Artist Profile: Anna Justen
Anna Justen’s musical journey began as a child, making up songs in her head and, eventually, creating her own notation system so that she could capture and remember melodies in her notebook. As listeners of the Seattle indie scene, her parents introduced her to Grunge and Punk music as well as early-2000s staples of that region: The Decemberists and Death Cab for Cutie.
She quickly began teaching herself guitar and piano but didn’t begin pursuing music seriously until she was at University. This was spurred by a realization that she had not only the capabilities to do so but also an imperative: “I had a moment of realization that, if I woke up and I was 80 years old and I hadn't pursued music, I would have felt like I wasted my life.”
Through her roots in Seattle and artistic formation in the underground scene of Montreal, Justen has developed a sound which blends the purity of folk songwriting with the angst and experimentation of alternative composition. With her latest singles, “Individualism” and “Peppermint”, Justen has arrived in full artistic form, showcasing the massive strides she has taken into the sound she has been trying to formulate for years.
“I always knew I wanted to expand the sound outside of just me and the guitar, but when I started, that's what I had access to.”
Her earlier EPs, namely “Morning” and “Saintclaire”, settle primarily in the territory of singer-songwriter, combining her wit and dream-like vocals with gently-stacked acoustic guitar melodies. However, her work recently with artist and producer Milan André Boronell has allowed her to unleash a fuller sonic range.
“I think it was the fact that he has way more experience and he's into that glitchy sort of sound, that I finally had the means to be able to [execute]. I could kind of expand my mind in a way that I wasn't able to with [just] my own abilities.”
Boronell and Justen are currently at work co-producing her debut album, Michou’s Dream, which, while leaning heavily into her new paradigm of composition, will maintain much of her trance-inducing songwriting and vocal capabilities. In fact, more than anything, the project will be a true return to her roots in Seattle.
The name “Michou” refers to her childhood cat, and the album is meant to capture what she imagines its dreamscape must have been like, commingling the desires of infancy with the harsh realities of family life and maturation. In addition to her family members’ voices being sampled throughout the project, Boronell even flew to Seattle last Winter to record organic sounds from around Justen’s childhood home, capturing the organic seeping of reality into dream.
She aims, ultimately, to have a “world around [her] music”, expanding her creations into thoroughly enmeshed conceptual realms. Her new project will feature a host of visuals that serve to supplement this vision.
With her next planned single, “Orange”, Justen gives an homage to her mother: a personal letter of gratitude for the things that often go unnoticed in parenthood.
Menzies took its official form as the alternatingly blistering and eerily tranquil alt-country, post-punk efforts of Wellington-based songwriter Chris Brown with the release of the group’s debut album Holding My Cold Hand, Even Though Yours Is Warm in May. But it’s the ethos behind the record—one of stark intention and an utter disregard for expectation or unnecessary complications—that, beyond the genre descriptions, shines through every twist and turn on the record, stemming directly from Brown’s unflinchingly pure and direct approach to his own creative activity.
Toronto-based rapper and producer Gritfall has had a concrete idea of who he wanted to be artistically since he was stuck at home in middle school, bumping Odd Future on his iPod. But over the course of 17 full-length products and years of churning out of instrumentals, he’s honed his voice and his style in a way that, above all else, exudes a sharply defined focus and intention. Fall Classic, which Gritfall considers as his true debut project, serves as ample evidence of that fact.
James Eichman made his name in the Nashville scene with his prowess and versatility as a supporting guitarist, spending the last few years playing seemingly endless gigs for bands around the city. But as he continued to pursue his own songwriting ventures on the side, he steadily felt an itch to shift his focus in that direction— to face his own voice and his own modes of expression more fully. The fruits of those efforts came in his debut album St. Catherine Street, and in its spacious, tender musings, the project establishes Eichman as much more than just a skilled instrumentalist.
The pursuit of music, for Brooklyn-based songwriter May Rio, came initially by chance. After years of training as a painter and visual artist, she stumbled into a pawn shop in Rhode Island and, on a whim, came out with a guitar. But in those initial periods of learning the instrument, she discovered a feeling of freedom and lightness that had long since escaped her in her primary craft.
Almost none of Adult DVD’s members come from a distinctly synth or electronic-rooted background, but you wouldn’t be able to guess that in the slightest when you listen to their debut full-length record, Adult DVD. The energy and carefully bided absurdity are too intentionally wielded, too directly harnessed, to suspect otherwise.
Growing up in Los Angeles, Henry Morris always possessed a distinct feeling that some life-altering, earth-shaking event was waiting for him around the corner. But now that Morris has found his footing in the industry and carved out a niche for himself, he’s writing with a freedom and looseness of expression that starkly contrasts with his earlier work. While the life-changing moments came early, it’s the steady progression of his artistry that has cemented Morris as one of the rising stars of the indie scene.
When former college friends Chris Croarkin and Kevin Bendis first reconvened in New York to form Diary, there was an immediate sense that they wanted to pursue a guitar-driven pop sound— something they hadn’t fully gotten the opportunity to dive into through their ventures with other bands. Diary was born from that impulse.
For songwriter Brendan Wright, the Tiberius project— which began as a solo endeavour but has taken various shapes over the years as they’ve moved out of college and to the bustling DIY scene in Allston— has always been an exercise in vulnerability. Although their tracks don’t take on the same earnest confessionalism that was Wright’s hallmark during their earliest songwriting ventures, they have consistently bore a mark of undeniable honesty.
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Human Barbie, the lo-fi, indie-pop project of songwriter and instrumentalist Christopher Hackman, may seem like just another project in his ever-growing catalogue. But from its 2020 debut Get A Life to its follow-up Paradise, the venture has represented a return to Hackman’s original artistic calling— to represent beauty in all its forms through a streamlined and intentional artistic process, refined through his wide array of music and artistic experiences.
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Otlo, the artist moniker of Tennessee-based indie and vaporwave-influenced songwriter Preston Bearden, first began as simply a creative outlet— a way for Bearden to explore a sonic niche that he had fallen in love with as a teenager during his first real exposures to music. But as he continued to delve deeper into the world and the character he had created, he felt himself becoming more convicted of his creative aspirations, and his latest album, A Boy Can Dream, shows the vulnerability and the openness of sound that has accompanied that development.
Void Comp, the alternative electronic project of Edmonton-based songwriter David Julé, began simply as an exploratory pursuit— while Julé knew he wanted to make music, he didn’t know the exact path his voice could carve for him. But as he continued his sonic experimentations, and continued to etch out his distinct style as a songwriter, he struck upon something tantalizing: a synth-filled mixture buoyed by his prowess on the electric guitar and rounded off by his textural approach to his vocals. The result, as exemplified on his debut album Passerby, transcends even the experimental strictures of the genre that he occupies.