Here is Alexander 23 artist!

In the three years he's spent working in the background, the craftsman Alexander 23 has constructed a noteworthy resume. As one of the music business' go-to lyricists and makers, he's teamed up with Olivia Rodrigo, Selena Gomez, and Chelsea Cutler, among others, begetting a sound that evokes an emotional response between sharp lyricism and instrumental songs.

Everything began in Deerfield, Illinois, where Alexander 23, conceived Alexander Glantz, was raised. He became captivated with music "quickly as I acquired awareness," he says, which he gauges was in "like, the 5th grade." Around that time, he played in his primary school's b-ball group, and he appreciated paying attention to collections from musical crews like Kansas and Supertramp from start to finish during the lengthy drives to games. His dad developed that energy, consistently playing the guitar around the house.

Glantz momentarily went to the University of Pennsylvania to concentrate on designing however pulled out following a year to zero in on music. At 19, he moved to New York and joined an independent band, training himself to play bass, piano, drums, and guitar en route. The gathering was fleeting and disbanded in 2017. That is the point at which he moved to Los Angeles with unquestionably the sincere objective of composing for different specialists — and outstandingly, without a vehicle. He recalls the performance crosscountry move just like an exhausting interaction. "You can't stroll around L.A., which I took in the most difficult way possible from the beginning," Glantz says. "A couple of costly Ubers later, I purchased a crappy little vehicle."

Alexander 23 artist

While he engaged being a soloist, Glantz at first calculated that functioning in the background would consider more monetary strength. Having become knowledgeable underway programming like Ableton, he landed himself creation credits on tracks for pop artists like AJ Mitchell and Sam Setton. Around "five or a half year" in the wake of moving to California, he chose to take a risk and record melodies of his own while proceeding to collaborate with different specialists.

From that point forward, he's delivered two nine-track EPs, including 2019's I'm Sorry I Love You and Oh No, Not Again! in 2021. His capacity to join live instrumentation with contemporary electronic components, as well as his talent for portraying ways of behaving for which individuals frequently don't have the words, has made him one of the business' most sought-after teammates. On Aftershock, his legitimate full-length debut, he subtleties the course of a nerve racking separation, from the principal notions of uncertainty to at long last shutting the part, throughout 11 strong tracks.

"I like to consider it a one-year-give or take span away from a separation," Glantz says. "It's about the occasions paving the way to it, the separation, then dealing with it; meeting new individuals, believing you're prepared to meet new individuals, and you're not really prepared. You miss her, yet you don't miss who you were together. It's certainly a separation collection, which clearly I'm not the main individual to do, however I attempted to truly pull from my particular experience and truly get into the quick and dirty and every one of the subtleties that I was feeling."

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Delayed repercussion opens with "Disdain Me assuming It Helps," which sees Glantz resolute amidst his ex's sharpness. On it, he permits his previous accomplice to fault him for the disintegration of their relationship, regardless of whether her records are misleading. Co-composed by Olivia Rodrigo, for whom he co-created "Great 4 U," the track highlights Glantz scrutinizing the reality of everything his ex is saying to her loved ones preceding releasing saccharine statements of regret on the scaffold. "Please accept my apologies I kept awake with you consistently/For making you chuckle when you needed to cry/I'm sorry I paid for your SSRIs," he sings.

Many fans have viewed the line as energetically whimsical, however others have taken to online entertainment to say the verse further criticizes psychological well-being issues. "You know, how's entertaining about that line is I never affected it to be a huge emotional wellness ice breaker," Glantz says. "I have a lot of melodies about that, too, yet I needed a line in there that felt like something you would lamentably say in the intensity of feeling a specific way about somebody or a specific circumstance."

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On the unbearably mindful "Crash," Glantz relates the agonizing beginning phases of the split: changing his ex's name on his telephone, fearing Valentine's Day chocolates (which he says currently "taste like charcoal"), and reviewing messages he composed up yet never sent. While he actually has love and regard for his ex, he comprehends that both of them are not generally intended to be together. He sings, "I miss you, however I don't miss us/Because separated we're perfect, yet together we suck."

Glantz concedes that he's taken in the most difficult way possible that two individuals, even with all that goals, can draw out the most awful in one another. "The amount of the parts isn't generally more prominent," Glantz notes. "That is something I think individuals need to learn, particularly in additional cozy and close connections. It sucks. Also, I think the way that it sucks makes you need to battle for it more, which thus, just exacerbates it."

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Glantz's music is without a doubt engaging. His capacity to put widespread sentiments, similar to the train of contemplations and the standards of conduct that keep grievousness, into words has separate him as a smart youthful performer in a time of fast, snare weighty TikTok gets. Take the punchy, percussion-filled track called "Cosplay," wherein he depicts the snapshot of understanding that he and his ex were never really great for one another. He construes that they were essentially impersonating the peculiarities and style of "one another's exes" from past connections.

Maybe the most remarkable track on the assortment doesn't relate to a separation by any means. On the ditty "The Hardest Part," determined by delicate piano keys and a despairing guitar riff, Glantz considers the departure of a companion. The melody's chorale — "the hardest piece of going downhill, is that certain individuals that you don't cherish don't" — summons a terrific sensation of misery while highlighting the little, private minutes that make a companionship extraordinary. He depicts seeing when the "trees become red" and understanding that he'll at absolutely no point in the future see the "three specks" that show up as somebody is answering to an instant message.

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While Glantz illustrates his companion, "The Hardest Part" likewise addresses the anguish and misfortune all of us has looked directly following the Covid pandemic. "This has been the initial occasion when I've had companions begin to die," Glantz says. "It's staggeringly unusual to accommodate. Furthermore, in any event, when it's not somebody who you converse with each day, regardless of whether it's terrible somebody whom you just address a couple of times each year however have a common adolescence and history with, it's truly bizarre to manage. It hits you on birthday events or getting back home for Thanksgiving. Figuring out how to manage that genuinely has been an excursion."

Throughout the long term, Glantz has opened shows for a few significant specialists, including Mxmtoon, Omar Apollo, and John Mayer. During a show in Boston, Mayer joined Glantz in front of an audience to play out a front of Tears for Fears' "Everyone Wants to Rule the World." Glantz will visit this fall on the side of Aftershock, which he says is the "cherry" on top of making music. As a lyricist and maker, he is constantly fulfilled when he can take one more craftsman's tune to a higher level, yet as he gets ready to play out his own collection of work, he confesses to feeling a fussbudget's feeling of concern. He realizes fans will connect these tunes with him for eternity.

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"That's what I recall, while I'm making music for me, I must live with these tunes, both as a portrayal of me and furthermore my life," he says. "I'm certainly a touch more specific while making music for myself, which, thus, makes creating for others somewhat simpler. Yet, making music for others versus myself is simply unique, more so than simpler or harder."

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