Bishop Ivy introduced himself as an alternative-pop songwriter known for his innovative music which mixed organic instruments with digital sounds, field recordings, electronica influences, and samples. Continuing to sharpen that sound, he now embellishes it with pop hooks, sonically adventurous production and autobiographical lyrics. Ivy’s focus on imaginative sound and sharp songcraft began in Boston, where he kicked off his career as a 14-year-old street busker on the neighbourhood sidewalks of Back Bay. Now based in Pittsburgh, where he studies music, electrical engineering and computer science, and with a number of releases under his belt, Ivy hopes to further his ability to manipulate music.
Inspired by boundary breakers like Bon Iver, Frank Ocean, James Blake, and Imogen Heap, Ivy has built his career upon attention to detail. He’s responsible for virtually every sound he creates, with his willingness to juxtapose synthesized sounds with raw, organic music being the driving force behind what he does.
“STAND UP” touches on the need to find internal power and no longer allow people to use and abuse you for your kind heart. After spending time cooped up in lockdown, Ivy found self-love, along with the realization that it’s time to “STAND UP” for himself, as he shares, “This realization to stand up for myself was encouraged by the constant isolation I was in at the time of writing because of covid; I had to take care of myself and value myself more than before.”
With prominent palpitating bass that crosses somewhere between an 808 and an 80s synth, the track is bursting with electro-pop energy. With an ocean of vast, fluid sounds, the track carries a deep, panging beat, complex and steady. Ivy’s crystalline vocals haunt the melodies with strength and a subtle untamed aura; the hook is a shot of uplifting vigour as the artist shows us his inner force and potent power. Not only is he a young, talented producer but a true scientist of sound. Using recordings of a friend’s camera and taking samples from ambient sounds, he was able to construct the percussion entirely from his collection of everyday noises. He explains, “I used to bring around a field recorder everywhere I went, and you can hear the sounds of us just hanging out at the end (it’s not just my voice).”
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