On ‘Shirley,’ an old soul says goodbye

The Stanford Daily - Benjamin Sorensen

“Shirley [1942-2016]” is a heartfelt eulogy, delivered without words but with plenty of soul. The instrumental EP is a tribute from Chris Russ ‘15, also known as faruhdey of the Outsiders, to his late grandmother, Mrs. Shirley Russ. Crafted in the weeks just before and after her passing, the project spins wistful soul samples with personal nostalgia, giving new life to a beautiful memory.

In a letter drafted after his grandmother’s passing, Russ describes her as selfless, loving and honest, a wonderfully generous cook and a constant presence in his life. Only college could separate the two, but even then, distance was no match for her. In the same letter addressed to her, he recalls, “you fought to get to [my] graduation — blood transfusions and negotiations (read: ultimatums) with your doctor and no one could stop you.”

This sort of tenacity is probably genetic, as it reflects fully in Russ’s music. Russ’s distinct, soul-struck sound is the collision of a hard-earned respect for the music of days gone by with the modern innovations of beat-making. He discovers music for his samples through what he calls a “deep dive” into the peak era of soul and funk, into the days of Curtis Mayfield, Roberta Flack and Parliament-Funkadelic. But even from early on in his producing career, Russ was never content to stick with the stars and big names, always determined to avoid “what everyone already had used countless times.”

With the help of his mother, Pandora radio stations and online blogs, he’s amassed a huge collection of potential samples, writing to me recently that he has 275 songs on his “shortlist.” He’s also had a big hand from his friend and mentor Kevin “Moose” Anderson, a local radio DJ in Russ’s native Hampton, Virginia. Mrs. Russ stuck to gospel, which isn’t as explicitly present in Russ’s work, but the emotional weight and feeling of his grandmother’s music pervades everything he does.

The tape is nostalgic, not only in its allusions to bygone artists from the sixties and seventies, but in its old school approach to production. Russ’s style may be familiar to most as a throwback to the sound popularized by Kanye West’s “College Dropout,” with sped up soul samples providing the main thrust behind his beats. He goes to show that you don’t need stacks of synths or booming bass lines to make a good beat. All you need is a good sample and the refined taste to chop it just right.

Perhaps it’s this old style that gives the outro, “Wait Luther,” the same triumphant feeling of closure that I get from tracks like legendary producer J Dilla’s own swan song, “Last Donut Of The Night.” This track is also noteworthy because Russ samples piano tracks from his frequent collaborator Tyler Brooks ‘16 (EAGLEBABEL of the Outsiders) to lend a dynamic and jazzy feel to the stuttering interplay between boom bap drums and a heavily chopped soul sample. On the other hand, tracks like the minimalist, swelling “West Gilbert Street” and the heavily reversed “Supply & Demand” place less emphasis on sample selection, allowing Russ’s own beat manipulation to shine on its own right.

In the end, it’s impossible to consider this album divorced from the context of its creation. Russ credits his grandmother for much of who he is today, both as an artist and as a person. It’s appropriate, then, that “Shirley” is a powerful declaration of his own maturity, vision and skill — a reflection of where he is today, created with due respect for the woman who helped him get there.

 

Contact Benjamin Sorensen at bcsoren ‘at’ stanford.edu.

ARTIST SPOTLIGHT: ELI ARBOR “IDOLS” EP @ELIARBOR

ViciousEgo - SheBloggin

Début project “IDols” from NY artist Eli Arbor is undoubtedlyinspiring. Now working from California, 22 year-old Arbor has no choice but to rise. This project is phenomenal, well-rounded, conceptually advanced, and lyrically entertaining. Channeling artists that influence him like Donald Glover, hear “GPOY” and Big KRIT, try “The Fighter Within” the depth of Arbor’s well is intimidating. A plethora of tracks were expertly mixed bymultiple producers: C4 ProductionsMZZZA (“Shooters“!!!), EAGLEBABEL and Faruhdey, among others. Eli Arbor used “IDols” to showcase his creative diversity. He has songs that are radio ready “Here For The Night” and others that will empower the underground population “40 Acres“. Highlighting gentrification, international dilemmas, and gun violence, Arbor is Hip Hop, a soldier of free expression. On the other hand he tackles common points like relationship woes and peer pressure, all on a single project. Take advantage and listen to “IDols” for yourself, become a fan and support a deserving artist. Follow Eli Arbor now for updates from him and Outsiders Music Management .

 

‘IDols’ and identity: Eli Arbor’s stunning debut

Benjamin Sorensen - The Stanford Daily

Eli Arbor raps as if it’s his last day on earth.

“Shooting star / Here today, but gone tomorrow.”

Arbor, also known as Elliot Williams ‘15, repeats this phrase often in his two-part debut album, “IDols,” which is available now on Soundcloud and Bandcamp. As a founding member of The Outsiders, Arbor is a familiar face in the Stanford music scene. He’s been dropping mixtapes for a few years now, and he frequently appears on other projects with other Stanford musicians, always contributing a solid verse with a heavy dose of introspection.

“IDols” is no different. It’s a culmination of passion and honesty that explodes in the ear. It’s the manifesto of a nerdy black outsider who likes punk rock. It’s a survival guide for those struggling with worlds not built for them. It’s a question, posed both explicitly and implicitly, simply asking: “Who am I?”

The album is split into two discs, each dedicated to an idol who has profoundly shaped Arbor’s personal and artistic identity. The first half is a gritty, confrontational cut channeling the attitude of maverick skateboarder and punk singer Mike Vallely, who made his mark on both the industry and culture of skating by never bending to the status quo. The second half is dedicated to Donald Glover, also known as Childish Gambino, who, aside from being a successful comedian, writer and actor, has helped to carve a place in mainstream hip-hop for the freaks and geeks who don’t fit America’s commercially accepted templates of blackness. Together, the two discs form a fantastic album, meticulously crafted and brilliantly executed from start to finish.

The first thing the album does is suck the air out of the room. In the first 15 seconds of “Vallely Intro,” the song’s anthemic C4 (Chance Carpenter IV ‘15) production drops like a brick, and Arbor is off to the races. He spits with fury, welcoming you to the harsh realities of his world: “No gods, no kings, no masters here / If you don’t know what to do, then make a move / Else you ain’t gonna last in here.”

Arbor is at his best when his bars are frenzied and unfiltered, like in “Vallely Intro” and “40 Acres,” when the emotion that animates his creativity is laid bare. Unlike other rappers, he doesn’t seem invested in making it look easy. He puts in work, and he wants you to know it — you can hear the sweat and tears that go into his craft.

He switches flows often, and employs deft changes in inflection to great effect. No two songs really sound the same, which is as much a testament to his writing ability as it is to his talent to expertly adjust the moods and energies flowing through his mic. He’s backed up by truly outstanding production, much of which comes from The Outsiders themselves, including EAGLEBABEL (Tyler Brooks ‘16), faruhdey (Chris Russ ‘15), C4 and MZZZA (Muzz Shittu ‘17).

Still, Arbor stumbles through a few moments that, while lyrically ambitious, ultimately prove awkward. “5 Lines” deals with the fallout from a sexual assault, told from the perspective of a friend of the victim as he outlines visions of anger and retaliation before finally calming down and trying to comfort her. It’s a bold concept and a relatively unexplored subject in hip-hop, and the song’s resolution comes from a genuine place of humility. But the execution feels just a bit clumsy, as the focus stays entirely on Arbor, not the victim. When writing so emotionally about someone else’s tragedy, that distinction proves to be a fatal flaw.

These slight shortcomings are absent, though, from tracks like the excellently crafted “40 Acres,” a frantic indictment of the gentrification of Arbor’s hometown of Rochester, New York, and “GPOY (Glover Intro),” where the focus is a more personal tale of soul-searching. It’s obvious that tremendous thought went into every line and lyric on the album, and for the most part, the results are captivating.

Even when riddled with doubt (“I don’t really know who I want to be / I really don’t know who I want to be with,” from “My Paradise”), Arbor is able to communicate his own story and personality with extreme clarity. Some of the most compelling arcs in the album are written directly in the vein of Glover’s trailblazing work. In “GPOY,” Arbor acknowledges his own struggle to find a place in hip-hop culture, writing, “I went from Bryant Gumble to Wu Tang / Switchin’ the slang to show it ain’t ‘Nuthin’ But a G Thang.’”

After divulging so many personal thoughts and worries, Arbor ends with a surprising resolution. In “The Morning After,” the final track of the album, Jae (Janei Maynard ‘16) holds down the main verse, voicing the concerns of someone who loves and cares for Arbor, someone who has been there for him during his struggles. After her remarks, James Baldwin discusses black resilience in a sample from a 1969 lecture. Appropriately, the final seconds of the album are sampled from an interview with Donald Glover: “We’re all alone in the end, so it’s good. That’s the way it has to be.”

This is how Arbor ends his awe-inspiring debut, with a humble, somewhat nihilistic realization of his place in the world. And it feels rather fitting.

Why? Because “IDols” is an album for outsiders, for the black guy at the punk show, for the middle-class nerd in hip-hop, for the kids who grow up in a world not built for people like them. These are the kids who might never find peace with the world. These are the kids who know that it doesn’t really matter. These are the kids who grow up to be idols.

 

“IDols” is available for stream and download on the artist’s Soundcloud (soundcloud.com/eliarbor) and Bandcamp (eliarbor.bandcamp.com) pages.

Contact Benjamin Sorensen at bcsoren ‘at’ stanford.edu.

Who is Eli Arbor? Ten revelations from ‘IDols’

Jacob - Nierenberg - The Stanford Daily

The last several months have been relatively quiet for the members of Stanford’s hip-hop collective The Outsiders, but they came back in a big way with today’s launch of Eli Arbor’s “IDols.” The Outsiders released “O/X1” in May of last year and followed up with some solo mixtapes, but “IDols” is the first new music we’ve heard from an Outsider since August. Arbor (née Elliot Williams ’15) spoke to The Daily at length about his creative process and the birth of his debut studio album. Here are the 10 juiciest takeaways from his interview.

·       “IDols” is a double album, with each half inspired by one of Arbor’s “artistic and ideological idols.” The first half speaks for his love of hardcore and punk music and professional skateboarder Mike Vallely…
As a teen, Arbor was big into skating, and one of his favorite skaters was Vallely, who was also the vocalist of the band called Revolution Mother. “He’s big on respect, honesty, loyalty — a lot of values and ideals I tried to take on in my younger years, and that sort of pushed me to gravitate towards hardcore music,” he says. In middle school, Arbor withdrew into the sounds of punk, listening to The Distillers and Dropkick Murphys.

·       …while the second half is inspired by actor and comedian Donald Glover, better known as the rapper Childish Gambino.
Arbor was a fan of OutKast and Kanye West growing up, but Childish Gambino — who Arbor calls the first “post-Kanye” rapper — was one of the first rappers with whom Arbor could connect. “He was concerned about being cool enough — or not being cool at all — or not fitting in,” says Arbor. “That’s the type of shit that I was worried about.” Interviews of Glover are sampled a few times on the album, most notably at the end of “After Graduation (Interlude),” where the multi-talented entertainer proposes that “life is just, like, about learning how to let go.”

·       Think there’s not much in common between hardcore kids and hip-hop nerds? Think again.
Nerdcore is a branch of hip-hop that references geeky topics such as science fiction and video games; it’s a genre that Arbor loves. Apparently these pastimes share a fan base among punks and rappers. “A lot of hardcore kids have Death Stars tattooed on them — like, they’re big into ‘Star Wars,’ big into comic books,” says Arbor. “They love their childhood; they love the things that make them happy.”

·       That said, Arbor doesn’t participate in the drinking and smoking that his favorite rappers rhyme about.
Meetus (Daryle Allums Jr. ’17) makes an appearance on the churning “x Hit the Blunt Take a Shot x,” enticing Arbor to “just sit and chill and breathe / Take in this THC.” Arbor’s response isn’t entirely fictional; in accordance with the straight-edge movement of hardcore, Arbor does not drink alcohol or use drugs. “It’s a lifestyle choice,” he says. “It’s my choice, not yours.” (The x’s bookending the song’s title are the symbol of straight edge; Arbor also had them drawn on the back of his hands in our interview.)

·       Of the 16 tracks on the album, Arbor is the most proud of “GPOY (Glover Intro).”
“GPOY (Glover Intro)” rides a colorful squiggle of synthesizer into the second half of the album. Lyrically, it tells the tale of a young Elliot Williams who “likes ‘Star Wars,’ and hated ‘Brady Bunch.’” Its flashy production, handled by fellow Outsider EAGLEBABEL (Tyler Brooks ’15), is reminiscent of the titular rapper, who coined the titular acronym (which stands for “gratuitous picture of yourself”). “It’s also the closest I’ve gotten to being completely, like 100 percent myself,” he says. “It’s allowed me to say a lot of things that I haven’t really told anybody else before.”

·       Another song on the album, “5 Lines [tw: Sexual Assault],” deals with an issue that Arbor is very passionate about.
Arbor runs for the shadows on “5 Lines,” a song so sensitive it requires a trigger warning. (He declines to explain the meaning of the song’s title.) The song begins with Arbor out to avenge a friend’s assault before realizing that such retaliation will not help her heal. Unfortunately, Arbor knows these feelings of rage better than most, having had friends open up to him about things that have happened to them. “You’re really like, ‘I’m gonna go kill this person.’ And you’re okay with that idea,” he says. “[Sexual assault] is something that affects so many people, but goes so under the radar.” Arbor pops off here — on people who blame victims, on dress codes that deem girls’ bodies as “distractions,” on athletes who get away with sexual assault.

·       Other topics “IDols” explores: guns, gentrification and “relationships as a measure of worth.”
As the name implies, “Shooters” relates three stories of gun violence from Chicago to Nigeria. “40 Acres” hits close to home, dealing with the destruction of a public housing complex in Arbor’s hometown of Rochester, New York, and the displacement of its black tenants. Even on “My Paradise” and “The Morning After,” the album’s most shimmering pop songs, there’s a yearning for self-love. He opens the former with a clever turn of phrase: “I don’t really know who I want to be / I really don’t know who I want to be with.”

·       There’s a reason for the unique capitalization in the album’s title.
ID is, of course, short for “identification” — and the search for identity is a key theme across both halves of “IDols,” as reflected in the straight edge beliefs he maintains, the connection he feels to Childish Gambino, and the romantic relationships that anchor his self-worth, Arbor is still trying to find out what exactly makes him what he is. “I feel like I’m stuck between a lot of different worlds,” he confesses. “I don’t know who I am yet.”

·       “IDols” makes the occasional reference to Arbor’s previous releases, even if he’s ready to move on and continue learning.
“Everything’s a progression,” he says of the relationship “IDols” has with his past works — an EP named “The Ride Home” and two mixtapes named “The Coldest Season.” For example, “After Graduation (Interlude)” is a response to “Graduation”, one of his very first songs — but that doesn’t mean that he’s not ready to put them behind him. “If someone came up to me right now and was like, ‘‘The Coldest Season 2’ sucks,’ I’d be okay with that,” he says. “I don’t need to be the old Eli, because the old Eli was still learning […] The whole point of ‘IDols’ is, I want to be myself.”

·       Even though it’s a solo release, “IDols” is a truly collaborative album — and, according to EAGLEBABEL, is “the most representative” snapshot of what’s to come for The Outsiders.
“O/X1” was an unabashedly fun listen, full of triumph and tragedy. Its overall tone is celebratory, the sound of a group of friends getting together and having a great time. But “IDols” is a different work altogether. It goes into darker places and asks questions that even its creator doesn’t always have the answers to, but it is a journey that he does not make alone. More so than anything before, “IDols” feels like an introduction not just to Eli Arbor — the rapper, the poet and the artist — but to Elliot Williams, the man behind the music.

 

Contact Jacob Nierenberg at jhn2017 ‘at’ stanford.edu.

JAE - ETERNAL SUMMER

Jamie Funk - The Even Ground

Jae

Eternal Summer
self-released; 2015

3.8 out of 5

By Jamie Funk

Eternal Summer by Jae emits warm, soulful vibes that should be playing at the hippest, underground lounge in the city. The songs are so easy to snap your fingers to or nod your head to while sipping on cocktail.

The twenty-year old artist has a gorgeous voice. Her delivery is smooth while also being dynamic. On top of that the music fits around her vocals like a glove. The beats, synths, etc. attenuate her style.

The EP opens with “A Toast.” It starts with a liquid warm synth that soon gets layered with organ and an inventive beat. When she sings every word feels effortless and relaxed. You could argue the song has a serene and tranquil vibe. Make no doubt this song has an infectious hook. She sings, “Let's make a toast to ones we love.” I loved the subtleties and nuances that were present in the music. At times the music reminded me of St. Vincent and even Bjork. 

“Eternal Summer” very well could be the most single worthy song on the album. The lyrics immediately paint a picture of good times ahead. She sings, “Gonna be one helluva night, I can smell it in the perfume, I’m gonna do whatever I like, get into whatever I want to.” It feels like a party but one of the chillest parties you have ever been to. 

“Take Your Throne (ft. Geronimus)” is a cut that has an overt R&B vibe and is also one of the more experimental songs on the EP. Don’t get me wrong. There are a number of notable hooks but also a couple inventive sections, which made me take notice. Take for example the brief section before the main hook. The drumbeats get taken out and you are left with fluttering effect and sporadic percussion while Jae sings. The transition into the hook is seamless and the contribution by Geronimus didn't overstay its welcome. 

My personal favorite song was “Love Song / Virtual.” I’m a sucker for standup bass and Jae almost sounds like a jazz vocalist at times during this song. Suffice it to say it was a well-put together song that has a good amount of changes. She closes with “Let Go (ft. EAGLEBABEL)” which solidifies her talent. 

Eternal Summer is unequivocally a strong debut that deserves more praise. Do yourself a favor and give it a spin. 

Don’t forget about Jae

Benjamin Sorensen - The Stanford Daily

Janei Maynard ‘16  — known as Jae on stage — keeps pushing the boundaries of what a Stanford student can be. A singer, songwriter and poet, she describes herself as a “soulful voice with a hip-hop head.” In August, she released her debut solo project as a member of The Outsiders, Stanford’s young and prolific hip-hop collective. The EP, “Endless Summer,” is available on Soundcloud, featuring six original tracks, a Christina Aguilera cover and a bonus remix of her single, “She Bad.” Her debut is a solid effort featuring catchy R&B archetypes, socially conscious spoken word and quality songwriting.

Jae stands out as the only woman in the The Outsiders’ current lineup as well as the only member with a primary focus on singing. But she’s avoided the limited supportive role played by so many hip-hop vocalists — especially women — by doing her own songwriting and making her voice the unmistakable center of her projects. In short, she doesn’t rely on features or guests to make her point. As a whole, “Eternal Summer” is undeniably shaped by her individual style and artistry.

Jae’s moody, laid-back vocals shine brightest on slow jams like her opener, “A Toast.” Over a Záck-produced beat with organ accents and Kendrick Lamar samples, Jae delivers Friday night party lyrics with quiet but confident poise. Her faint style feels especially at home over the jazzy Nujabes-esque beat on “Take Your Throne,” which features production and a guest verse from Stanford’s own hip-hop duo Geronimus — twin seniors Aidan and Charlie Geronimus.

There are Stanford fingerprints all over the “Eternal Summer” project, with notable assists from Outsiders EAGLEBABEL, Meetus, C4 and MZZZA (Tyler Brooks, Daryle Allums, Chance Carpenter and Muzz Shittu, respectively). EAGLEBABEL is responsible for a stand out sing-song verse on “Let Go,” spitting with the melodic swagger we’ve come to expect from the man behind “Odes.” But Jae, with her soft-spoken style and clean harmonies, remains the center of attention.

That’s not to say her performance is flawless, though. In some cases, Jae’s vocal restraint hurts her. Her style is far from forceful, and while the subdued character of her voice lends valuable emotion to ballads like “Save Me From Myself,” it feels a bit out of place on more energetic tunes like “She Bad” or “Let Go.” With solid production from EAGLEBABEL and catchy songwriting from her own pen, “She Bad” should come across as an emphatic ode to self-confidence. Instead, her gentle treatment of the melody gives off a feeling of hesitation — maybe even fear.

It’s hard to ignore the contradiction between delivery and content. On “She Bad,” vocal wavering over the lyric “I’m killin’ this beat” gives off a surprising sense of uncertainty — not at all what you’d expect from such a danceable tune. It’s a reminder that even if the production, lyrics and mixing are on point, the vocals need to fill the space created, no matter what. If not, the song feels incomplete.

Jae’s artistry has grown since her spring debut on The Outsiders’ first mixtape, and here’s hoping she doesn’t stop any time soon. All together, “Eternal Summer” is a thoughtful and enjoyable ode to the days of freedom and reflection we all yearn for during these first few weeks back on campus. If you want to find catchy R&B jams, support Stanford musicians or just catch a fleeting taste of summer gone by, I have a few words for you: Don’t forget about Jae.

You can contact Benjamin Sorensen at bcsoren ‘at’ stanford.edu.

AN INSIDE LOOK AT THE OUTSIDERS

Tiffany Lam - Pulse Magazine

 

AS MEMBERS OF The Outsiders stood atop the stage at last year’s Easy Groove, hosted by Theta Delta Chi, they faced an audience packed with sweaty partygoers— excitable, a little tipsy, and eager to jam. To many newly formed music groups, this situation could be intimidating and stressful, the perfect recipe for an awkward performance. However, it was clear that nothing could stop The Outsiders from absolutely killing it, sparking an overwhelming energy from the audience.

Performing a selection of rap songs from their debut mixtape, O/X1, three members of the recently formed music label got every person in the room dancing. Some even attempted to rap along. The performance ended with a riled up audience repeatedly chanting “OUTSIDE” in support of the artists and their successful show.

It’s clear that last year’s Easy Groove took a dynamic turn (up) when The Outsiders entered the room. But, we wanted to take a closer look at who and what exactly The Outsiders are. We were lucky enough to sit down with two of the music label’s founding members, Elliot Williams and Tyler Brooks, to get an inside look at this diverse group of musical savants.

COMING TOGETHER, ON THE OUTSIDE

““[I] came to Stanford and found there was nothing for me, except 8 other people...after the same glory...we are the strangers, we are the dreamers, we are the weird kids.””

— Elliot Williams

For Elliot Williams, writing and performing these lines for the final song on O/X1  was honest to everything he believed about The Outsiders—a music label formed in March earlier this year, consisting entirely of nine Stanford affiliated artists.  

In addition to Easy Groove, and a few shows at Berkeley, the group has performed at multiple events across campus, including last year’s Blackfest.  

While every member in the group is from somewhere different, with hometowns ranging from Chicago to Nigeria; Rochester to Colorado, and back here in California, what ties them together is the “glory” that Elliot references in the mixtape’s outro, based not on fame or fortune, but on a genuine passion for music and an insatiable drive to succeed.

As Tyler Brooks put it, “We’re individual artists coming together under one singular business identity: trying to become an independent label.”

“We a musical family,” added Elliot.

When asked about the label’s origins, Elliot emphasized the coming together of extremely different identities, under the notion that in one way or another, they’re all “outsiders”— or “weird kids”, as he puts it in the mixtape—of some sort.

For Elliot, who dealt with bullying growing up, music played a huge role in his life starting as early as middle school. “Music was how I defined myself and set myself apart from everyone else,” he explained, crediting Childish Gambino for his inspiration to begin rapping.

For Tyler, it was the struggle to integrate his extensive background in jazz piano and intense interest in rapping. Ultimately, contributing to O/X1, where he both raps and plays piano for different tracks, helped him reconcile these two passions.

Additionally, Tyler explained that, being from Chicago, he has always felt like an “outsider” at Stanford. “The south side of Chicago is a complete flip from what Stanford is,” he explained. “Politically, historically, and racially— I’m not used to a place like Stanford.”

Even during their interview, Elliot and Tyler couldn’t resist dropping random lines from rap songs mid conversation. They also went off on multiple tangents about music and the music industry, from subjects like how Kanye West makes his music to Tyler, The Creator’s role in OFWGKTA, to Childish Gambino’s entire life story.

The two clearly know music—and are unbelievably passionate about it.

 

THE MAKING OF O/X1

The Outsiders’ first mixtape, O/X1, was released just one month after the label’s formation—an abnormally short amount of time to record and release 18 tracks.

While most artists don’t make albums at this speed, it was their unquenchable drive that drove the mixtape forward so quickly. Immediately after the label formed in March, conversations began about recording O/X1. By the end of spring break, the group had their first “24 hour lock in”, where all nine members literally locked themselves into a studio at CCRMA to make music for the mixtape.

“We wrote a lot of shit that day,” Elliot remarked. A week later, the group had another 12 hour lock in session.  And what’s even more impressive is that every song was written, produced, recorded, mixed, mastered, polished, and arranged by every member.

“The mixtape represents The Outsiders and what The Outsiders means to us,” Tyler said. “It’s a compilation of individual artists coming together for the same vision, aesthetically and business wise.”

 

MOVING FORWARD

While O/X1 is an example of the successful collaborations that have come from The Outsiders, every person has their own individual mixtape or EP already out or coming out soon. According to Tyler, it’s all part of the bigger picture.

“That’ll be nine different artists with music from the same label,” he explained. “That’s a lot of music, so we’re hoping there will be a lot of attention.”

“It’s life right now,” he added.

This past summer alone, two members of The Outsiders—Jae and EAGLEBABELeach released a solo project. Jae’s album, Eternal Summer, features eight tracks, while EAGLEBABEL’s album, Odes, features seven. You can listen to both albums on Soundcloud, embedded below.  

While the members who’ve graduated from Stanford have already made The Outsiders a full time priority, the undergraduate members plan to continue with the label during the school year.

Given the success that The Outsiders has already had, we’re extremely excited to see what’s in store for them!

CHECK OUT JAE'S SOLO PROJECT SHE'S BEEN WORKING ON OVER THE SUMMER

VIDEO: JAE-“SHE BAD” @CHIBI_NEI FT. @MEETUSMUSIC

ViciousEgo - SheBloggin

Artist of many hats, Jae, gives off some sexy West coast energy. Single “She Bad” is a confidence boosting anthem. Play this fun and flirty smash when getting ready for your days’ activities and CONQUER. In collaboration with EAGLEBABEL and Meetus, Jae has created a feel good remix that promotes self-love and esteem. Looking to her “Eternal Summer” EP fans will find intriguing features from EAGLEBABEL, Jae’s sweet mellow tone and songs from the heart. Follow Cali songstress Jae now for updates and insight! #WeOutside