it unapologetically upbeat and melodic pop music. We are both really influenced by melody, and the great pop hits of the decades you mentioned are always on our minds when writing.

• How did Anne’s inspirational backstory come into play while creating this song?

It really was the centerpiece for the song, and its reason for being. When we got into the writing room with our co-writers, Anne described her corporate lawyer life and her plan to quit, with the goal of releasing the song and the video on her last day as part of her goodbye email. The song fell into place quickly after, because it was inspired by all of those insincere corporate goodbye emails that we all get when coworkers leave. . . “please keep in touch,” “it was such a pleasure working with you all,” etc., etc. We wanted to take that and turn it on its head.

• The music video for “Smile, It’s Over :)” is both creative and hilarious. What was the creative process behind that?
It was so much fun working with our director and producer Jaclyn Amor. We met her on the video shoot for our song Big Girl Shoes and we’ve been trying to work with her since then. Smile, It’s Over 🙂 was the song to bring us together. Anyway, Anne had the idea of creating a transformative moment, where she turns into a Disney-inspired mermaid, having finally found her “voice” (or her true identity). The rest of the idea came together when we found the set, which had everything we were looking for (and then some), including a playful color palette and a ball filled “pity pool” where the mermaid Anne could romp. Joseph’s role in the video sort of came into play while we were shooting, playing the straight capitalistic culture unperturbed and unmoved by Anne’s desire to quit her corporate life.

• Do you think it’s hard to convey a strong social/political message through satire?

We think it’s hard to convey any type of social or political message through art. There are so many layers you have to think about and consider in depth. Is this message something that will resonate with our fans? Is the subject something we can talk about without appearing heavy-handed and preachy, or (on topics like racial justice) like white saviors? Is it true to our beliefs?

• Do you think the post-COVID rocky music scene has called the need for anti-corporate artistic and music movements?

We are definitely seeing a shift back to more rock-oriented sounds in music, which we think is great, and given all that’s been happening in the world, from the pandemic, to Black Lives Matter to Me Too, we’re seeing more artists feel the need to speak out about what they believe in.

• Your music would appeal to both generations: TikTokers and nostalgic Millennials. How does that make you feel?

Amazing, are you kidding? Every artist wants their message to be universal. In today’s hyper genre specific world, it’s getting harder and harder to do that.

• What do you plan for your next single/EP/album?
We’re in the process of writing a bunch of new songs, with the goal of releasing an EP before the end of the year.

1. “Batchawana” is a very layered song, how difficult was that to write?

Interestingly, each layer came very quickly – but the layers came with great time in between. The intro riff started as a warmup I invented; just kind of riffing on the blues. That verse vocal was inspired by my love of the band Gomez. CM guitar player Bill came up with the idea to throw a half-time chorus in, but that vocal took many months for me to find. That vocal was inspired by various David Bowie tunes. The horn section came up with that WICKED solo section. The first verse and chorus sections are (lyrically) a lampooning of modern politics, the money/power/fame games that are associated. I wanted the last section to replicate a dream sequence, where the “leader” is singing to his admiring minions. This whole concept screamed Roger Waters to me, so, that’s the sound we went for.

2. With your diverse background from church to the stage, how do you define your spiritual/artistic journey?

Music has always been with me. I could go on for hours about my interactions with music YEARS before even picking up an instrument. From age 12-22, I played guitar and/or sang and/or performed every single day. But, from time to time, like most of us, I lost my way – and the music. Those were always the bleakest moments, when the world was quiet and I didn’t even notice. The church band experience was amazing. This was musicianship, leadership, connection to message and audience, in ways I can’t explain. For 3+ years, that WAS my life, and my music. But the church leadership began to intervene in very private/personal matters and in the end asked me to make a very stark, very unnecessary “choice.” When I walked away in 2015 – everything got quiet again. It was the death of Chris Cornell (I was there to see his final concert) that re-awakened the musical urge for me. And in a strange way, I looked at his passing as some kind of message, a spiritual awakening that music, and life, come to us from a celestial place that has nothing to do with bibles, or steeples.

3. What was the inspiration behind writing “Batchawana”?

My fascination, awe and disgust with American politics (and Americans’ reaction to it) over the last 8 years or so.

4. “Batchawana” has some great guitar riffs and notable lyrics, which usually comes first the tune or the word?

Always music first for me.

5. You mentioned that you just started Let’s get our mojo going when the world shut down. That’s brave, how are you holding up so far?

The pandemic actually was a rather calm, quiet period for me. I’m not particularly afraid of dying (I’ve had a few very close calls already) and so this period where there were no expectations to be anywhere or get anything done was both great fodder for writing lyrics and great time to construct and perfect new songs.

6. How do you find the importance of artists communicating with fans through social media and other venues?

Rough! I’m frankly horrible at this part of it all. I need someone to hold my hand and whip my butt to do better…

7. Art defies borders, age, gender, and geographical borders. We would love to hear your take on that quote.

Age: I’m on the older side of most musician’s useful timetable. But I couldn’t have done what I’m doing today 20-30 years ago.
Gender: I’m very pleased with where the world is heading in this regard. I feel like art is human fluidity on display. I am personally surrounded by sexual fluidity within my music community and my very own family as well. It should seem obvious that those things should matter only to people within relationships.
Geographical: I LOVE LOVE LOVE the fact that digital music allows my music to be heard in places I didn’t even know exist!
Seychelles & Cote d’lvoire weren’t places I’d ever heard of until I saw them on my digital music artist report! I see I have listeners in both Ukraine and Russia and I want to know them all and speak with them right now.

8. Where do you plan to take your music in the upcoming months, both artistically and location-wise

Artistically, I plan on expanding stylistically. Our next release, Midwestern Daydream, with be an Americana/Country crossover tune. Next after that, I’m writing a song on ukulele. And, we just signed a sync licensing deal, so some instrumental, cinematic tunes. Location-wise, it’s hard to say. We’ve only just begun this journey, with our first real “known venue” gig coming up in April.

Stephen Orr’s guitar and Eunice’s contralto vocals use neo-soul and R&B to sell an important social message. Communication and genuine connection have always been a mysterious topic to tackle, especially in a digitally-driven world like ours. “Someone Real” hits that nerve, swiftly with the expertise of a surgeon, using Eunice’s sexy, confident voice and Stephen’s impressive guitar work to set the mood for a dazzling track, lingering long after it ends. The music video is complementary to the song, with two people separated by an invisible barrier only to come together at the end of the track, emphasizing what it means to be emotionally distant even when physically people are together.
The influence of the 90s/00s pop music scene is vivid in “Someone Real” as the lyrics take a fundamentally simple arc while music cascades shifting through lukewarm emotions. Stephen’s guitars and Eunice’s singing are harmonious, melting in a pot of multi-instrumentalist soundscapes. If Valentine’s season was over, “Someone Real” is a track for a lifetime of celebrating love.

1. How did you first get into making music, have you always wanted to be a musician? Did you grow up in a musical home?

SJO: My parents always had music on in the house so I loved it from a young age and can associate different years/moments of my life with different albums!

Playing music didn’t happen right away but that part started when I first heard Hanson and had a dream to start a band with a few of the neighborhood kids. That didn’t last long though and it wasn’t until I was 13 that I picked up a guitar and started learning Metallica riffs.

2. The influence of 90s R&B and neo-soul is obvious on this track, what attracted you to these genres?

SJO: This is partly because of Eunice’s vocals but I LOVE 90’s R&B and soul. Who doesn’t remember those middle school dances where Too Close by Next came on and you dream of dancing with your crush (I was a bit shy then!)

EK: While I have been influenced by a lot of different genres, I was drawn to the lush harmonies, melodic choices and grooves of neo-soul. In the beginning, when I first started writing, I thought of myself as a folk/rock singer-songwriter that simply used a lot of Jazz chords. Over the years my work naturally leaned more into the neo-soul/r&b genre, but on this track, you’ll probably get that sense most from the stacked vocal harmonies.

3. “Someone Real” is reflective of our crazy connection via cyberspace/disconnected IRL post-COVID world. How did you summarize this complex notion into music?

EK: The lyrics in this song talk about distance and tells the story of a person searching for authenticity. I think this is something that people can relate to both in real life and online, feeling the need to really be seen.

4. When did the idea to collaborate with Eunice Keitan come to mind?

SJO: I was hooked from the first Eunice Keitan track I heard! She came to one of my virtual music series events (Harmony Lodge Sessions) and was someone I instantly clicked with, so once I heard her music it was meant to be!

5. We immensely enjoyed the music video, how did the idea behind the making of the video come to you?

EK: We wanted it to reflect the idea of isolation. The camera moves from room to room making it look like people living in the same space but never interacting.

6. Was “Someone Real” possible at all without Eunice Keitan’s presence and artistic collaboration?

SJO: Someone Real is very much a collaboration as the vocals/lyrics that Eunice wrote give the instrumentals a whole new life!

7. How do you find your place amidst a chaotic, unsteady post-COVID music scene?

SJO: By continuing to do you. It sounds so silly but if you’re consistent and authentic people will notice and opportunities will arise.

8. Why do you think your music resonates with so many people?

SJO: They can feel the energy behind it and it stays with them.

EK: As songwriters, we write from our own experience and hope the song will speak to someone else in a similar situation. I think particularly with ‘Someone Real’ it’s also the timing of it. After 2 years of the pandemic and spending large parts of that time in isolation, it’s made people reevaluate their lives, relationships, and priorities.

1. We’re getting a theater-kid feel out of this song, how did you achieve that sense?
Well.. it kinda just happened. From the very first note that was written we somehow had the feeling that this song has to be epic. I believe that our singers musical background is the main reason for theatrical touch.

2. How did the mix of genres and sounds become a fascinating reality in creating this song?
Good question. We always want to create something new. In a world where pretty much everything already exists, you have to mix things together to create something new. We always keep in mind that we want to express emotions so the sound and samples should fit the emotion. Fog horns and Bass Drops wouldn’t have been the right samples for this song. 😉

3. Was the rap part hard to insert within the song?

Not at all. It just felt natural to insert rap there.

4. We love that a song about the torment and isolation that an artist goes through has an upbeat feel to it. Was that hard to master?
It happened naturally so I’d go with no. For this song it wasn’t that hard. But this song is the exception.

5. Where did the idea behind the music video come from?

We always wanted to have dancers in one of our videos and this song was perfect for it. It has drama pain love and power and the dancers express those feels perfectly! Our first idea was to go the Opera-House in Zurich but they are f***ing expensive. Im talking 5k a day expensive so we had to search a different location.

6. Where do you see your band fitting in the current music scene?

Maaaan. We are to heavy for the pop scene and to soft for the metal scene. I believe that we have to create our own scene. Its time for the new generation.

7. “ABSOLUT” is a song that is both philosophical and energetic, how do you think the intensity of the artist’s life plays into the creation of art?
If im happy I’ll write a happy song, if im sad I’ll write a sad song. Music is emotions. The music represents the artists life for me. Especially this song is very personal, because our singer (Rob) and me (Domi, Bass/Rap) are singing about our way of living before QUANTUM.

“ABSOLUT” stands for A Brief Story Of Life’s Unspoken Truths and it’s a testament to what an artist has to say in times of isolation and silence. Sounding like an operatic performance from the musical theater and throwing into the mix some rap, “ABSOLUT” is a fictionalized retelling of identity and perseverance. The song is accompanied by a stellar music video with some sultry tango dance numbers and a theatrical feel to the performance both body and sound. Although it’s a very post-modernist track, “ABSOLUT” is too authentic to alienate listeners not familiar with the genre flip. Too grounded to estrange and too rebellious to conform, Quantum found themselves one big break, a prize winner at a time when many musical numbers are losing footing.

Quantum might not have reinvented the wheel but they surely stirred it to the opposite direction. Working their way through a cloudy, unpredictable music scene, they defy uncertainty with a track about sympathy and compassion at times of crisis.

Riddled with tracks that change from experimental/psychedelic rock to retro disco-pop, Anemoia provides the perfect escapism setting for listeners ready to throw the world behind and drive. It’s bold, inventive, brimming with sublime moments and lyrical excitement. The opening track “Universe Whisper” is a sci-fi fetish for strangers, amplified by “Happens All the Time” and “Waiting For You”. “Piña Collider” has that discotheque madness vibe to it while “Jamais Vu” starts with an amalgam of sounds from lullaby bells to swooshes, lazy synths, and breathy vocals. “Long Time” has an intensely memorable melody” while “Rain Passing Through” has that 70s vibe that makes it impossible to sit still through it.

There’s a thing for everybody in Anemoia. It’s an eyeopener of an album, sparking interest and curiosity for what Spaceface has to offer. Cementing their presence in the music scene, a lot can be expected from them with originality and creativity dominating this album and -hopefully- the next to come.

Joe Pope recorded “Alicia’s Song” in memory of his wife’s sister. The song is dark with a harder sound and a keynote message that calls on peace and acceptance. Death is the main player in this song, attentively guiding throughout the music, lyrics, and vocals. Joe’s voice is chilly and observant, paying respects to a beloved, and connecting with people from all over the world who have gone through similar experiences. Joe crafted an emotional symbolic story through this melodic indie-pop track, lyrics are paired with a somber, stripped-down guitar sound.

“Alicia’s Song” paints an image, as grim and chopped as it may be, but an influential one at that. Somehow the poignancy and the poetic persistence show through the careful selection of words and the cooing rhythm. Joe’s guitar sound creates a crystalline-pure shoegaze track which -partnered by his ethereal voice- strikes a nerve with listeners going through loss, sadness, or pain. “Alicia’s Song” is a track to resonate with many listeners, destined to gain a more faithful following in the coming months.

Personal art, as Francis Ford Coppola puts it, is what we need these days. And this is what Ellery Twining is trying to achieve with Revenge. Storytelling is prominent and vivid throughout the album. “A Month of Sundays” and “Let Me Die Onstage” feel like scenes from movies that paint an image so poignant and heartfelt. Ellery -the alias chosen by artist Rich Freitas- writes from a personal standpoint, using bells, bass, and acoustic guitars to accompany a sensitive, personal journey, like in “Civic Duty”, “Middle Name”, and “On Sequence”. One of the most killer tracks is “The Day Jeff Buckley Died” part tribute, part fantasy, this song captures the core of what Revenge wants to say about the world.

Part fact and part fiction, a walking contradiction, this is what Ellery Twining’s Revenge is about. Philosophical, lyrical, and contemplative, Revenge has a lot to say about the world we live in through the lens of a very rich and intricate inner world of a man child, a serpent, and a storyteller as prolific with his words as he is with his melodies.