The Tudor Interview: Finding His Sound, Inspiration, and What's up Next

“I'm no longer trying to make something I think other people will enjoy, I'm making it because I think it's dope and it's fun to make”

By Izzy Stroobandt

Hailing from Boulder, Colorado, Tudor (pronounced two-door) has been perfecting his musical talent since a young age. He remembers “slamming random keys on a piano” as young as three years old. Determined to share his love for music, Tudor has been building his discography for many years. “I've always had the urge to create, and I guess around [15 years old] was when I decided I had honed my musical skills to the point where I was down to give writing my own stuff a shot,” he said. He’s currently in his third year at the University of Washington (UW) in Seattle and takes any chance he can to share his musical talent with his fellow students. 

Originally releasing music under his acoustic alias, Luca (titled after his middle name), Tudor has already hit significant milestones in his career. Despite only having started releasing music in 2018, he recently reached over 1 million total streams on Spotify between both his artist profiles. His first drop, “Quite the View,” released under Luca, is on its way to hitting the 1 million streams mark on Spotify. 

For Fun, a song by Tudor on Spotify

As a relatively new artist, Tudor is still working on finding his specific sound. Embracing the journey to discovering his brand, he has dabbled in making music as a one-man-show as well as working with producers and other musicians. Tudor typically works with two producers, John Laga (based out of San Francisco, Calif.) and Roy Miles (working in Denver, Colo.). When making music under Luca, the music is almost entirely his own work—unless he brings friend and fellow UW student Nico Bilbao into the studio to lay down piano tracks. “Huge shout-out to that man as well. Literally, junior Bach,” he said. 

On June 7th, Tudor dropped his latest single, “For Fun,” a stylistic and moody shuffle of devilish vocals over beat-driven and groovy instrumentals. “For Fun” is a prime example of the emotional and stylistic maturation Tudor has undergone since the beginning of his public music career. 

If you haven’t heard his released music already, with the tracks he has lined up to drop in the future it’s likely you will hear of him again.

I spoke with Tudor about his musical journey, where he draws his inspiration from, and what’s up next. My conversation with the Seattle artist, lightly edited for content and clarity, follows below:

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Izzy Stroobandt, StereoVision (IS): Where do you find most of the inspiration for your music? 

Tudor (T): For the most part, I find inspiration from the music I listened to growing up and the artists I currently listen to today—but I'm also inspired by other types of art as well. It's not uncommon for me to get the idea for a song concept from poetry, a movie, or even a photograph. I've also written songs based off of a single sentence that someone said to me or a specific feeling I had-inspiration is everywhere, I try not to limit where I get it from.

IS: Can you explain your creative process a bit?

T: Yeah, definitely. If I'm writing over a beat that was sent to me by one of my producers I'll typically give it a listen through and try and catch a vibe, as in try and decide what the track makes me feel/think of. Once I choose an emotion to go off of, I'll start messing around with melodies that fit the beat and that emotion. After I've found a solid melody for a hook/verse that's when I go in and actually start writing lyrical content. Rhyme-zone is my best friend.

IS: What are your favorite tracks you’ve made? Why? 

T: Damn, that's a really tough question. If I had to pick one I'd say "Lately," which is a single I released in late December last year. The beat was co-produced by both of my producers which I thought was really cool, and I feel like I really showed range in that song. I go from an alternative/emotional sounding hook to basically rapping in some of the verses which I thought was really cool. I'm kind of all over the place in terms of the music I make, and I feel like that song really encapsulated that.

Lately, a song by Tudor on Spotify

IS: How do you think you’ve grown as an artist since starting? 

T: I think when I first started making music I was always trying to create something I thought other people would want to listen to—which isn't necessarily a bad thing. The music industry is the same as any other industry, you have to create something that other people want to consume. But, I think my work has grown in the sense that now when I sit down to create I'm no longer trying to make something I think other people will enjoy, I'm making it because I think it's dope and it's fun to make. 

IS: What has been the most rewarding moment for you so far? 

T: I attended a party a few months back and somebody hopped on the aux chord and play my first single under the name Tudor called "Rent". Everyone got stupid lit to it, and it made me so damn happy to be jammin’ to my own music with all of my homies around me. Yeah, definitely that one.

IS: Any advice for other up and coming artists?

T: Be patient. There's a ton of steps you have to take in order to turn music into a full-time job, it takes time. I'm really only just getting started myself. Just focus on what you can do today. Write some lyrics, come up with a riff, anything. The only way you'll get to where you want to be is if you completely devote yourself to your craft. There's no way around the work. Don't lose sight of the fact it's supposed to be fun though, that's why you're doing it in the first place. Enjoy the creative process and if you get paid to do it, sick. If not, it's still sick.

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Kevin Abstract Showcases His Musical Talent and Creative Depth on "ARIZONA BABY"

By Izzy Strobandt

Fans have been eagerly awaiting the release of Kevin Abstract’s album after a series of teases were released. Abstract, Brockhampton’s founder and de-facto leader, started releasing elements of his new album ARIZONA BABY in weekly increments on the Brockhampton Youtube channel. On April 26th, Abstract dipped his toe into performance art by live streaming himself walking on a treadmill for 10 hours on Brockhampton street outside his childhood home in Corpus Christie, Texas.

ARIZONA BABY is Abstract’s first solo album since American Boyfriend: A Suburban Love Story. While less cohesive than his previous album, ARIZONA BABY parallels the projects that catapulted Brockhampton into the center of the rap game in 2017—showcasing his fearlessness and experimental energy conveyed by a unique blend of genres and rap style.

The majority of the eleven tracks are produced by both Romil Hemnani, Brockhampton’s resident producer, and Jack Antonoff, acclaimed songwriter and arranger of Bleacher’s fame whose influence can most commonly be seen through the considerable presence of instrumental sampling on many of the tracks.

On some tracks, Abstract is pushing the alternative hip-hop genre to the foreground, while on others he dips into a blend of rap, indie, and rock. Unexpected collaborations produce a unique blend of sounds and vibes, featuring artists like Ryan Beatty on “Baby Boy” (a resurgence of the indie alternative style on American Boyfriend), and Bearface, Joba, and Dominic Fike on “Peach” (a melancholic track reminiscent of late-90’s beach alt-rock).

The album opens strong with “Big Wheels,” featuring powerful rap verses laid over a lo-fi beat. The track spells out Abstract’s darkest inner struggles that stems from his hyper-awareness of the way people perceive him and his fame, and the resulting toll on his mental health. “Got a lot of guilt inside of me/ My n***as back home ain’t proud of me/ They think I’m a bitch, just queerbaitin.” One of the key signs of a well thought out album are the transitions between songs, which Abstract has mastered on this album. The horn leads at the end of “Big Wheels” blend seamlessly into the instrumentals at the start of “Joyride.”

The album is a sample of the artistic depth Abstract possesses. While the tracks that mirror his previous hip-hop successes are undoubtedly stronger, “American Problem,” (a rich and psychedelic blend of emotionally honest lyrics and silky instrumentals) showcases Abstract refining his skills and rejecting the confines of being considered solely a single genre artist. Abstract gives homage to Tyler, the Creator, saying “Ninth grade, Tyler was the illest shit I ever heard/ Going to his concerts, no mask, singing every word.” Many listeners have drawn comparisons between Brockhampton and Odd Future, and it is clear Abstract looks up to Tyler as a creative inspiration.

The theme of inner-conflict and isolation reappear throughout the album.

Some tracks on the album openly confront the Christian church’s hateful attitudes towards homosexuals. “Use Me,” opens with a sample of the New Jersey Mass Choir singing “The Harvest is Ripe” and a smooth beat before transitioning to Abstract rapping about feeling alienated. The vocal distortions on “Use Me” are reminiscent of an early Tyler, the Creator on his album Goblin.

On “Georgia,” Abstract interpolates Ray Charles’s “Georgia on My Mind,” and lays out some of the most personal lyricism of all of the tracks on the album. A pained confession his internal struggles, Abstract goes back to his childhood and his experience growing up still in the closet. “I often question/ I often wonder/ If I told this class I liked the n***a that sit in the back/ How bad would it make me suffer? Agh.”

“Mississippi,” is one of the weaker tracks on the album, leaning too heavily into auto-tune and echoing many of the issues listeners had with Brockhampton’s last album Iridescence. It’s not entirely that the track is a huge miss, but in comparison to the rest of the album—“Mississippi” feels like it would be better received if released as a single after more stylistic development.

Despite a few misses, Abstracts second album sets one thing clear to listeners—he’s got loads of talent and a future to look out for.

FAVORITE TRACKS: 

Georgia 

Joyride

Use me 

Rating: 8

Listen to ARIZONA BABY here:

ARIZONA BABY, an album by Kevin Abstract on Spotify

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Billie Eilish's Album “When We All Fall Asleep, Where Do We Go?” Debuts at No. 1

By Izzy Stroobandt

It’s hard to call Billie Eilish’s new album ‘long-awaited’ because she hasn’t been a well-known artist for really that long.

Eilish rose to high levels of fame in no time after the online drop of “Ocean Eyes”, her first released bedroom-production. If her vocal range and songwriting hasn’t impressed you enough on it’s own, consider the fact that she was just 14 years-old when “Ocean Eyes” was released.

She began making music with her brother, Finneas, in their one-bedroom Los Angeles home from a young age and have continued to work as a production-songwriting team since. They’ve continued to release hit-singles since her first EP, don’t smile at me, giving listeners hints to what her first album could sound like.

She teased the album with four separate song releases prior to the drop. After she released “you should see me in a crown”, “when the party’s over”, “bury a friend”, and “wish you were gay” listeners were hyped up and anxiously awaiting the rest of the album to be released. Soon after the drop, Eilish’s first album When We All Fall Asleep, Where Do We Go? hit no. 1 on the Billboard 200 albums chart.

What I find most impressive is Eilish’s ability to seamlessly mix comedy and tragedy on one cohesive album.

The album opens with “!!!!!!!”, a 13-second recording of her removing her Invisalign and laughing with her brother. “!!!!!!!” showcases Eilish’s comedic side, reminding us that despite the deep lyricism and emotionally-mature content in many of her songs—Eilish is still only 17 years-old.

Eilish explores the dangers and toxicity of recreational drug use on “xanny”. The title of the song references Xanax, a drug prescribed to treat anxiety that is commonly mentioned in hip-hop music for its recreational abuse. Eilish told The Guardian that the intended message behind “xanny” wasn’t “‘don’t do drugs’ it’s more; ‘be safe’.” The message is deeply rooted for Eilish, who said “I don’t want my friends to die anymore.” Eilish’s vocals on “xanny” are slightly off-beat, soft and slow which mirror the effects of Xanax.

“wish you were gay” allows listeners to see a softer side of Eilish. She’s hurt by the person she loves and wishes that there was an explanation (like them being gay) for why they don’t love her the way she loves them.

On “my strange addiction”, Eilish samples parts of The Office’s “Threat Level Midnight” episode. An unexpected sample on the album, Eilish explained to MTV News that the original beat they made for the song reminded her of the music they play during the ‘scarn dance’. Yet another example of the innovation and creativity that went into the production for When We All Fall Asleep, Where Do We Go?

In an interview with Pop Buzz, Eilish explained that she wanted the track names at end of her album to sound like a sentence. Eilish said there was a song titled “i don’t know, i just wish i wasn’t breathing” on the original track list, but they cut it because the lyrics weren’t ever actually written. On the album, “listen before i go”, “i love you”, and “goodbye” are the last three songs. Together, even after “i don’t know, i just wish i wasn’t breathing” was cut, the final song names on the album create an emotionally dark and cohesive statement— “listen before I go, i love you, goodbye.”

In a variety of ways, Eilish has shown her creative mastery and deep thoughtfulness on this album. Her songs focus on mature content, from heartbreak to drug abuse, and the metaphors in her creative vision lie deeper than just her lyrics. From track list organization to music videos to album art and beyond, Eilish uses all mediums at her disposal to convey her creativity and emotion to listeners.

There’s no doubt that Eilish has talent. She is breaking the stereotype that female pop-artists need to sell sex and wear revealing clothing to be successful, and taking risks by following her creative inspirations. Her horror film-inspired music videos compliment her signature angelic-yet-haunting vocals and tie audio and visual elements together in a unique way that many artists haven’t explored yet.

FAVORITE TRACKS

bad guy

xanny

wish you were gay

Rating: 9

Listen to When We All Fall Asleep, Where Do We Go? here:

WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, an album by Billie Eilish on Spotify

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Little Simz’s “GREY Area” Is Unique, Profound, and One of the Best Releases This Year

By Izzy Stroobandt

In 2016, Little Simz released Stillness in Wonderland. Since then, fans have been eagerly awaiting another drop, anticipating the artistic evolution Simz was sure to provide.

Deviating from the eccentric, dreamy, synth sounds that characterized her last album, on GREY Area Simz opted for a blend of aggression, vulnerability, and genre-splicing to convey her experiences growing up and developing as an artist in a male-dominated industry. While following a theme of self-discovery and personal development, Simz displays true artistry through the presence of influences from a variety of musical genres that elevate her voice and message.

The album opens with “Offence”, a lyrical assault where she challenges anyone who questions her artistic abilities and calls to question the fate many have laid out for her as a woman in the hip-hop industry. Starting with a drum beat, Simz blends a variety of sounds by dipping into electronic vibrations and live instrumentation breakbeats. The verses ooze confidence, through allusions to artists such as Jay-Z and a certainty that she is making a name for herself no matter the obstacle; “I said it with my chest and I don’t care who I offend, uh-huh.”

Simz shows great musicality and depth on many tracks across the album. “Boss” showcases multifaceted electronic sounds, bass-guitar lines, and vocal distortions reminiscent of ‘90s all blended together by Simz’s fresh flow and unique voice.  On “Wounds”, Simz incorporates string samples and reggae influence by hitting us with another track featuring Chronixx, who she collaborated with on “LMPD” in 2016. “Selfish” featuring Cleo Sol is a smooth and vibey track with soft vocals behind flawless rap delivery highlighting the depth of her emotional variation and is sure to capture listeners.

Many critics of the current hip-hop landscape point out that the focus in many recently released tracks has shifted from clever wordplay and mastered lyricism to a focus on vocals and catchy-yet-lackluster verses following the same formula that details successes surrounding sex, money, and cars. Simz challenges these critiques by producing a unique sound while spitting lyrics that stimulate thought and dive into a conversation on important topics such as mental health, women in the music industry, and the anxieties surrounding growing up.   

Amid the strength displayed by bristling verses in “Offense” and “Boss”, Simz opens the door into her headspace on tracks like “Venom”—casting her in a vulnerable light in contrast to other tracks on the album. Not shying away from difficult topics, Simz tackles the struggles she and many of the people in her life have faced.

“Venom” starts unexpectedly with orchestral strings, over which she lays out the same dark energy that captured listeners in her 2015 breakout song “Dead Body” paired with strong lyrics and deep voice distortion. Through fast and heavy delivery laid over a strong composition, Simz creates a space appropriate to discuss mental-health and suicide. “Life sucks and I never tried suicide / Mind’s fucked even more than I realize.” Shifting gears, Simz deadpans phrases sure to draw attention such as ‘ovaries’ and ‘pussy’ to attack the misogyny that she faces in the industry. “They would never wanna admit I’m the best here / From the mere fact that I’ve got ovaries / It’s a woman’s world, so to speak / Pussy, you sour / Never givin’ credit where it’s due cause you don’t like pussy in power / Venom.” As soon as she lays down her last word in the verse, the strings cut out into a grimy drop that’ll have you playing the track over and over.

Simz manages to master composition, lyrics, and delivery with this new drop which is no small feat. She’s direct, strong, and wants people to listen. Simz’s artistic evolution over the last couple of years has been paralleled by few, and it should be interesting to see how her sound is further developed and refined as she releases more music.

Best Songs:

Offence

Wounds

Venom

Rating: 9

Stream GREY Area here:

GREY Area, an album by Little Simz on Spotify

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