opening act

Artist/Band: Carmen Villain

Website:
www.soundcloud.com/carmenvillain
https://www.facebook.com/carmenvillain/

Hometown: Oslo, Norway

Latest Album/Release: Infinite Avenue (Smalltown Supersound)

Influences: Gena Rowlands, Cassavetes’ “A Woman Under The Influence” and “Love Streams,” Richard Brautigan, Elena Ferrante, Joan Didion, Antonioni’s “Il Deserto Rosso”

TrunkSpace: How do you describe your music?
Villain: Hmmm. A mix of ambient/electronic/folk/experimental/psychedelic?

TrunkSpace: You have lived in many different countries and experienced firsthand the people and cultures of those locations. Has that helped to shape your artistic point of view?
Villain: Yes, I believe all life experiences affect our creative output.

TrunkSpace: You wrote, recorded, and produced your new album “Infinite Avenue” on your own. Does that mean the process was entirely solitary or did you still involve others along the way, even as a possible springboard for ideas while you were creating?
Villain: It was mostly done alone, but I hired in a cello player for the string arrangements on “She’s Gone To California,” and recorded those and the pianos for that track in another studio with help from Knut Sœvik. I also had my live band mate and friend, Mona, come into the studio and recorded her making drones on a vibraphone for “Connected.” And at the end of “Quietly” there’s a very beautiful guitar melody built into the landscape that was done by my friend Pål Espen. Also, of course, Jenny Hval contributed with vocals on “Borders,” which was very inspiring.

TrunkSpace: Creating alone is a natural process, particularly when you’re writing from such a personal place. Does it feel natural to then share that personal experience with people in a live setting or does it take some getting used to with certain tracks and/or specific lyrics?
Villain: Yes, it’s a very personal album, and sometimes it can feel a little embarrassing or kind of scary, but I have more trouble singing something live that isn’t true. When I play live there’s a lot of work to do other than sing, and so I try not to think about the content of the words TOO much and concentrate more on the performance and not messing up too much.

TrunkSpace: In working primarily on your own, did it open the door for self-discovery throughout the process, and if so, what did you learn about yourself that caught you by surprise?
Villain: Mainly, working alone is a practice in patience. So, I guess the main thing I have learned about myself is that I can be very patient when needed. I have also learned, that despite doubting myself and getting frustrated from time to time, that I can do it – that I can make an album. There’s of course a whole bunch of soul-searching for the lyrics, and trying to find ways to formulate feelings and experiences that can be a complete mess inside my head, so there’s that. (Laughter)

TrunkSpace: What is it that you hope draws people to what you create? What do you want them to discover within the songs themselves?
Villain: I make music for the love of music and sound, so I hope it will draw people towards it by just being what it is. It is not made with a particular goal or ambition in mind (although, I am ambitious, but it doesn’t affect the way I make the music), so it might not be the immediate and easiest music to discover. If the listeners can project their own experiences into the songs, that would be amazing. I think there’s quite a few layers in there for people to discover, depending on how and why they listen. But music is so subjective and a personal experience, so I can’t really expect anything!

TrunkSpace: What were you hoping to accomplish with “Infinite Avenue” that perhaps you didn’t achieve with your debut album? Did you approach it from a different mindset?
Villain: Yes, I started this album with a different approach. I wanted it to be less “rock” and real drums-based, to be easier to tour, and also to have plenty of time and room for me to get to the soundscapes that I didn’t feel I got to do as much on the previous album. I wanted this album to be a lot more personal. Other that that, most of it happened via intuition and lots and lots of experimenting and trying and failing.

TrunkSpace: You started your career as a fashion model. When you decided to pursue music as a career, did you have to kind of hit the reset button due to outside perceptions? Was it important for you to be seen as a singer/songwriter and not a model who was now singing and writing songs?
Villain: I knew that there would probably be a lot of prejudice, and that it would taint the way people saw me, but I could only let the music speak for itself, I guess. It’s a long, long time since my previous job, which was my way of making a living, (and it also funded the entire first album), so now it feels like another life entirely. I left that job when I felt like I couldn’t get any more out of it, when there wasn’t much left in terms of experience, mainly to focus on the music.

TrunkSpace: Why was it important for you to take up the name Carmen Villain? Was part of it reinvention of self as we discussed above? And just out of curiosity, why “Villain” in particular? It has a dubious definition, even though, when a villain is done right, they’re not inherently evil… they’re just seeing things differently than most.
Villain: It seemed like a good idea at the time. There is no real reason for the word, other than that I liked it at the time. I also did feel the need for me to not use my real name because of earlier associations.

TrunkSpace: Where are you hardest on yourself creatively?
Villain: I’m hard on myself all the time, too hard, and I’m a perfectionist and a control freak. (Laughter) But I think I’m hardest on myself for not making the progress I expect or hope for.

TrunkSpace: If music ceased to exist within your life, what would be your creative and emotional outlet? Is there anything that exists within your world that lives on the same level as songwriting
Villain: I honestly don’t know. Other than of course my daughter and family, which IS life, but in terms of creative outlets, which to me is vital… I couldn’t tell you.

TrunkSpace: What else can fans of Carmen Villain look forward to for the rest of 2017 and into the new year?
Villain: I’m constantly working on new music, and want to try to release new music more often. I also want to do more collaborations. And I’m always trying to find ways in which to travel and play live, so I will hopefully make it over to North America soon! Heading to Tokyo in October, after a few Norway dates, to play my first Japanese show, so I’m very excited about that.

Artist/Band: alxxa

Website: www.alxxa.com

Hometown: Los Angeles, California

Latest Album/Release:
Umbrella (Cover), releasing September 15, 2017
Hung Up (Single), released June 9, 2017

Influences: Banks, Selena Gomez, Sylvan Esso, Florence and The Machine, Flume, Radiohead

TrunkSpace: How would you describe your music?
alxxa: Electro-Pop with an edge.

TrunkSpace: Your new track is a cover of Rihanna’s “Umbrella.” How did you approach the song in the studio in order to bring your own alxxa spin to what is already a very well-known song?
alxxa: “Umbrella” is an all-time favorite for both me and my producer Gazzo – we really started working on it by accident. I brought him a piano-vocal I did at home and then he wanted to flip it into something totally different. It’s a strong song that can stand up to anything, but we wanted to bring out some sass and spunk to such a heartfelt track.

TrunkSpace: Are there a different set of nerves/expectations when releasing a cover of a famous song as opposed to releasing a wholly original track? What do you hope people take from your particular take?
alxxa: For sure. This is my first time releasing a cover, but I’m proud of how we were able to express the song in our own way. It’s also the 10 year anniversary of “Umbrella,” so I hope people can reminisce on a great song in a new, fun way. I think Rihanna will be happy.

TrunkSpace: Where are you most at home as an artist? Is it in the studio? On the stage? Somewhere else entirely?
alxxa: I love both equally. There is nothing more fulfilling than bringing a song to life in the studio and there is no better high than performing on stage for a dope audience!

TrunkSpace: Where did your musical journey begin? Was it always a part of who you were, even as a kid, or did creating in a musical capacity come about later in life?
alxxa: Music has always been a big part of my life. I’ve been playing piano since age five and started writing my own music at age 12. I continued to play and write music throughout high school and college before pursuing my career upon graduation.

TrunkSpace: What do you hope people take from your music? What do you want listeners to experience?
alxxa: First and foremost, I hope that listeners can relate to the story. I write based off my own experiences, so my songs hold a personal place in my heart. I think many people share my experiences, so if the music can help them move forward or reminisce or have a good cry, that’s pretty dope. But I also want to make people dance. So, a combo of that.

TrunkSpace: You seem to have a very strong sense of your own personal brand. In your opinion, how important is that side of things for a career in music these days, particularly in pop?
alxxa: Branding is huge. The market is so saturated with artists… and so many of them are talented and beautiful people. You need a good sense of who you are and what your strengths are to allow yourself to stand out. Having pink hair helps too…

TrunkSpace: Speaking of visuals… why is your Instagram page so cool!?!? Amazing use of images to create larger images within the page itself! Where did that concept originate?
alxxa: Thank you! This has been an exciting project for me. Before, social media felt more like a burden to me. I never felt creatively inspired or motivated to post pictures that didn’t align with my music or how I was feeling. I understand the importance of social media, so I knew something needed to change to give me an edge. I’ve always drawn as a hobby and the first drawing happened just as a fun promotion for my last single, “Hung Up.” After posting it, I asked my manager what we should post next, and he said, “Dude, we should post these forever.”

I really have to credit him for giving me the encouragement to stay with it. It’s become a new creative outlet for me and I’m excited to watch the visual story progress.

TrunkSpace: Did we see correctly via your Instagram that your signature pink hair recently went through a transformation? What prompted a color change?
alxxa: Pink hair is still pink as ever! Sometimes I have fun with the shades, so it may be time for my winter pink soon. (Laughter)

TrunkSpace: People are wired for growing as individuals and transforming themselves, but it seems particularly hard for musicians to do so. In a lot of ways, you’re damned if you do and you’re damned if you don’t because people will say you’re staying too close to what you know or veering too far away and alienating fans. How do you navigate that need to maintain who you are as an artist (and in a lot of ways, a brand), but at the same time, change as you and your interests do?
alxxa: It’s all about consistency. I’ve been fortunate to work with so many talented writers and producers – it’s all been part of my journey. I now have a group of writers and producers that I love working with and so we’re able to make amazing art. I still have so much room to grow and my circle is constantly expanding, but keeping your homies close is important!

TrunkSpace: You’re based in Los Angeles, which is a city where it’s easy to lose focus because there’s always so much going on, especially from a social standpoint. Is it easy for you to keep your eye on the prize and focus and does having so many other creative people around you inspire you to create more than you would elsewhere?
alxxa: I actually find it easier to focus here, like you said, because of the amazing creative energy. The people I surround myself with are driven, talented, and creative individuals. Seeing people make amazing art pushes me to work my hardest.

TrunkSpace: Outside of the music and the performing, what is the best part of your job as a musician? What little details or perks put a big smile on your face?
alxxa: I love the flexibility of it. I can work anytime, anywhere, no matter what. I respect the 9-5 hustle, but I know it’s not for me. It makes me happy that a Saturday for me is no different from a Tuesday. (Laughter)

TrunkSpace: What can fans expect from alxxa for the rest of 2017 and beyond?
alxxa: We have SO many new releases coming your way, starting with “Umbrella!” Singles, EPs, collabs, seasonal… you name it. Prepare your earholes.

You can listen to alxxa’s new single “Umbrella” at SoundCloud or Spotify!

Check out alxxa’s Instagram art here.

Artist/Band: The Great Escape

Members: Ingrid Andersson, Malte Hagemeister, & Kristian Nord

Website: www.WeAreTheGreatEscape.com

Hometown: Venice Beach, CA

Latest Album/Release: Universe In Bloom

Influences: Jack White, Amy Winehouse, Björk, Nina Simone, Beatles, The Supremes, Black Keys

TrunkSpace: How would you describe your music?
Hagemeister: Some say indie pop, we call it Burlesque Boogie Woogie Brassalicious Desert Rock from a far Vintage Future!

TrunkSpace: You guys captured some amazing, classic guitar sounds on “Universe in Bloom.” What was the approach with the album from a production standpoint? Did you have a sound in mind or did it sort of all come together in the studio?
Hagemeister: Thanks! Well, we love the classic era of the 60s and 70s and we used mainly vintage equipment – like a 69 Telecaster, a 1954 acoustic Framus, a 1972 Fender Twin, fuzz pedals, 70s Neve preamps, 60s Neumann mic, etc. And we captured as much early takes as possible, and refused to over-edit anything. We searched for the magic rawness… the moment of creation. So yes, we had the Stones and Beatles and Hendrix in mind, but more the attitude, creating a vibe, capturing the magic, and making decisions like they had to do with 4–tracks back in the day. Nowadays digital technology offers too many options – always in danger of watering down the initial energy. Find a sound, a riff, and stick with it!

TrunkSpace: The songs you guys write are so diverse, and yet, they’re a true collection in terms of a track-to-track transition. You’re based in Venice, a city as diverse as your music. Has the city influenced your creative/songwriting at all?
Hagemeister: Hmm… I guess yes! In a place that has all walks of life and that is always reminiscent of the hippie generation of the 60s, it feels natural to not hold back. We live in an inspiring eclectic bubble, you hear crazy Venice stories from Jim Morrison, Sly Stone to The Chili Peppers and Perry Farrell walking the streets. Venice is the epicenter of diversity, yet it tells a coherent story of a colorful creative melting pot. It’s got the west side Cali vibe, the sun-drenched easiness, and the grittiness of Skate’n Roll. Yep. This probably did rub off a bit!

TrunkSpace: You’re a trio, but “Universe in Bloom” sounds so full that we could easily imagine a band of eight. How does the music from the album translate to the stage?
Hagemeister: We love playing shows with a full horn section and guest musicians on keys, bass, and if possible, with blues legend Staley Behrens on blues harp. Then we sound like an unleashed monster big band with Ingrid Andersson tearing the roof off. But we also do shows just the three of us, Ingrid then plays some bass and banjo, plus us on drums and guitar, and then the songs unfold in a different way. Minimal but explosive too, like our acoustic version of “I Can’t Resist” that you can find on our YouTube channel.

TrunkSpace: The band seems to have a great sense of branding and using its image to help foster the music and vice versa. How important is it to you that The Great Escape is a full and complete package and how much time do you spend looking at that big picture?
Hagemeister: Well, it gets more difficult to stick out of the masses of releases – you better come up with something special on all levels or nobody will notice! Luckily we love playing with visual aspects and new ways of storytelling. And it might sound crazy, but we ended up spending at least as much time on our photos, visuals, and videos as we had spent on the music. We see it as an extended part of our art. That’s why we are so involved in every aspect of it.

TrunkSpace: With all of that said, the music and branding still needs to land with listeners, which in this day and age seems to be more and more difficult because there is just so much available to people. How do you break through that noise and make people pay attention to The Great Escape? What approach has the band been taking to getting itself “out there?”
Hagemeister: It’s been a challenging but exciting journey to come up with anything new these days! It basically means you don’t stop brainstorming until you have something you are super excited about. In regard to videos, we basically invented a new format – we call it “inspirational music video.” Half documentary/half music video, let’s tell some inspiring stories that matter and use our music to amplify the message! Luckily we are blessed with creative friends that helped us developing these videos that we are really proud of. It worked really well and reached a ton of people! We are still an indie band with limited budget – we can’t pay a big PR campaign, but we can come up with some new fun ideas. It’s like building lots of Trojan horses. And some might just break through the crazy noise of the interwebz.

TrunkSpace: Talk to us about the songwriting process? What does that look like for The Great Escape?
Hagemeister: We always write together, the three of us come up with lyrics and music. Kristian and me (Malte) are usually more conceptual, whereas Ingrid is the genius poet, the never ending stream of consciousness, the secret weapon of melodic originality. She is pretty amazing when she is on fire! We are searching for the inspired moments. You create a general idea and a vibe, and then you wait for it to happen. It’s like magic. Like those ideas come from a place where they have always existed. Only if it feels like that we consider the songs finished.

TrunkSpace: What about lyrically? Where are you finding influences for what is being said within each song? Are you writing from experience or from a storyteller’s approach?
Hagemeister: I think songwriting for us is always kind of a role play, though the songs have a lot to do with our characters and intentions. We love to search for topics that we all can relate to. Positivity, strength, fun, living life to the limit, being playful… but always trying to avoid clichés. Keep it simple, but never stupid. Clever, but not being a smart ass. Always looking for some quirky new way to say something. At the end, it is all about emotion. Does it make you feel something? Then it’s good.

TrunkSpace: Where are you hardest on yourself as a band?
Hagemeister: We are perfectionists. It’s terrible. (Laughter)

Seriously!

TrunkSpace: What is the ultimate dream when it comes to The Great Escape? Where would you like to see not only the music go, but ultimately, the band’s legacy?
Hagemeister: We’re just trying to make some timeless music. It is fascinating how some hit songs enter the world’s global consciousness and live on forever. They become more than music, they become best friends, family… you can count on them. They will be there for you forever. Music is magic – if we can manage to pour some fairy dust on future generations we will be dancing in the clouds!

TrunkSpace: There is also a group called The Great Escape based out of Boston, though they are a Journey tribute band. Hear us out… a steel cage death match between both bands, and those who come out in one piece get to stake rightful claim to the name. Thoughts?
Hagemeister: YES! Let’s do it. There will be blood. We got a bad reputation (Hint!)

We’ll do a super quiet version of “Faithfully.” What a great song.

TrunkSpace: What can fans expect from The Great Escape for the rest of 2017 and beyond?
Hagemeister: We are working on new songs as we speak. We hope to release an EP at the end of this year. New exciting video concepts in the making… we will continue our Mini Docu Series for sure!

Artist/Band: Henry Hall

Website: https://henryhallmusic.com

Hometown: Los Angeles

Latest Album/Release: “Love for Serious” and “Kid” (coming out in September)

Influences: The Smiths, Prince, Young Thug, Frank Ocean, Paul Simon, “What Are Those?!” Memes

TrunkSpace: How would you describe your music?
Hall: I think my music is anxiety-driven both lyrically and melodically. My own anxieties and insecurities are where the majority of my inspiration comes from so I hope that that comes across in my music in a sort of cathartic way for whoever is listening. Contrary to a number of recent reviews, though, I am NOT, I repeat, NOT an up-and-coming steam punk accordionist!

TrunkSpace: Where did your musical journey begin? Did it start with a love for listening to music and then turn into a love for writing/performing?
Hall: Honestly, I think my love for music started when I was about five and I wrote a song called “Broken Boy.” I was barely out of preschool and I was already a solid Stage 12 emo guy. I’ve always been the kind of person who needs music to be playing constantly and I think writing/performing just came out of that naturally. I’ve been playing in bands since I was like 10 years old so I think I just gravitated towards playing music instinctively.

TrunkSpace: We fell for your music long before ever realizing where your entertainment industry roots stemmed from. How important is it for you to establish yourself as an artist separate from what those in your family have accomplished before you?
Hall: Choosing music as a career path is probably some form of an indication that I subconsciously wanted to make my own way for sure — I’m extremely proud of my parents and what they’ve accomplished in their careers, though. I look to them for inspiration and they’re great to bounce ideas off of — they’re both incredibly creative and I feel so lucky to be as close to them as I am.

TrunkSpace: With that being said, is it difficult to keep that separation in the social media age and have people focus only on Henry Hall and the music? It seems hard to pave a path for yourself in 2017 when everyone else does the paving for you via social media.
Hall: Yeah, social media is a double-edged sword. It’s a great tool to get your music out there, but it can also feel overwhelming at times. That’s why I try to stick to posting all of my music exclusively on Minecraft messaging boards. Goddamn is that working out well so far!

TrunkSpace: When it comes to songwriting, what is your lyrical approach? Are you writing from experience or are you writing more as a storyteller?
Hall: I almost never write lyrics first — it’s pretty much always melody and chords first and then lyrics just sort of pop into my head depending on how they fit into the melody I’ve written. I wanna have a sense of humor to some degree in my lyrics — lyrics that are dark and ironic have been appealing to me a lot lately, so I’ve been trying to veer in that direction when I can.

TrunkSpace: Is a song ever truly finished or are you constantly tweaking and retweaking? If a song does receive its curtain call, how do you know when it’s time to move on to the next one?
Hall: I pretty much never go back to songs. If I don’t finish a tune within a day or two, I know that it’s not good, so I tend to abandon ideas halfway through writing them a lot of the time. Usually, though, I can just plug a song into the SongMaker 4000 and it’ll tell me if it’s done or not. God bless Steve Jobs for inventing that machine. God bless ALL machines, in fact!

TrunkSpace: You recently released the single “Love for Serious.” Where do you see growth as a songwriter with that track when comparing it against some of your earlier writing?
Hall: “Love for Serious” is a bit of a departure for me both melodically and production-wise. It’s very lo-fi and intimate, I think, and the melody and lyrics just kind of float on top of the instrumentation… it has more of a spontaneous flow to it while other tunes I’ve written and produced have had an airtight kind of vibe. I think there’s kind of a middle ground between the loose feel of “Love for Serious” and a concise, taut song like “Company” on the My Friends Don’t Like Me EP that I’m probably gonna end up searching for in my writing in the near future.

TrunkSpace: You recently launched the short film “What’s Up YouTube” on, well, YouTube. Is the content creator/filmmaker side a separate focus or do you see it all tying together with your musical career? If handed the keys to the career of your choice, what would that look like?
Hall: I know that there’s definitely a similarity in tone between my music and “What’s Up YouTube” — kind of this humorous hopelessness to it all. Music is definitely my first priority, but I loved making “What’s Up YouTube” and collaborating on it with two incredibly talented directors, Jack Coyne and Jack Pearce. My dream is really to just be able to be creative in whatever way I want to — and, of course, like all Americans, to own a small stake in the Kansas City Chiefs.

TrunkSpace: Where are you hardest on yourself as an artist/songwriter?
Hall: I always want to push myself in my live performances… that’s probably where I’m the hardest on myself because that’s really my first music-related love — performing music live. I can always find something to nit-pick from every single performance. I’m trying to incorporate some more on-stage cereal-eating at my shows these days. Horrible reviews of that so far.

TrunkSpace: You grew up with an insider’s perspective on how the entertainment business works. Has that point of view influenced how you’re approaching your career at all? Has it forced you to zag where you may have zigged had you not had that peek behind the curtain?
Hall: Honestly, I don’t think anyone really knows how to navigate the entertainment industry perfectly. It’s insanely weird and counterintuitive sometimes. As long as you don’t get in a fist fight with Oprah or David Letterman on live television, though, I think you’ll be alright.

TrunkSpace: You’re based in Los Angeles, a city steeped in incredible musical history and constantly swarming with talented musicians of all flavors. Is that an intimidating thing or is it inspiring to be surrounded by other creatives? How much does a city influence an artist?
Hall: I love living in LA. I grew up here so I have a deep connection to the place and I find it very inspiring. I want to get Mayor Eric Garcetti to produce my next album, but he won’t pick up his phone for some reason. Eric, if you’re reading this, PLEASE call me back! Let’s get in the lab, dude!

TrunkSpace: What can fans expect from Henry Hall for the rest of 2017 and beyond?
Hall: I’m gonna be putting out a new song called “Kid” very soon along with a couple of other new singles too, I’m playing a show at Soho House in Chicago on September 17th, hopefully doing some touring of the West Coast, and stay tuned for a full-length record hopefully coming by the end of the year or early 2018. Also, I want to learn how to do a standing backflip before January 1st, 2018. Mazel tov, everybody!

Featured Image By: Hannah Baker

Artist/Band: Natalie Alexander

Website: www.nataliealexandermusic.com

Hometown: Santa Cruz, CA

Latest Album/Release: Self-Titled EP/Single “Cruel”

TrunkSpace: As a genre, country music has gone through a lot of shifts and changes throughout its storied history. Where do you see your particular flavor of country music fitting into things? Do you hope to bring a bit of the past and the present to what you’re doing?
Alexander: Yes, exactly. There has been a shift toward introducing pop/electronic elements into country and I love that. I love listening to it and definitely want to experiment more with it myself. But with the songs I released after “Cruel,” the three others on my EP, I was drawn to them because they were a little more traditionally country than what is being released by young females in country music right now.

TrunkSpace: As a genre, country music is more mainstream than ever before. In many ways, country artists have become the pop stars of the time. Does that put extra pressure on an up and coming artist like yourself to pay extra attention on your overall look, brand, and public persona?
Alexander: My look and brand are definitely elements I’m conscious of, but at the end of the day, no matter how perfect those things are, the music has to stand for itself. That’s really my focus. I want the rest to just enhance what’s already there.

TrunkSpace: It seems like it could sometimes be difficult for young female musicians/artists to be recognized for their music alone and not have the focus be on their physical looks, either within the industry itself or in the media. Have you found this to be true for your own career… wanting people to recognize you for your creative talents alone, and if so, how do you navigate that?
Alexander: “My looks” have definitely been a topic of conversation when discussing my brand and my music because you’re right, people do want to talk about it. Despite that, it hasn’t been something that has really bothered me because it’s never been, “Oh, well at least she’s pretty.” It’s just been part of the package that comes with my music. I feel really lucky that the people I work with value my music and my personality and everything else that I bring to the table because at the end of the day that’s what lasts.

TrunkSpace: Your mother was a classically trained vocalist. How much of her is in you and your music, either through direct training/advice or through osmosis?
Alexander: People have said we sound similar, but I think if anything has resulted from her influence it’s just been that the bar is set really high. I’ve adopted proper vocal technique as a staple of my recording and performing, and that’s something I definitely learned to respect because of her.

TrunkSpace: Do you think you’d be a musician and pursuing a career in music if it wasn’t for music being such a big part of your upbringing?
Alexander: I’d like to think I would because I was the one who really wanted to start playing piano. I begged my mom to let me start lessons. I think she probably would have had me wait to be a little bit older just so I didn’t burn out. I was incredibly persistent and persuasive and finally she gave in. So I would say yes.

TrunkSpace: What is your earliest memory of picking up and instrument and thinking, “This feels right?”
Alexander: When I mastered my first difficult piece on the piano, it was such a great feeling of accomplishment and it was so fun. I think that was a huge turning point for me.

TrunkSpace: What emotions did you experience leading up to the release of your single “Cruel” and was its introduction to the world one of the biggest moments of your career thus far? It seems like it would be a pretty big milestone on what will hopefully be a long career with many more milestones.
Alexander: Nervous is definitely the first word to come to mind. Nervous and excited. It was exciting that I was going to be more public about it, but I was also extremely nervous since I didn’t know how people were going to react. You’re right, it was a huge milestone for me, and hopefully not my last!

TrunkSpace: In regard to your EP, what do you hope people take from it and what do you think the collection of songs say about you as an artist?
Alexander: I hope people take away four very different messages and can relate to at least one of them. I purposely chose those songs because they each provided a different piece to a story. “Wanted” tells the story of just wanting to be wanted by someone and wanting that passion. “I Don’t Want to Catch My Breath” is a ballad about being in love and not wanting to miss a second of it. “What Love Feels Like” showcases the sweetness and innocence of a new love and it’s just a feel good kind of song. “Cruel” doesn’t have that innocence and it’s really about being burned in a relationship and overcoming that by stopping the cycle of hurting someone else because of what’s been done to you. I think collectively the songs show that I have a lot to say and this EP is a taste of how I’m going to go about saying it.

TrunkSpace: Are the songs you chose for the EP personal in the lyrical content or are they told more from a storyteller’s standpoint?
Alexander: They are very personal lyrically. I wanted these songs to be intimate so I chose messages that I could share from my perspective.

TrunkSpace: Where are you hardest on yourself as an artist?
Alexander: I’m definitely a Type-A personality, a perfectionist, so I always think, “Oh I can do it better,” and so I’m hard on myself in that respect. So many times in the studio after the producer would tell me we got it, I would say, “Just let me do it one more time.” The majority of the time I would do it better, but it was always a competition with myself. I like to leave it all on the table so I know I gave it my best.

TrunkSpace: Artists’ music popping up in films and television shows is always a great boost to the brand and licensing is one of the best revenue streams going these days. Do you have any favorite shows or movie franchises that you’d be exceptionally psyched to hear your music turn up in?
Alexander: I’m honestly a huge fan of crime or legal shows. I swear I’ve seen every episode Dick Wolf has ever produced. For movies, I love action and drama. So I don’t really see my music fitting in to content that I watch religiously, although I do love a good Nicholas Sparks romance, so I would be excited to be featured in a project like that.

TrunkSpace: When you look at your career moving forward, what would you like to accomplish? Do you have bucket list items that you want to check off in your career?
Alexander: I have a few stages that are on my performance bucket list, but right now I’m really taking it one step at a time. To get performing more often and recording some originals are next on my list. I’m really excited for what’s ahead!

Artist/Band: Dang Clēts

Members: Connor Cunningham, James Forward, Jake Mills

Website: https://www.facebook.com/dangclets

Hometown: The band formed in Boston, but we’re all from California, and in just a couple weeks we’re moving back to Los Angeles!

Latest Album/Release: Dang Clēts EP

Influences: Beach House, Tame Impala, Future Islands

TrunkSpace: When you strip away the instruments, who is Dang Clēts? Take away the descriptors and the genre labels and what kind of band do you want to be?
Mills: When you strip away the instruments, Dang Clēts is three best friends. We do just about everything together. We want the music to be a portal to our friendship, and the way we’ve come to see it all.

TrunkSpace: The band itself is new, but the members have been performing in and around Boston for years. What lessons did you learn from past musical endeavors that you’re applying to Dang Clēts?
Mills: We learned that our music can be whatever we want it to be, not just the sounds we made trying to sound like indie rock. It’s taken time to be ourselves as musicians and people. Finding that place together has led to a new balance and new sounds. The most important lesson might be in being patient.

TrunkSpace: The music industry seems like a tougher nut to crack than a macadamia. How does a band break through the noise and become relevant in an overcrowded and underfunded landscape?
Mills: If you figure out how to do either of those things we are all ears. But I think it must be by being decent with all the people you come across and letting the music do the rest.

TrunkSpace: The band recently released its self-titled EP. What did you hope to accomplish with the four songs and how long was the process from inception to completion?
Mills: We hoped and still hope that people dig the songs and that we get to play them in strange places. We started recording the EP in January 2017 and finished mixing at the end of March. It took a few more months to get the tracks mastered and get ready for the release.

TrunkSpace: How do the tracks differ from what we’d hear in a live setting?
Mills: Lately I’ve noticed that our builds and dynamics are more emphasized when we play live. The songs are usually given a long leash to find their fit with the band. We don’t want people to miss out on their favorite part of any song, but we also stay away from any kind of exact recreation.

TrunkSpace: Boston is a city known for its great music history, but what is the scene like today in 2017? Is it competitive or is it nurturing?
Mills: It’s nurturing! We’ve found bands in Boston to be responsive and supportive, and you can’t really ask for anything more than that. Venues have also done a great job of carving out their own space and it’s fun to see where touring bands end up. We’ve loved it here.

TrunkSpace: A lot of musicians believe that the city that engulfs them as their home plays a big impact on the art that they create. How has Boston impacted Dang Clēts?
Mills: Boston helped us leave our comfort zone. Grunge is the wrong word to describe what happens here, but there is a level of grittiness that’s loved in guitar-based Boston bands. Maybe it’s because most of us start out in the basements of quirky New England houses. As a band, you want to match the atmosphere of the crowd that ends up there. If it’s going to be sweaty, you might as well be moving. A couple questions ago, you asked about what’s different about our live sound – this definitely left a mark on the noises we’re drawn to.

TrunkSpace: What would be the ultimate dream come true as far as the band’s music is concerned? If the sky is the limit, what’s your sky?
Mills: Our sky is making songs from all the ideas that are stuck in our heads and recorded in voice memos. I think the music comes first but one of our biggest goals is that the project becomes a means to travel. We’re wary of the pains of touring, but I hope we get to share the experience of the road. Dang Clēts needs to feel the road.

TrunkSpace: We read one reviewer call your single “Lines” a song that feels like a “breezy afternoon spent next to the beach.” That being said, where is Dang Clēts music best enjoyed?
Mills: Dang Clēts is best enjoyed where the sun goes down late. But when the feeling’s right, you’ll find it inside the hot cocoa of a snow storm.

TrunkSpace: You guys use that crazy E in your name, causing us to search in our “INSERT SPECIAL CHARACTER” section for it. WHY?!?!
Mills: I’ll tell you why. It’s because there is no urgency. And Dang Cleats didn’t feel quite right. But we are grateful to you (and everyone else out there who inserts a special character) for your patience. If it doesn’t happen, we don’t take offense.

TrunkSpace: What else can fans of Dang Clēts look forward to for the rest of 2017 and into the new year?
Mills: We are going to California! Once we get there, we will record more music, release said music, and gear up for a tour. Can we come visit?

Artist/Band: That One Eyed Kid

Members: Josh Friedman (Keys/Vocals)/ Live band: Kyle Harris (Drums), Andrew Davis (Bass guitar/synth bass), Peter Danilchuk (synthesizers)

Website: SEO Agency Chester, and he always tells me how important it is to use keywords in your online content that your audience is likely to search for and connect with. This has advantages for businesses and companies as well, so an understanding of how the internet works will always make sure you are one step ahead. TrunkSpace: What else can fans of That One Eyed Kid look forward to for the rest of 2017 and into the new year? Friedman: We’ve got some great live in-studio videos coming out soon and I’m already hard at work on the next batch of tunes.”>www.thatoneeyedkid.com

Hometown: St. Louis

Latest Album/Release: Crash & Burn (May 2017)

Influences: Miike Snow, MGMT, Passion Pit, M83, Bon Iver, James Blake

TrunkSpace: How do you describe your music?
Friedman: Synth pop meets indie rock with a touch of motown and soul.

TrunkSpace: We always seem to be discovering great new music from the Boston area. What is it about the city that sparks so many creative people?
Friedman: I think Boston has such a high concentration of brilliant people because of all the colleges in the city. Harvard, Berklee, BU, NEC… there are so many talented people that those schools attract. I think any urban city is a hotbed for art, but Boston’s has this intellectualism that really makes it stand out.

TrunkSpace: Musicians want listeners to connect with their music. What is it that you hope draws people to what you create? What do you want them to discover within the songs?
Friedman: Sonically I just hope people dig it and it makes them feel good. On a deeper level, everything I make is autobiographical and more often than not an excavation of experiences and thoughts that I struggle with. I’d hope that my honesty and candor with my insecurities helps people resonate with what I’ve gone through and hopefully be inspired to face their struggles as well.

TrunkSpace: You have been involved in many different genres and endeavors as part of your musical journey thus far. Does diversity in music, at least in the way that you personally absorb it, inspire you from a creative perspective?
Friedman: Absolutely. Working on different projects in different genres means working with other artists who will inspire you. Boston has so many great artists and getting to play keyboards or produce for them is a lot of where I get my inspiration and push myself to make better work.

TrunkSpace: What is the biggest lesson you’ve learned throughout the course of that journey that you apply to what you’re doing on the creative side of things?
Friedman: The biggest lesson I’ve learned so far is that talent is innate but hard work pays off. I would never consider myself the most talented songwriter or producer, but I’ve been working my ass off lately and I’ve started noticing giant leaps in the quality of my material. The most talented people I know are usually the people who put in the most effort, I’m really inspired by that.

TrunkSpace: Like many young artists starting out in the social media age, you began posting YouTube videos of your performances. What did that process teach you, not only about how to reach an audience, but how to deal with the love and hate that can stream in via social media platforms when you’re putting so much of yourself out there?
Friedman: I consider myself really lucky in that I’ve gotten almost entirely positive feedback from my early YouTube videos. I think it mainly taught me that you can get a lot of exposure through the internet, but if it’s not for what you want to be known for, it’s a little empty. I like seeing that one of my videos is close to a million views, but if I could trade that for 10K views on an original piece that resonates with me, I would. I’m incredibly grateful for the audience I’ve reached through those videos but I’m a perfectionist by nature. I don’t think I’ll feel truly satisfied until I can get my original music the same kind of exposure as the piano covers.

TrunkSpace: You’re also a producer. Is wearing your producer hat a difficult thing to don when you’re working with your own material? How do you find the balance between artist and producer?
Friedman: Absolutely. It’s really hard to produce your own stuff, the role of producing and the role of the artist occupy totally different areas in my experience. When I’m working on my own stuff I end up outsourcing a lot of the producer role I’m used to having, mainly engineering and relying on other peoples’ ears for listening for strong performances. I like getting to ask other artists for feedback though, I do it more when I’m working on my own stuff… so in that sense self-producing forces me to get out of my way a bit. But it’s a challenge.

TrunkSpace: “Crash and Burn” was released in May of this year. What did you hope to accomplish with the EP and do you feel like you achieved those goals?
Friedman: At the simplest level I wanted to share some stories about what I’ve been experiencing and work my ass off on making it sound as good as possible. On that alone I feel like I’ve accomplished my goal. I definitely have loftier aspirations, like getting it on some big Spotify playlist or getting a couple of the songs licensed in a commercial. (I’m not a sell out I promise! But this record wasn’t cheap and that’s the only way I know of that artists still get paid for their music) Personally I’d just like to know that my experiences resonate with people, that’s the real reason I make anything at all.

TrunkSpace: The EP is a great blend of genres and musical stylings… a sort of pop potpourri. How does that play out in a live setting?
Friedman: I’m stealing pop potpourri, I love that. Live we do a lot of tricks, we recreate a lot of the record between the four of us in the live band, but we trigger some of the samples from the record to make it sound more authentic. Kyle (drums) takes a big piece of that. He and I can make things sound really full even just the two of us.

TrunkSpace: Why did you choose to perform under the name That One Eyed Kid as opposed to under your own name?
Friedman: Josh Friedman is like ninety people. I remember googling my name in 2007 and there are just a ton of dudes who are named that, so I felt like I had to make myself stand out a bit more online. I also wear an eye patch all the time and kind of stand out in real life already, so it felt natural to make my online presence reflect that.

TrunkSpace: What else can fans of That One Eyed Kid look forward to for the rest of 2017 and into the new year?
Friedman: We’ve got some great live in-studio videos coming out soon and I’m already hard at work on the next batch of tunes.

Artist/Band: Two Inch Astronaut

Members: Mate Gatewood, Sam Rosenberg, Andy Chervenak

Website: www.twoinchastronaut.bandcamp.com

Hometown: Silver Spring, MD

Latest Album/Release: Can You Please Not Help

TrunkSpace: How do you describe your music?
Rosenberg: I like to keep it enigmatic and say “Rock and Roll.”

TrunkSpace: The band released “Can You Please Not Help” in June. What did you guys hope to do differently with the album that you hadn’t set out to do with previous efforts?
Rosenberg: Not a whole lot, really. We didn’t have any particular mission other than to hopefully make better songs and incorporate more three part harmonies.

TrunkSpace: Where has the band changed most from its first release to where it is today?
Rosenberg: Our very first EP from 2009 was just guitar, cello, vocals, and percussion. Not a lot of people have heard that record, but it’s certainly a lot quieter and more eerie than our later “Rock and Roll” material.

TrunkSpace: As a band, Two Inch Astronaut is a record releasing machine. Does the prolific nature of your songwriting happen organically or do you set out to write a certain number of songs in a set amount of time?
Rosenberg: I honestly didn’t realize it was so uncommon to release two albums over the course of two years! It was really more like a year and a half between albums, I think that’s not so unusual. Ludacris drops albums once a year for his fans’ sake, why can’t Two Inch? We all just enjoy writing a lot, and are very into the recording process.

TrunkSpace: Does that prolific songwriting put the band in a position of always feeling two steps ahead of the music you’re releasing? In other words, have you already moved on creatively from where you were with “Can You Please Not Help”?
Rosenberg: Not always, but after four records, working in our particular style has gotten to be a little claustrophobic. It’s not that we haven’t tried new things and evolved during our time as a band, but it’s all been pretty squarely within the framework of something identifiable as Two Inch Astronaut. I feel like whatever we do next has got to be different.

TrunkSpace: You guys are friends who play music together. Do you think that is a better band recipe than musicians who come together as a means to a creative end?
Rosenberg: It certainly makes touring easier. I’m actually lucky enough that my bandmates’ tastes align with mine and that they’re also freakishly talented and easy to get along with, so it’s hard for me to say.

TrunkSpace: Outside of the songwriting itself, what do you think is the most important part about being in a band and building a fanbase?
Rosenberg: I dunno, I suppose it’d be different for different people. I think it’s important to be humble and to make yourself vulnerable in a way that’s inclusive, both in terms of playing and relating to the people involved in what you’re doing. Not sure that makes any kind of sense.

TrunkSpace: What has Two Inch Astronaut found to be the best way to spread the word and continue to build the fanbase?
Rosenberg: Hoo boy, I would ask a band with a fanbase.

TrunkSpace: What does Two Inch Astronaut do better than other bands?
Rosenberg: We’re very good at alienating people with our impression of the fictional character, ‘The Pre-Cum Skunk.’

TrunkSpace: As far as the mainstream is concerned, rock seems to be missing in action. Is rock as a genre dead on a mainstream level and if so, do you think it will ever see a revival?
Rosenberg: I have absolutely no idea on either count.

TrunkSpace: What do you hope people take from your music?
Rosenberg: My pain.

TrunkSpace: What else can fans of Two Inch Astronaut look forward to for the rest of 2017 and into the new year?
Rosenberg: Continued Pre-Cum Skunk impressions.

Artist/Band: Milo in the Doldrums

Members: Rob Mays (guitar and vox), Richard Smith (guitar and vox), Ryan Wisgerhof (tour bass), Reis Debruyne (studio bass), Ryan Burke (tour drums), Daniel Ortiz (studio drums)

Website: www.milointhedoldrums.com

Hometown: Arlington, VA

Latest Album/Release: Richard’s Glasses

Influences: Radiohead, Of Montreal, The Beatles, Andrew Bird, and Nirvana

TrunkSpace: How do you describe your music?
Mays: Our music is an attempt to mash together a nostalgia for 90s pop and some of the harmonic weirdness of the modern indie casserole.

TrunkSpace: What we love about your band is that you guys call yourselves a rock band. That’s a real rarity these days because everything has a sub genre attached to it. When did it become so complicated for bands to define their sound? (We know this is a contradiction to the previous question we just asked!)
Mays: I guess that the dawn of the internet age allowed for easier access to the underground music scene than had ever been available before. Now it’s easier to get a band together, record/release some tunes, and gain an internet following at least. That along with the ever present need for humans to organize the chaos surrounding them into manageable orderly groups and categories.

TrunkSpace: Your latest album “Richard’s Glasses” was released in April. What did you guys hope to accomplish with the album and do you feel like you met those goals?
Mays: We wanted to make a live and raw recording to tape and to not over do it on the overdubs. I think we did well and now it’s time to move on to newer frontiers.

TrunkSpace: The cover art for “Richard’s Glasses” is a visual tweet, we mean, treat. Where did the concept come from and did the image go through various versions before you settled on the final product?
Mays: It came from our buddy Jon Flanders, aka Mammoth_Wall on Facebook. The original image was just the bird without the glasses, and so we asked him to draw Richard’s special sunglasses onto it for the cover.

TrunkSpace: The band is set to hit the road at the end of the summer. Where are you the most excited to play and why?
Mays: I’m most excited for the Asheville show. We loved playing and hangin’ with the guys in Mr. Mange last time at the Odditorium and we are very excited to play with them again at New Mountain AVL on Tuesday, August 8th. We also get a day off in Asheville the next day and it’s the best place I can think of for exploring.

TrunkSpace: So much of spreading the word about a band is just hitting the pavement (in this case the road) and playing in front of as many faces as possible. It seems like a lot of bands have traded that hard work in for social media outreach, which while effective to some degree, also seems kind of fleeting. How important is gigging out and hitting the road to Milo in the Doldrums?
Mays: We feel like touring is a way to make your band tighter, to get other areas and scenes into your music, and to pay your dues. We will hopefully continue to do it every six to nine months.

TrunkSpace: In the heyday of rock, a band’s “look” was almost as important as their sound. Does that visual branding still matter these days and where do you see it making the biggest difference?
Mays: I think some people are fashion sensed and sexy enough to pull off some sort of iconic look that helps people become interested in their music, but as a pale chubby guy I’m gonna focus on anything but an image and hope to God it doesn’t matter anymore.

TrunkSpace: As far as the mainstream is concerned, rock seems to be missing in action. Is rock as a genre dead on a mainstream level and if so, do you think it will ever see a revival?
Mays: Who knows. I think there’s so much good music from every genre these days, and people are going to keep enjoying ear worms of all shapes and sizes. If a rock band makes something honest and earthy enough to attract the indie kids, but catchy and simple enough to appeal to the masses, then maybe as a genre rock will dominate the top 40 again. Who knows.

TrunkSpace: If Milo in the Doldrums was on the forefront of the rock revival and became the next Nirvana or Radiohead in terms of widespread, international appeal, would you be comfortable with that sort of all-encompassing attention?
Mays: No, I wouldn’t want a lot of attention, and as a member of the upper echelon of the epsilon, I doubt I’ll ever write something that memorable and life altering. I’m hoping Milo can at least help us make a decent living in the future. Hopefully I won’t have to wash dishes and teach guitar forever.

TrunkSpace: What do you hope people take from your music?
Mays: I honestly just hope they enjoy it and make the music and the lyrics fit their own life and experience. If they like it, hopefully we will see them at the show, and if they hate it, hopefully they leave some creative comments on YouTube.

TrunkSpace: What else can fans of Milo in the Doldrums look forward to for the rest of 2017 and into the new year?
Mays: Besides our upcoming tour with Kid Brother in August, we are currently working on a new EP, tentatively titled, “A Widows Peak and a Pack of Smokes” off of which a new single, “Built For No One” will be ready for release sometime this fall.

Artist/Band: Sour Bridges

Members:
Bill Pucci – banjo, git
Matt Pucci – mando, lead git
Jackson Ellis – bass git
Kat Wilkes – fiddle
Dalton Chamblee – drums

Website: www.sourbridgesmusic.com

Hometown: Sour Bridges was constructed in Austin, Texas circa 2009

Latest Album/Release: Sour Bridges-Live at Stubb’s

Influences: The Byrds, The Beatles, The Band

TrunkSpace: How do you describe your music?
Pucci: We (Dalton) coined “browngrass” a few years ago, joking around and it just stuck. We are basically Americana; or bluegrass with some drums.

TrunkSpace: The band previously described browngrass as bluegrass, but just a little dirtier. Where does the dirt stick? Is it on the music? Is it on the lyrics? Is it scattered across the board?
Pucci: Jack and Dalton come from a rock and roll background with previous bands Fatback Circus and Superlitebike. So we started fooling around on front porches at parties with a banjo and a guitar and a bottle of bourbon, things always got amped up a notch, and we’d be hoot ‘in and holler in’ before too long. The formula stuck, and we just kept cranking out hot tunes!

TrunkSpace: Where is the music of Sour Bridges best enjoyed?
Pucci: I hear good things about Sour Bridges on road trips. Pop it on in the car with your buddy, and sing that shit out loud! But the best way to hear Sour Bridges is live. You gotta see it, to really feel it.

TrunkSpace: What can fans of your music expect from your latest album?
Pucci: We just released a live album in June at a staple venue in Austin; Stubb’s. We captured 15 tracks and a hell of a crowd! It’s got a couple old tunes amped up, some great new tunes, and even our version of some classics. Sour Bridges-Live at Stubb’s is browngrass at its finest.

TrunkSpace: Revisiting the “bluegrass but dirtier” vibe, how do you capture that in the studio? A lot of those whoops and stomps sound like they may be difficult to capture outside of an energy-infused live setting.
Pucci: Sour Bridges have 5 albums. They all have been recorded as raw and natural as possible. While Dalton is recording drums, we are all there, laying down scratch guitars and vocals; jumping around, drinking, feeding off each other. So yeah, these good vibrations are picked up in the studio and carried out in the music.

TrunkSpace: Austin has a fertile creative scene. How has it shaped the band and the individual musicians in it?
Pucci: Austin has so many musicians and so many fans that will actually come see your music. You find yourself playing any show in any weather, just to keep up with the next band. In one night you’ll be the fourth band playing at a bar at 1 a.m. and hearing all kinds of genres and inspirations. Live music is literally everywhere. We’ve played on a boat in Lake Austin, on bar tables, in a comedy show, 100 degree parking lots… we love playing, and it’s made us pretty tight both on stage and off.

TrunkSpace: What is the most memorable show Sour Bridges has played to date and why has it stuck with you?
Pucci: We played UtopiaFest a few years ago. It’s out in the beautiful middle of nowhere, lots of friends came from out of state to see us. We opened up the music festival and the weather was gorgeous; it was a blast. The skies filled with black on our last song and it literally flooded for the rest of the night. The fest went on! We were hanging with great bands in 12 inches of mud and pushing on Dr. Dog’s tour van to get it out of the parking lot. Best show so far, but I expect more to come.

TrunkSpace: Is there a particular type of venue or show format that the band prefers to play at and why?
Pucci: We’ll play anywhere. But it’s always nice on a Saturday night to be on stage with the lights and your closest friends playing tunes. I find what really fuels the Bridge’s fire is a good crowd. People running around singing, calling songs out. Yes, sir, a good old fiery crowd is all we really crave… and whiskey.

TrunkSpace: What would we be more likely to find on a Sour Bridges rider… Sour Patch Kids or Sour Apple Martinis?
Pucci: Gotta go booze. It wets the soul and warms those vocal cords. We’ve played some weddings before, and other private events and sure enough, Sour Bridges got a spot on their rider for (1) large bottle of Bulliet Bourbon. Whether we know it or not, Sour Bridges have a ritual of getting together before we go on stage and slugging a few pulls. No prayers or group chats, just a couple laughs. It’s kinda like us clocking in and getting on the same page.

TrunkSpace: What else can fans of Sour Bridges look forward to for the rest of 2017 and into the new year?
Pucci: I feel like we don’t ever stop. Sour Bridges just released 2 albums: Sour Bridges-Live at Stubb’s and Sour Bridges-Single Mic Series, six original songs recorded in one take, one room, with one mic and one bottle of whiskey. It’s pretty good stuff.

We are also going on a Midwest tour in August. Up to old Milwaukee and back through Colorado. Plans of our next album are in the works and we are really looking forward to that. Sour Bridges play almost every weekend in Austin. Are you ready for the browngrass? Because it’s time to go!

Y’all dollhouse come to this show.
July 22 at Mohawk
Whiskey Shivers
The Deer
Sour Bridges