Category Archive : Music

Love Bailey doesn’t just answer to “singer-songwriter.” Sex symbol, trans activist voice behind “Don’t Call Me” — featuring Electroclash hitmaker DJ Larry Tee — will also turn her head. She’s made it a mission to explore gender identity and sexuality through photographs, film, art and, of course, music.

What’s her next mission? “World domination,” she says. “Or no… I don’t want to dominate this world, there’s already enough colonization on this fucked up planet.” Why? “Life is too short not to slather it up. I want to be part of the trans revolution that brings the Hollywood Dolls to the world via my performances and art. Can you think of anything more exciting than that? If you can, please tell me.” We can’t!

Below, DJ Larry Tee and Love Bailey chat “Betty Boop gone bad” dance tracks and “light your tits on fire provocation” for PAPER.

Larry Tee: Mx. Bailey, how did you come up with this insane Betty Boop gone bad TikTok earworm of a dance track, “Don’t Call Me”? I’ve heard it at all the coolest club nights.

Love Bailey: It wasn’t my fault entirely. I tried to be good for a change. When I found out that one of my favorite producers, Larry Tee, had moved to LA, I knew we’d make beautiful music together. We laughed about how we don’t call people anymore but prefer texts—sexy ones preferably. Where did these musical ideas come from, Larry?

Larry Tee: I call it a weirdo house. It’s a dash of Busby Berkeley Charleston black-and-white picture jazz band meets New York Party House. Dance music can be unmemorable these days, but giving phone sex practically would be memorable.

How would you describe your recent live sets?

Love Bailey: It’s Hollywood glamour, a bit burlesque, light your tits on fire, provocation. It’s in-your-face political action by its very existence. My life as a Hollywood Hooker, a reference to my first hit, has given me lots of inspiration. I’m a natural attention commander. So are you DJing in LA?

Larry Tee: Yeah, some festivals and Rhonda’s, LA’s funnest freak party. I did some parties at the Aster and with the Faustian Society that do Torture Garden. We have a big show on July 20th with Drag Race France’s host Nicky Doll and fashion sensation La Grande Dame called QUEEN. Last time they brought Amanda Lepore.

Who are your heroes?

Love Bailey: Certainly Amanda Lepore, whom I pay homage to in my new video painting my body entirely pink lipstick. Certainly all my hometown dolls and others like Nina Simone, Bette Midler and Amanda Lear. The dolls are taking over, and everyone knows they all live in LA these days. LA’s on fire. What brought you to LA, Daddy?

Larry Tee: Well, where else would someone live these days? The nature, the talent, the content creators are all here. I am working on a breathtaking documentary for a major content provider and getting ready to shoot Icons International in the fall. It’s a talent show for uniquely talented girls, gays and theys. It’s hilarious!

Wanna be on TV?

Love Bailey: Hell yes! If it ain’t on TV these days, it doesn’t exist. I’ve been working on a documentary about my life as a Hollywood hooker, fashion stylist to the stars and now trans rights activist. I would tell you all about it, but if I did, I’d have to kill you. But it’s a total scandal. I have a ranch in Temecula where I host artists, creatives, LGBT trans kids and more than once, a sex party for me and the boys. Temecula is where I realized my activism could make a difference to the trans kids of the world. Millions have reached out to me through social media and we’ve made a difference in Temecula overturning anti-trans school board legislation. What’s your favorite form of activism, Larry?

Larry Tee: My latest projects are also about trans people. Icons International features trans men and women and it’s like a Trojan Horse for trans, non-binary people. If people could meet these authentic, brave, lovable trans performers, it would hopefully make it easier for us all to co-exist. Many of my favorite people are trans and I want to share their amazingness with the world.

What are your upcoming plans for Bailey Inc.?

Love Bailey: World domination. Or no, thank you… I don’t want to dominate this world, there’s already enough colonization on this fucked up planet. I want to make more music, infiltrate my shenis all over the TV networks and suck the shame right out of scared closeted men. Life is too short not to slather it up. I want to be part of the trans revolution that brings the Hollywood Dolls to the world via my performances and art. Can you think of anything more exciting than that? If you can, please tell me. And Larry, be a dear and let me know when the check clears. Muah!

Photography: Justin Ayers
FX design: Jordi Tinena
BTS photography: Andy Myers
Photo assistant: Willa Cutolo
Styling: Melvin Sanders
Makeup: Beau
Hair: Mikel Mitchell
Producer: Emme Lena
On-set help: Venus Velour, Mariano Rubin De Celis
Phone art prop: Ari Bliss Bird

It’s impossible to be across all the new music out each Friday. Luckily, PAPER is here to help you out: each week, we round up 10 of our favorite new songs from artists — emerging and established — to soundtrack your life. From the surreal to the sublime, these songs cover every corner of the music world. The only criteria: they all have to absolutely rip.

Subscribe to our Sound Off Spotify playlist here and check out this week’s tracks below

Charli XCX – “Everything is romantic”

The grand centerpiece of Charli XCX’s brilliant new album Brat is this cinematic baile funk/techno/power ballad hybrid, a wild chimera that only Charli could pull off.

Cola – “Pulling Quotes”

There’s an abundance of empty space on this beautiful new Cola single, a wistful rock ballad sanded down to its barest part.

Halsey – “The End”

Sorry, I buried the lede: Halsey made her new album with Alex G! Her first single from the project, “The End,” feels more Punisher than Trick, but it’s an affecting study of mortality and fear nonetheless.

bar italia – “The only conscious being in the universe”

This outtake from bar italia’s The Tw*ts is paranoid and surging but it’s also mighty theatrical, like post-punk as rendered for a twisted stage musical.

Sabrina Carpenter – “Please Please Please”

In a weird way, this country-reggae hybrid reminds me of “Purple Land,” from the new Amen Dunes album. This is not the first time Sabrina has recalled a middle-aged indie artist – check “skinny dipping,” which sounds like Sun Kil Moon as covered by first-album Taylor Swift – so I have to assume she’s a Stereogum reader. (Line two of this new song: “I know I have good taste.”)

Porter Robinson – “Russian Roulette”

“Russian Roulette” is dizzy and love-struck, appealingly juvenile in its effect – until Robinson mentions a Pitchfork report. And still makes it sound like fun!

beabadoobee – “Coming Home”

This sweet acoustic waltz reminds me of small-scale love songs by bands like The Kooks and The Maccabees, focused on tiny moments rather than the big ones.

illuminati hotties and Cavetown – “Didn’t”

This single from Sarah Tudzin’s new illuminati hotties record draws a line between Weezery emo and Midwest emo, finding a delightfully sneery and discontented middle ground.

Orville Peck, Kylie Minogue and Diplo – “Midnight Ride”

Kylie Minogue is the saving grace of this collaboration — she’s luminous even here.

Kaytranada and PinkPantheress – “Snap My Finger”

PinkPantheress dives and whirls easily around the bends of Kaytranada’s distinctive production style, adding mystery and levity to his laid-back house.

Photography: Harley Weir

Casey MQ is booked and busy — but somehow he did manage to read the entirety of Proust’s In Search of Lost Time last year.

“I’d read bits and pieces before making the album, but once it was written I knew I was ready to read it. It gave the album a new context while I was mixing it,” Casey tells PAPER. “A new perspective on memory itself, really.”

Memory is important function of Casey’s latest album, Later that day, the day before, or the day before that, a guiding principle that really sets is apart from his debut, 2020’s babycasey. While finishing that album, Casey found himself reflecting on the process of recreating one’s childhood, of the malleability of remembering and forgetting. “I wanted to make an album that looked at all the different ways we interact with memory itself, and remembering, and, more importantly, forgetting — where it goes and where it disappears to is as important as the memory itself,” he says.

Hence the new album’s title, which reminds listeners that nothing we remember is concrete. Was it actually later that day, or was it the day before… or what is the day before that? Sonically, the album is a significant departure from babycasey (and especially from its companion, the hyperpop-influenced babycasey ultra), centering itself on piano and vocals. Also mostly absent from Later that day… is the heavy collaboration Casey’s utilized in the past. The throughline here, besides, Casey himself, is the production, which follows from Casey’s more electronic roots.

Ahead of the release of Later that day…, PAPER caught up with Casey MQ to discuss the album-making process, Buffy the Vampire Slayer and, of course, the nature of memory itself.

How are you feeling about the album, now that it’s almost here?

I’m feeling great, now that the three singles are out. The intro to the story has been told, now people can be immersed in the album. I’m just excited for everyone to hear the full body and get the entire picture.

I know you’ve been calling this a “memory album.” What do you mean by that?

Well, babycasey was kind of a memory album in its concept, too, in the sense that I was trying to retell my childhood, to recreate it from the perspective of a child and interrogate ideas I may have had as a kid. And looking back on things gave me this new lens with how I’m interacting with life — I had this realization about what it means to be in the present and what it means to look back and where the actual things we do in our life go. Because it’s so elusive, it opened up this catharsis for me. There was just so much to draw from, and there still is so much to draw from. I wanted to make an album that looked at all the different ways we interact with memory itself, and remembering, and, more importantly, forgetting — where it goes and where it disappears to is as important as the memory itself.

That’s so interesting. I actually wrote my thesis on similar concepts, and specifically on temporality in Frankenstein and Buffy the Vampire Slayer.

Oh my god, I definitely need to read that.

I saw you saying in another interview that you’ve been reading In Search of Lost Time.

Oh yeah, I finished it. Crazy.

Did that contribute to how you were thinking about this album?

Oh, 100%. I did a lot of reading and talked to a lot of friends about the topic of memory and time, I was reading shorter-form stuff, mostly. A lot of films. I’d read bits and pieces of In Search of Lost Time during the album-making process, and once the album was written, I was like, “I should probably read this now, now I’m ready.” I read it over the course of this last year while I was finishing production and mixing and mastering. I’d start my day by reading it. It gave me new context for the album — like, oh, wait, I need to talk more about this, I need to dig more into that. It’s given me new perspective on memory.

Do you recommend it?

Definitely, if you’re down for a long one. When I first started it, there were friends on board to read it with me — they were like, “Hell yeah, we’re gonna read this!” — and then they were dropping one by one.

You should read Karl Ove Knausgaard.

I’m trying to remember what else I was reading at the time. I would get sent like, essays from Freud.

It sounds like a very scholarly album-making process.

Oh, yeah, I was getting into it. My ex happened to be pretty in this world, I love talking to him about it. I have all these PDFs on my desktop., still. I just really wanted to get new influences and see what the possibilities would be. I wanted to challenge myself. I didn’t go to university or anything.

How does the album title tie into those ideas?

There were lots of titles floating around in my head. At some point, I’d just written that down in my notebook, not even as a title idea, just some words, maybe a lyric or something. And then when I was getting ready to name the album, I realized that line worked so well: Later that day, the day before that — I’m even messing up the syntax now. I was like: that’s what it is. I can just imagine someone trying to recommend it and messing it up, too. And I think when you listen to the album, it connects the dots to that motivation. It goes into that abstraction, you know what I mean? I wanted things to linger, to be haunting. “Haunting” is an important word. And not necessarily with negative connotations. Beautiful, spiritual… what returns out of nowhere and maybe has a shock element to it. But how does it come back?

What was the album-making process like for you this time around?

It really started with a feeling for me. I knew I wanted to create a piano album. I didn’t know in what form it would take, but I wanted piano to be one of the main voices on the album. I felt this urge to return back to piano in my life in a new way, with an urgency that I hadn’t felt before. I mean, I love pop music, I love electronic music. I’m actually on my way to play a set for Club Shygirl after this call.

Oh, I saw her last week, it was incredible.

So that’s still a big part of my life. But I needed to go back to this, to the piano, to conversate with it again, with a part of my life that’s always been there. I wanted a big part of the writing to be on the piano. And then the electronic element of the album gave shape to the album, too.

Ultimately, I wanted to make something that would comfort me, that would put me at ease and take me into a mode of reflection and contemplation and would allow me the space to do that.

Would you say you were successful in doing that?

Yes, for me it’s successful. It’s one of the first time I’ve made an album that I love listening to. I needed something to hold me, something I could put on while I’m on the train and enjoy listening to it. And ultimately — that seems like such an obvious goal — but it’s what I needed.

Both babycasey and babycasey ultra were very collaborative works — was there much collaboration on this project?

The first half of making it was very solo. I was living in Toronto at the time and made a lot of the album there. And then, at some point, I decided to move to LA, and I started to work with Cecile Believe on a few songs on the album.

Oh, big fan, I saw her in Montreal when she was still Mozart’s Sister.

Oh, I love that. Yeah, she worked on a few of the songs, and we also just talked about the album and had amazing conversations about our respective works that really put things in perspective for me.

But then the second half was mostly alone, too. With the help of some friends along the way type of thing. babycasey and ultra were sort of the opposite, yeah, with a full cast of amazing artists and sounds that were very expansive. This one was going internal, I guess.

One more question — what are you listening to these days?

I just got back from Hawaii, I went with some amazing artists, just making music and having a little trip together. We made this Hawaii playlist that was a lot of ‘70s rock and folk.

Oh, and I’m always listening to Boards of Canada, of course.

Photography: Jason Al-Taan