The Detroit indie-pop collective instantly travels through space and time to revisit past heartbreak on their latest breezy single, “Chicago.”
“I went on a trip to Chicago with a very important person in my life a few years ago. It’s not about that trip; it’s about that relationship,” said Issac Burgess, Jupiter House Band’s vocalist, songwriter, multi-instrumentalist and producer.
“It’s an honest song about a lot of internal struggles and just trying to cope with a lack of somebody you’re used to having in your life.”
Throughout “Chicago,” a ripple of soft drums, glistening cymbals, scintillating electric guitar, subterranean bass and tweeting synths blow across the mind’s universe and yearn for lost love.
Burgess dreamily sings, “Can’t keep feeling down/Ya turned my heart around/And now I feel like a fool.”
“I’m such a sucker for love songs, but I’ve always been self-conscious about writing them. This is my take at a bit of a love song … kind of a breakup song,” he said. “I wrote it when I was 23, and I’m almost 25 now. I think it will mean a lot to other people.”
After visiting “Chicago,” Jupiter House Band shifts their musical orbit to “Feel Like (Wow),” an upbeat, funky ode to maximizing time and setting boundaries.
Infectious waves of pulsating synth, eager drums, jittery bass and curious electric guitar immerse Burgess in long-awaited relief.
Alongside those “Feel Like (Wow)” sighs of relief, Burgess sings, “Can’t keep what’s goin’ on/Or keep from knowin’ how/Your scent on my Oxford shirt/Makes impression how/Makes me feel like wow/I can’t help but think of her.”
“I’m reaching a point in my adulthood where I just can’t give my time and my energy to everyone all the time. That doesn’t have to be a bad thing either,” he said.
“In the past, people have gotten upset, and even I have gotten upset, when you couldn’t reach someone all the time, or you couldn’t be with someone all the time. You could chalk that song up to having a general consensus of not wanting to waste time with drama, gossip or talk.”
Weekend Lovers delightfully brings the vivid, hallucinogenic dream world of REM sleep to life.
The Tucson, Arizona dream pop-post rock collective unveils a kaleidoscopic collage of masked fashionable friends, trippy desert adventures and vintage landline phones on their latest video for “Baby.”
“I wanted a nonlinear narrative, and the song is told in bites as a tale of emotions. I think our brains also remember things not necessarily in order, and I wanted some of the best visuals I took over the course of some time,” said Marta DeLeon, Weekend Lovers’ vocalist-bassist.
“It’s basically a day in the life of my life in Tucson, and the city is one of the characters too representing the southwest and its beauty. Thrift and dollar store finds and the Halloween section at Target brought the fantasy mood and props to help my cast be funny or interpretive.”
As the video’s director, DeLeon intricately stitched together a series of brief psychedelic vignettes through a Videoleap app on her iPhone. Together, those colorful scenes created the carefree, experimental world depicted in “Baby” along with additional footage from Luke Ralston.
“I carry my iPhone everywhere, so there were more opportunities to shoot things I’d run into daily in my life that might be cool little visuals. Videoleap is a more developed aka Instagram venture with abilities like timing, speed, filters and mixers that allowed me to overlay the double exposure you see,” she said.
“That really helped me pull together all the 2-second to 4-second videos I was strewing together and gave the overall video some seamless pace and movement. I already had some random quirky storyboard images, and I love movies and write lyrics cinematically.”
DeLeon also recruited a fun cast of bandmates and friends to reside within her psychotropic realm. Along with Jungle Jazzy and Laura Eliason, Weekend Lovers’ Brandon Douglas (keys, guitars, backup vocals), Danny Perez (guitar) and Gabriela Lisk (drums, guitars) join DeLeon throughout “Baby.”
“I can’t really say the song wouldn’t soar as well or hit as much without Gaby Lisk or Danny Perez. I wrote the song with this Portishead bassline and vocal phrasing, but Gaby’s hard joyous drum downbeat propelled the opening ‘ooh-ahhs.’ Danny’s guitar is a creepy, crawling beauty, but then his smacking, slinky strumming hits you in the face,” said DeLeon, who’s inspired by shadows and murals in Tucson’s Barrio Viejo neighborhood.
“My engineer Matt Rendon came up with the backup vocals, which give the chorus its tension musically and emotional necessary angst. They were all open to my preconceived ideas with the props or locations. Some moments were just great mistakes.”
Editor’s Note: According to John Hopkins Medicine, 26 percent of adults in the U.S. suffer from mental illness. That means for every 100 people you meet, 26 of them are struggling with mental illness. NAMI research also shows roughly 5 percent of adults in the U.S. struggle with serious mental illness, and 1 percent of Americans suffer from psychotic disorders.
The Detroit experimental group and rotating collective boldly recounts the internal anguish associated with lingering mental illness battles on “My Book,” which is now available on all streaming platforms.
“It’s a story about living with bipolar 1 disorder and what recovering from a psychotic break and subsequent hospitalization has been like in a recovery process that has lasted four years. Only recently has mental illness become something that is seen as less stigmatized to talk about in certain circles,” said Ben Yost, Blank Tape Tax’s drummer-vocalist.
“However, in most places, there is still a misunderstanding surrounding mental illness, especially with a disorder like bipolar psychosis, which affects 1 percent of all Americans. Although it was not written with this intention, ‘My Book’ has come to start a dialogue about mental illness and remind people that feelings are mentionable and manageable. Getting help is not a sign of weakness, but rather one of strength.”
Throughout “My Book’s” lo-fi home demo, Blank Tape Tax beautifully reveals that inner strength with Emily Parrish (vocals) and Kavon Williams (piano). Surrounded by somber piano, Parrish poignantly sings, “The words for me are hard to say/I suffer through them every day/And I just want you to hear my pain and to relate/I want to say some old cliché/But oh what the fuck/Here it goes anyway.”
“That being said, I feel conflicted about the lyrics of ‘My Book’ because I felt initially when I wrote them that they were too negative and self-pitying, but after hearing Emily perform it, I’ve come to think that the song is ultimately a positive thing,” Yost said.
“‘My Book’ was written in a few minutes as a stream-of-consciousness poem. I often write this way using free association. I recorded Logan Gaval’s first full-length, Number One, on Flesh and Bone Records, and I was listening to that at the time. I liked the way he sounded like Elliott Smith, and I wanted to write a song in that style (sort of like ‘Needle in the Hay’).”
Yost initially wrote “My Book” as a waltz on his guitar and recorded a demo. The track later blossomed once Parrish added her thoughtful vocals and Williams performed his haunting piano part in Wayne State University’s Old Main Guitar Room.
“I had always planned on re-releasing ‘My Book’ as a single. It took this long primarily because we were still forming a lineup while it was recorded, and then the pandemic hit. When Emily first sang it for us, it was awesome. It reminded me of Janis Ian, but more emotive. Emily really made the song her own while Kavon’s piano was perfect for the song,” Yost said.
Blank Tape Tax also filmed a VHS camcorder-inspired video for “My Book,” which features warm snippets of home movie style footage interspersed with a live performance of Yost, Parrish and Williams. Yost developed the raw, vintage concept for the video after watching two seminal early ‘90s skateboard videos, Blind Skateboards’ “Video Days” and Alien Workshop’s “Memory Screen.”
“The Blind video was a major influence on me as a young kid, and later in life when I saw ‘Memory Screen,’ my imagination had totally been captured by that style of filmmaking. I had also been a fan of Larry Clark and Harmony Korine, and the first two Blank Tape Tax videos for ‘Baby’ and ‘Peachy’ had been done in a similar style by visual artist Genevieve Kuzak,” said Yost, who worked with Ethan Long and Nathan Wilkey to edit the “My Book” video.
“I actually ended up being the one behind the camera while filming ‘My Book’ just out of necessity. The footage fits the audio nicely because they were both captured on tape, which gives it a warm home movie quality. All but the editing and mastering were done using analog technology and magnetic tape.”
Looking ahead, Yost and his current Blank Tape Tax lineup of Michael King (upright bass), William Marshall Bennett (piano), Mark Royzenblat (guitar), Issac Burgess (guitar) and Parrish (vocals) will release additional new material soon.
“We have no previews of anything other than lo-fi home demos. We’re trying to do more stuff in high fidelity, and we plan on a single and an EP. We’re also debating doing a full-length since there’s no touring,” Yost said.