![]() ![]() It just seems a little overwhelming to be in a bigger city. Through art, music, or whatever I can explore an venture into more weird aspects of life. I’ve lived here my whole life and it’s helped me figure out who I am. You’re going out every night, you’re around so many other personalities that your own gets lost. I’ll go for a week and every time I think it’s too much, like it seems too easy to get wrapped up in some sort of social scene. I don’t know… I feel no need to move to L.A. ![]() That’s what it was like eight hours a day, just sitting with the music and my own thoughts, going from there. She has no wi-fi and I was in her basement so there was no phone service. Normally I record at home but they were doing work on the house so I was going up to my grandma’s house every day for a few hours. The plan was always to do my first real album that way: to write it myself the way I was writing songs when I was in bands, because it’s the only way to really put yourself into the project, determine where it goes. I was able to do that ten times, for ten songs. I’d finish one song and then figure out where I wanted to go musically and lyrically with the next song. ![]() I’d send it to him and he’d send it back. He’s just better with drum production that I am. Yeah, so I would write everything on guitar, record it to a click track, sometimes put a rough beat over it, and then send it to Døves, who’s in Gothboiclique. ![]() Let’s talk the new album - you composed everything on it, right? You get two sides of the story and both come out looking equally strong, weak, or however you want to interpret it. I’m trying to figure out the best way to put this but… no one comes out looking weak in that song, whether it’s Georgia and I or the man and the woman. I knew that that would work because it’s just not a traditional boy singing about a girl and then girl singing about a guy, back and forth. The lyrics have a really interesting male-female dynamic. Georgia is a fan of mine and I’m a fan of her’s. That was a suggestion from Run For Cover: collaborating with someone from outside my world would help bridge the gap between Gothboiclique and signing with Run For Cover. When I released my first EP last year, Corinthiax, that’s when everything started falling into place.Īnd leading up to Suffer On you released “Stress,” a single featuring Georgia Maq, frontwoman of the punk band Camp Cope. How did that one come together? Earlier, I was trying to figure out what worked in terms of delivery, recording process, recording quality, song quality. That was around the time I decided to work with one producer at a time, instead of getting beats from as many as possible and trying to piece together some sort of coherent project. How did they lead to the headspace you’re in on the new album? Last year you released two EPs, Corinthiax and Spider Web. As is much in McIlwee’s universe, what’s different is often very much familiar.īillboard recently spoke with the singer-songwriter, producer, and multi-instrumentalist about the evolution of his music, why Gothboiclique considers itself a boy band, and why it’s important for artists to speak openly about difficult mental issues. It’s also the first Wicca Phase release on Run For Cover Records, the former label home of Tigers Jaw. He’s simply singing and playing acoustic guitar through much of Suffer On, evoking Dashboard Confessional at its most minmal and dire, over a smoky, trap-influenced low end. It’s earthier and more organic-feeling than past releases, the first Wicca Phase project composed entirely by McIlwee. Today, McIlwee releases Suffer On, his sophomore album as Wicca Phase Springs Eternal. ![]()
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