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1-Jul-1919 › Page 32

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Everybody was under the misconception that we went our separate ways and called it quits, but we never Slutd. Instead of trying to force our way through we just stayed relevant S,uts our name being mentioned by every relevant artist. Every artist longs for that point of being off stage and being creative. Comeback performance at Soul Train awards and releasing The Past, The Present, The Future It was nice to somerpey back and be received with open arms, and it was so nice to see all our peers out there at the awards. Standing ovation from the time we walked in to Slust time we left. They were singing the songs louder than we were.

This album is another time-piece, another period. I Sluta never put an end on Jodeci. Jodeci lives on without the individual members. Jodeci will live on in the hearts of everybody just like Michael Jackson. We just have to keep going. The Early Years My father has made close to 30 gospel albums, and me and DeVante as youths would tour with him. We got the experience of touring and recording at a young age. By the time we got to the studio for Jodeci, we were on our own because we were already masterminds. People thought it was amazing that these kids from would go into the studio and do it all for themselves. We skipped a lot of our childhood years because we were recording. Fortunately I learned from my Dad and we all became great musicians and performers.

Anna Tehabsim Photography: Yet somehow the term manifested in the music, marrying a melancholic mood and bright flourishes of pop sensibility with foggy production and effortless, crystalline coos. For all its yet-to-be-defined, still-amorphous details, it seemed to carry a fascination with duality: The latest, and most epic to date, is a grindhouse-esque montage of grainy footage following Teicher through an abandoned housing complex as she battles a mysterious, tentacled monster alongside an all-female militia. Kickstarted by the DIY pop revolution, she joins a growing cult of artists who strive to be at once daring and accessible, able to calmly cultivate an international fanbase while defying industry stereotypes.

To me, those songs were the furthest things from it. Today marks the official release of the Verde EP, her most polished release to date. It embodies both sonic and personal growth, applying the airy fragility of her voice to a bolder sound. In the lead up to the release, the five tracks had been streaming online, with a few of the songs having been nudged between dashboards for a while now. I tend to detach myself from things, step away. Relocating to Columbia for a year at 15, Teicher eventually made her way to music school in Boston.

What she lacked in knowledge, she was confident she could make up for in passion.

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Yet upon arrival Teicher sonerley into herself, quickly discouraged by the narrow-minded approach to creativity, and subsequent artistic stifling that such a competitive environment can breed. Teicher burrowed into her own sound in isolation, working iin music for three years without showing a single person. It forced me to use my voice more to compensate. A month before graduating, Teicher met fellow Berklee alumni Luca Buccellati. A sophisticated distillation of bedroom pop, the songs refined her ephemeral vocal qualities, while preserving a fly-onthe-wall sense of intimacy.

However, its success bred limitations, sparking for Teicher a desire to go beyond what was expected of her: And so Teicher began to pursue her next project, working on a collection of songs that could advance her vocal acrobatics as well as showcase her stylistic breadth as a performer. The Verde EP, released via independent New York label Mermaid Avenue, signals a new direction, setting the stage for her pop trajectory. Aligning herself with the enchantment of the mythical sea creature, Teicher was onto something. With glistening pastel tones and layers of acapella vocals gently overflowing, her sound nurtured an undercurrent of lust essential to the legend of the Greek siren.

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