**Interview**
**Jay Som: Somewhere I Belong**
On ‘Belong’, Melina Duterte revives the Jay Som identity following significant personal changes, leading to a fourth album that is deeply introspective and nostalgic.
The past six years have been a crucial time for Melina Duterte of Jay Som. After an impressive rise in the indie scene following her 2016 debut, the demands of touring started to weigh heavily on her. A shift was necessary, and now Melina has established herself as both a producer and an artist. Since the release of ‘Anak Ko’ in 2019, she has gained extensive experience, and her fourth album, ‘Belong’, marks a new phase of collaboration with the most varied sonic elements she has explored to date. The enforced solitude of 2020 provided a rare opportunity for her to pause, leading to several transformative changes in her life. “In indie touring, you have to endure the grind. A lot of nights spent sleeping on floors, asking friends for help, being financially strained—it takes an emotional toll. As you age, you begin to desire privacy and your own space,” she reflects. During this time, she invested in new musical equipment and immersed herself in countless online tutorials with the goal of enhancing her skills as an engineer and producer. This effort quickly bore fruit, as she contributed to tracks for boygenius’ ‘The Record’ and worked on albums for Illuminati Hotties, Lucy Dacus, and the forthcoming Hatchie album ‘Liquorice’. Her collaboration with boygenius also allowed her to join the trio on a worldwide tour, an experience she describes as “the best moment of my life.” It also presented a chance to witness the positive side of touring, which had previously drained her, as well as being surrounded by “the best people ever.”
She gained valuable insights on collaboration as well. For ‘Anak Ko’, she welcomed friends as collaborators, providing instrumental and vocal contributions. However, this time, she deepened her collaboration with Joao Gonzalez (of Soft Glas) and Mal Hauser (a frequent Mk.gee collaborator), allowing herself to relinquish more control. “I needed someone there to hold me accountable and offer a different perspective on ideas and decisions. I dislike being in an echo chamber of my own making. If you work alone, you may reach the finish, but having someone alongside you will get you there quicker,” she explains.
Imposter syndrome has been a recurring theme for Melina. In 2017, during the launch of her second record ‘Everybody Works’, she felt undeserving of the early acclaim and growing attention. This feeling still lingers as she wonders if people will actually engage with her music. A more supportive environment and collaborative endeavors have provided some relief from that mindset. “I find it easy to lift myself out of a slump because I truly enjoy collaborating. The fact that I still receive production requests reassures me that ‘hey, people still value my work’.”
Another significant boost to her confidence came when Hayley Williams expressed interest in singing with her. At a moment filled with self-doubt, Melina received messages from the Paramore lead singer wanting to harmonize on the new Jay Som album, leading to the introspective track ‘Past Lives’, where their voices blend beautifully over a nostalgic melody. Another “huge catalyst” for ‘Belong’ was Jim Adkins of Jimmy Eat World. “Getting Jim on a track was fantastic. I felt like I had the emo legends in the studio. That encouraged me to sit down and take my work more seriously.” ‘Belong’ features the most extensive range of styles found in a Jay Som album thus far, encompassing softer acoustic pieces (‘Appointments’) and echoes of the shoegaze elements from her earlier work (‘D.H.’), alongside influences from emo and pop-punk, as well as some of her wildest riffs to date.
“It’s a really strange time to be a musician and an indie artist. The system is failing and we are craving change,” she remarks.
The album explores Melina’s place not just in the world but within the music industry. Reengaging with the Jay Som project brought up many questions for her: “I wonder if I truly belong in specific communities or if I even want to fit into the categories people impose on us?” Coupled with the precarious nature of being an indie artist in the streaming age, it’s clear why the concept of belonging occupies her thoughts. “It’s a bizarre time for musicians and indie artists,” she admits. “The current model isn’t working and we are in dire need of transformation.”
As these thoughts circulate, finding security and community has become increasingly essential for Melina. Now based in LA with her partner and dog, she has built a robust support network. When music becomes overwhelming, she turns to crafting clay miniatures. “My friend Jasmine visits, and we devote six to eight
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On ‘Belong’, Melina Duterte revisits the Jay Som name following years of personal transformation, leading to a fourth album that is profoundly nostalgic and introspective.