If ancient deities threw a party in the clouds, they’d probably listen to “Show Me” by Young Rob featuring CocoDrops—just to keep things both boujee and grounded. From the jump, this track struts in with confidence, the kind you get when you’ve figured out the difference between working for money and having money work for you. There’s a swagger to the beat: smooth, undeniably catchy, but more than that—it feels like a nod to late-night London, when the city hums with secret energy, and you can’t tell if you’re about to hit the bar or the dancefloor. Spoiler: in this video, they do both.
Now, if Coco Chanel and Jay-Z had a distant cousin from Zambia who moonlighted as the life of the party, you’d get CocoDrops. Her verses feel like a power move—a rhythmic pat on the back for every woman who chooses her own path, unapologetically. She doesn’t just rap; she exhales. And what she’s breathing out is a reminder: you don’t need anyone to tell you when you’re a boss. It’s a refreshing take in an era where we scroll for validation like it’s a new form of cardio.
Young Rob “Show Me” Ft CocoDrops
Young Rob? Oh, he’s the smooth operator in this collaboration. His voice, like soft velvet dipped in late-night temptation, plays the role of someone admiring from a distance—respectfully acknowledging her independence, while making it crystal clear he’s got the eyes to appreciate it. There’s flirtation, sure, but it’s crafted in a way that doesn’t step on her vibe. Respect is sexy these days, isn’t it?
Somewhere between this smoky bar and electric dancefloor, the lines blur—a bit of stand-up humor breaks the cool as if reminding us not to take life too seriously. This video? Well, it moves like an evening that never ends, a narrative that slips between reality and rhythm.
So grow your empire. Buy your own drinks. And don’t be afraid to dance.
Groove and Nostalgia: Manu Chevalier’s Disco Revival
Manu Chevalier is back with a bang! His new single, If You Could Hear What I Say, is a disco-funk masterpiece that’s sure to get you grooving. It’s got that classic 80s and 90s vibe, but with a modern twist that makes it feel fresh and exciting.
Chevalier, who’s from Marseille, has been influenced by legends like the Brand New Heavies. He’s created a sound that’s both nostalgic and totally current. And let’s not forget the amazing vocals from Deran Day. His voice is like a throwback to Craig David, and it’s the perfect match for the track’s infectious rhythm.
In this interview, we chat with Chevalier about the making of If You Could Hear What I Say, his inspirations, and what’s next for him.”
What inspired the title “If you could hear what I say”? Is there a story behind it? It’s a common story talking about the difficulties for a boy or a man (especially young) to seduce a girl which seems to be unreachable . It happens often at the especially during teenagebut I mean we all experience that right?… Shyness is not very helpful in that situation, but unfortunately that was my case and the case of many people.
Are there any unique instruments or production techniques you used in this track? I’m not a great piano player but i can play a bit and i started with the keyboard with the chords to set the mood.
Then I set the whole instrumentation by arranging the keyboard, guitars, bass and drums playing (i also play a little bit drums), then music theory and technical knowledges help a lot too.
Then as a sax player, I performed all the sax parts and sax solo.
I also hired Deran to perform the lead vocals, i can sing but my voice doesn’t fit that kind of music, and i prefer hiring the right singer in that case. But I did some of the vocals on the background.
Were there any challenges you faced while creating this piece? How did you overcome them? The difficulty was with the lyrics that i rewrote 3 times. I had some hitmakers who were my mentors and they gave me some advices and suggestions to improve the lyrics which were already nice but awkward in some parts. As a non-native English speaker this was not an easy task but i could overcome them by following their tips and using some lyrical technics that i learnt .
The difficulty was with the lyrics that i rewrote 3 times. I had some hit makers who were my mentors and they gave me some advices
Is there a specific lyric or musical moment in the song that you’re particularly proud of?
Yes I’m quite proud of the chords and the melody which are strong, and i made a lot of key changes between each section. And i’m very proud of the bridge which is unexpected and the sax solo that i imagined, i still don’t know how i found it, it was pure instinct .
Who are some of your musical influences, and did any of them inspire elements of this new release? Wow….It’s very large, it goes from Stevie Wonder to Michael McDonald, Jamiroquai, Michael Jackson, Bruno Mars, George Michael, Al Jarreau, Justin Timberlake and many more…..I could spend the whole night naming some artists.
For that song i think that the chorus is inspired by “Spend some Time” from the Brand New Heavies. And maybe “i m outta love” from Anastacia was the other part of the inspiration/mood for the intro and the verses . the rest is a mix of everything
What do you hope listeners will take away from “If you could hear what I say”?
The chorus hook , or maybe the sax solo, the vocal performance which is amazing…but it’s hard to say, everybody has got his own perception/opinion.
Are you planning to release a music video for this song? If so, can you give us a sneak peek into the concept?
The video is already made and online It’s here
I gave a tribute to girls (we would be nothing without them) with some short cuts of me, dancing, playing sax, and special highlight…. my wife is in it. The static image at the end it’s her and she is also in some short cuts at different times in the clip.
How does this single relate to your upcoming projects or albums, if any?
This is my third single, all 3 are Disco/funk style, with some nice reviews, and a lot of radio airplays (especially the first one “Get on the dance floor”) .
“if you could hear what i say” has got interesting results like the first place at the Top 50 RedLine Radio in Switzerland.
A new single “Back to my dream” is coming on October 25th.
This one is a bit different, it keeps the funky vibe but i brought a Californian Pop modern touch like Hall and Oates or Michael McDonald. An album is not scheduled for the moment, it will depend on the results with the singles and if the listeners want to hear more.
Homme's Descent into Madness: Exploring *Ma Vie en Théorèmes
Progressive rock always has been on the edge and Homme is doing the same with equal flair. Their latest single, “Ma Vie en Théorèmes” continues on from the momentum of their June 2024 released single, “Mon capitaine,” but has a much darker tone.
This new track is a powerful track of music and lyrically it is focused on the concept of megalomania and loneliness. Homme combines great guitar lines with brutal vocals to create an atmosphere – engulfing and rather creepy. And it is not just a song but an investigation of the human mind of a certain character who believes he is a king in his own little world.
What is most interesting about “Ma Vie en Théorèmes” is that despite being deeply prog-rock, the song does not shy away from Homme’s serious, even philosophical, subject matter. The video that goes alongside this is also very visually interesting and really adds to the music.
With this release Homme is carving its niche in the modern progressive rock market. It is not just that they are producing music; they are creating moments that will mess with people’s heads.
We are glad to have Homme to tell us about how “Ma Vie en Théorèmes” was created, what inspired it and what is coming next from the band.
Could you share the inspiration behind “Ma vie en théorèmes”? What story or emotions did you want to convey through the song? « Ma vie en théorèmes » is a journey into the madness of a narcissistic character obsessed with gaining absolute control. We aim to create a rich, immersive world for the listener to dive into, offering a deep exploration of human nature.
Can you explain the significance of the lyrics in “Ma vie en théorèmes”? Are there any particular lines or themes that you’d like to highlight? The central theme is the character’s descent into madness. He sees himself as superior to others, like a king on his throne, and opposing him would be sheer madness. He imposes his life theorems on his followers. In the end, he finds himself alone, but creates his own reality, slowly slipping into a madness that ultimately becomes his refuge.
What musical elements or techniques did you incorporate into “Ma vie en théorèmes” to create the desired atmosphere or sound? This track is in a progressive rock style, and it was really built around the lyrics and the story to be told. The lyrics guide the entire piece.
Can you discuss the production techniques or software used to create the sound of “Ma vie en théorèmes”? We recorded at Ludirox Studio with Ludwig Laperche. Before heading into the studio, we worked on pre-production at home to refine the artistic direction we wanted. The recording process was done instrument by instrument. Ludwig begins with pre-processing using an analog chain, and then the tracks were mixed in Pro Tools.
How are you feeling about the release of “Ma vie en théorèmes”? Are you excited to share it with your fans? We’re thrilled to share this track with our fans, along with the music video that brings our music and universe to life. It’s really important to us that listeners can fully dive into the world of the band.
How do you plan to engage with your fans during the release of “Ma vie en théorèmes”? Are there any special events or activities planned? We have a series of concerts planned to promote our music. We truly want to connect with our fans and give them the chance to experience our music live.
Can you give us a hint about what’s next for Homme? Are you working on any new music or projects? We will be releasing our first album very soon, from which our two singles, “Ma vie en théorèmes” and “Mon capitaine,” are taken. We are currently working on the second album, with some tracks already being played live.
What are your long-term goals for your music career? Are there any specific milestones or achievements you’re striving for? We want to reach a wide audience and share our music as much as possible with the public. Of course, we plan to keep writing and releasing albums, but above all, we’re looking for partners who can help us grow.
Family, Harmony, and History: Inside The Immaculate Crows’ New Single
Hey, have you heard of The Immaculate Crows? They’re this cool indie rock band that’s been around since the 80s. Bruce Neilsen started the whole thing back in ’81 in Brisbane. They’ve gone through a ton of changes over the years – even broke up for a while in ’85. But get this:
Bruce got the band back together in 2019 with his old bandmate Mark Hocknell. Mark’s not in the picture anymore, but Bruce is still going strong, working with all these talented musicians and singers like KM Steele, Jessica Shipley, and Daphne Mae. Oh, and Bruce’s sister Carolyn is actually producing their stuff now.
What’s really awesome about The Immaculate Crows is how they mix up all these different styles – punk, new wave, psychedelic rock, you name it. And their lyrics? They’re not afraid to get into some heavy stuff, you know? Social issues and all that.
They just dropped a new single in February called “My Sister and Me.” It’s got this great vibe – harmonica, some bright keyboard parts, and these really sweet harmonies. It’s all about family bonds and stuff. Really shows how they can take these timeless themes and make them sound fresh.
I’ve been digging into an interview with Bruce where he talks about how he writes his songs, what inspired this new track, and what’s coming up next for the band. It’s pretty interesting stuff if you’re into that kind of thing.
Congratulations on the release of “My Sister And Me”! How does it feel to finally share this new music with your fans?
It came out in February 2024 but I am always happy to get my music out there and share it with new and old listeners alike.
How does “My Sister And Me” fit into the overall narrative of your discography? Is it a continuation of previous themes or a new direction? Neither really. I am always trying to keep my music fresh and avoid labelling. I write about anything that takes my interest or moves me in some way. Sometimes this is a real event, other times it is purely fictional.
The title “My Sister And Me” suggests a personal, familial connection. Can you elaborate on the story or relationship that inspired the lyrics? Sam Wild was one of the first singers I worked with when I recommenced writing and recording in 2020. She mentioned that she had a younger sister who could also sing and this raised the possibility of a duet. This inspired me to write a song specifically for them to sing although it is not about Sam’s family situation.
The song was put on the backburner for a while as Sam’s life took her in a different direction. I then asked my second cousin Nicky Steel if she would like to do it and the rest is history. It was written over three years and Nicky did all vocals.
What message do you hope listeners take away from “My Sister And Me”? Generally speaking, family ties are enduring and this song is a celebration of these special relationships.
How did you approach the songwriting process for “My Sister And Me”? Was it a collaborative effort or individual contributions? I don’t collaborate with anyone. All songs released under my artist name The Immaculate Crows are fully written and arranged by me.
Nicky Steel
How would you describe the sound and style of “My Sister And Me” compared to your previous work? Before this release, I had released three other songs that could be called Alt Country, Alt Folk or Country Folk in sound and style. There was Can’t You Hear Me Crying(with Sam Wild on vocals), Business Girl(a duet between Melissa Stevens and Nicky Steel) and Broken Heart(all vocals by Nicky Steel). My Sister And Me is possibly the closest to pure Country and the first song to feature Piano Accordion(courtesy of Colleen South) with Nicky Steel doing all vocals.
How do you balance individual creative input with the collective vision of The Immaculate Crows? The Immaculate Crows was originally a five piece guitar band I founded in November 1981 and disbanded around May 1985. Since I returned to writing and releasing music in 2020 The Immaculate Crows is essentially a loose collective of musicians and singers who perform on recordings of songs that I write, arrange and also play on and Carolyn Neilsen produces. Having said that all the singers I work with are unique and have their own style and sound which helps create a unique listening experience.
How do you think your fans will respond to the new single, and what do you hope they’ll take away from it? I write in a lot of genres and most of the material on the first two albums was broadly what I would call Alternative but the last few releases have seen a big departure from this direction with some recent songs possibly being viewed as more mainstream which may have alienated some previous fans and some radio stations but I am hoping that listeners will persist with me and share my vision of breaking down rigid genre barriers and be open to more styles of music.
Will “My Sister And Me” be part of a larger project, such as an EP or album? If so, can you share any details? Presently I have a ritualistic approach to releasing music. I release twelve songs and then put out an album with the same twelve songs on it. There are four songs currently in different stages of completion but once they are out the third album will be released with My Sister And Me on it. Lol.
What’s next for The Immaculate Crows? Any exciting collaborations or projects in the works? I have been working with some exciting musicians lately and they will all be featured on the next album. Colleen South played Piano Accordion on My Sister And Me, her nephew Sam Ryan is a brilliant trumpeter and has played on I Get You, Same Old Blues and Waiting. Abraham is an exciting violin player and has already featured on Hiding From The Eyes Of The World and will also feature on an upcoming release Shylene.
Finally there is Jesse Carmona who has loads of experience and will be featured on saxophone and flute on two upcoming releases Short Changed and Struggle Street. I have worked out that I presently have enough quality songs to do two more albums after the third one comes out.
How will you be engaging with fans on social media to promote “My Sister And Me”? My Sister And Me was released in February 2024 and I have already done what I could on social media to promote it. My focus presently is on finding more radion stations that are genre fluid so I can keep broadening the range and numbers of listeners for My Sister And Me and my other songs as well.
Bruce Neilsen
Adrian Brockless Impresses with “Da Sealkie Wife's Sang”
If seabirds could play the violin, they might sound something like “Da Sealkie Wife’s Sang”—Adrian Brockless has somehow bottled the wind between Shetland cliffs and placed it into a yearning orchestral motif. The history of a family steeped in classical traditions might lead one to expect predictable sophistication, all done up in formal tails, but this? This is ancient, almost feral.
At its core, “Da Sealkie Wife’s Sang” is a meditation wrapped in the skins of Shetland’s past, but it’s also a love letter, though Brockless never hands over the address. It leaves you guessing. The Aberdeen-based Orchestra Nova quintet—skilled alchemists themselves—turn the landscape into a breathing entity. Nowhere is this clearer than in the strings, which seem to weep more than whisper? A rising sun over a moor. A seal slipping from human form back to the sea. Their music feels like remembering something too old to speak—family? Tradition? Or maybe just a gift handed down wordlessly over generations, as if music were salt air.
Adrian Brockless Impresses with “Da Sealkie Wife’s Sang”
But let’s put seriousness aside, just for a sec. Because, in some ways, there’s an alligator lurking in the intuition of this single—Brockless might be a counterpoint junky for all we know. Half waiting for an unexpected modulation to come and bite you. It never quite happens, though. Instead, what evolves is more primal, a dance between then and now, tradition and exploration—a bit like trying to balance on a tightrope… except the rope itself is made of Shetland hair.
It’s easy to stand with one foot in the sea and the other in heritage, but eventually, the tides pull harder than the shore. Perhaps that’s why in the end, the message is both simple and cryptic. Who’s more elusive—the seal or us?
Maya Blu Joins Forces With Abiana For New Song "Queens."
Lynx Entertainment’s Maya Blu teams up with Ghanaian-celebrated artist Abiana on their new women-centered single. Produced by Masta Garzy, “Queens” is a celebration of womanhood, sisterhood, and everything that makes women the queens that they are.
As women, Maya and Abiana find themselves in a position where they have the platform to not only make music but also amplify the sisterhood in a manner that appreciates, acknowledges, and celebrates the strength, care, and power that women possess.
Queen is one of the few times women have joined forces to make music together in Ghanaian space. It is an encouragement to women that they can be whatever they aim to be, and they should not allow anyone to make them feel otherwise.
Freddie Gambini Releases Introspective Single “Fortified”
After returning from his 2 year hiatus earlier in the year with his single “Active”, Freddie Gambini is set with his follow up single titled “FORTIFIED”.
The new song is one of self-edification in a world where it is so common for people to take what they can without giving back.
Having arrived at the realization that people tend to use your weakness against you, Freddie is telling listeners to fortify themselves and bank on themselves to make it out of every situation.
In the same breath, he reminds those who don’t give back to check themselves and on the friends they take for granted by presenting himself as one of them.
“Show love every time they need it… I need healing but they don’t see it…”
This introspective Afrobeats song is produced by e+f, and it is out now on all streams platforms here.
B-MACK’s ‘Get Likes’: A Funky Anthem for the Digital Age
B-MACK’s new single “Get Likes” is more than just a catchy tune—it’s a commentary on our digital age. Released on September 10, 2024, the track blends funk and rock while tackling a timely issue: our obsession with social media validation. Band members Michael R. Cox and Bruce Mack have created something both infectious and thought-provoking.
From the first note, “Get Likes” draws you into its vibrant, genre-defying world. Warping keyboards set a psychedelic mood, while fuzzy guitars add warmth. A driving bassline gives the song urgency, matching its call-to-action message. Bruce Mack’s soulful vocals tie it all together, delivering lyrics with genuine feeling.
The song takes aim at how social media often defines our self-worth. Mack encourages listeners to look beyond likes and followers, reminding us that our online platforms can be used for real, positive change. It’s a powerful message wrapped in an irresistible groove.
What makes “Get Likes” stand out is its ability to critique without preaching. The funky beat and rock influences make it enjoyable, even as it prompts us to think critically about our digital lives. An ambient electric guitar flows throughout, building at just the right moments for maximum emotional impact.
This track showcases B-MACK’s growth as artists. They’re not afraid to tackle complex issues, blending genres to create a sound that’s both fresh and familiar. Bruce Mack’s charismatic vocals shine, while layered production gives the song a dynamic edge. It’s the kind of music that makes you want to dance and think—a rare combination in today’s landscape.
“Get Likes” proves that B-MACK can deliver both a message and a groove. Their unique fusion of alternative rock and funk gives them a distinctive voice in the indie scene. As they prepare to release more music, it’s clear they’re committed to addressing real-world issues through their art.
In a world chasing online approval, “Get Likes” serves as both a wake-up call and a funky escape. It reminds us that while we’re busy seeking likes, there’s a whole world out there waiting for genuine connection—and what better reminder than through music?
Only Love: Doron Karavani on the Power of Connection Through Music
It’s magical when the power of music is felt within. This is what Doron Karavani has achieved in his latest single, ‘Only Love.’ A love-themed song that gets released on 26th September 2024 delves into how love exists and perhaps thrives against all odds and in a most crazy world.
Karavani collaborated with his long time friend and producer Kalevi Lohivuori and recorded the track in a comfortable studio north of Helsinki. The result highlights more of Karavani’s different but simple, rich in emotion, and most real art.
“Only Love” has a more minimalist production to highlight fully the vocal performance of Karavani. Acoustical guitar, subdued trumpets, keyboards come together to provide warmth and safety. Karavani’s singing is rough and unvarnished, calling upon the audience to an alternate reality where love is not merely confined to the coupling of people but a force that binds every living thing.
Today, we are privileged to meet Doron Karavani and talk about what lived through him in the course of creation of “Only Love,” how he writes the songs, and how love is still present in his music.
*Only Love* has such a powerful and universal title. What inspired you to write this song, and what does “love” mean to you in the context of the music? The song was written during the early stage of the pandemic and the whole feeling on what is happening to us globally got me inspired to write it. At the time there was a strange feeling that whatever we do in our day to day life doesn’t really matter because we may not have control on what the future may bring.
Living the moment saying what you feel now and what you want now is what counts at the end of each day. To me love and especially with the song is not a direct love to someone in particular but rather a general thing we should all have towards everything we do. Only love remains with us and only love is what is really important but the love I am speaking about in the song is really towards everything .
The rain, the trees, our children, people, life and so on… Love is the miracle we are all blessed with that when one apply it to everything he lives more of a humble life and less materialized
Was there a specific moment or experience that led to the creation of *Only Love*, or did it develop gradually over time? The pandemic was a really strange time for humanity on a global scale and on the positive side I think it gave a wakening alert to us all. At the time I was very inspired and had plenty of time for music 🙂
How do you balance emotional depth with musical complexity in your songwriting, especially with such a meaningful track like *Only Love*? For me songs have to be meaningful with a feeling to express yourself in the moment. Only love really meant something for me as I am getting older to remind me again of what really matters. love towards the things I personally love to do and the loved ones.
The theme of love is often explored in music. What makes *Only Love* different from other songs about love, and what message are you hoping listeners will take away? one should live life full of joy and love. Only love to me is not just a love song to a woman as many songs are, but love as for life as for yourself and everything you do. say what you want to have the most….say it and chase it. don’t hide it, don’t think you can’t do whatever it is you want to do but remember that once you do it with love it’s done 🙂
Does *Only Love* focus on a particular type of love—romantic, self-love, or perhaps a broader, more universal love? Indeed a univesal love
With the world facing so many challenges today, how do you think love can be a solution, and how does your song reflect that sentiment? Love is the solution. once you apply it every morning you wake up as I’m going to love everything today there will be no challenges.
Love is the solution.
Who or what were your musical influences while working on *Only Love*? Did you draw from any specific genres or artists? I love music and my number one artist is Bob marley. naturally everything we know comes from somewhere but I can’t say if there was. Perhaps I wanted to tell my wife what I was feeling then.
How do you approach blending different musical elements or styles in *Only Love* to create your unique sound? I recorded the song at my friend Kalevi Louhivuori’s house and we were just 2 of us on a cold winter day feeling we should record it. Kalevi lives in the deep forest and I guess the sound comes from there. lots of wood 🙂
What was the recording process like for *Only Love*? Were there any memorable moments in the studio while bringing the song to life? Just a natural good feeling. It was a beautiful day.
On my sound cloud there is a demo song called not tonight that I recorded the same day with Kalevi and I put a picture of him outside the studio. check it out, it’s a really nice song.
As an artist, how important is it for you to express personal emotions and experiences through your music? Does *Only Love* reflect something personal to you? All my songs are personal expressions. for a moment i am meditating with myself. I don’t do it as if it’s my work.
It’s a natural thing and when it comes i go to the guitar and something comes up. Only love is a moment I just can’t forget and I can’t tell how it came or why but it’s those ones that I remember and very much love.
What does love mean to you personally, and how does that belief or experience influence your music? Love is life and life is love. It’s very simple. You can live as if you love everything or hate everything. Love should not be I love you because we are having sex but I love you as a human as a friend as a beautiful creature.
Is *Only Love* a glimpse into an upcoming album or project? Can fans expect more music that explores similar themes? Yes, I just added the album to Musosoup. in the second part of the songs both of my daughters are singing with me. I really wanted them to sing and be part of something I want them to know. You can see it on the video as well.
How do you see your music evolving in the future? Are there any new directions or sounds you’re excited to explore after *Only Love*? I would like to do a new project with a new team of musicians on my next project. The message is always the same if I think about lyrics because that is me as an artist. but sounds and arrangements can make it sound different each time.
If you could dedicate *Only Love* to one person or group of people, who would it be and why? to all people because all people should live the message
What do you enjoy most about performing or sharing a song like *Only Love* with an audience, and how do you hope they feel when they hear it? sharing a good message is a wonderful thing to do. and naturally if people enjoy it I feel more convinced that there was a good reason to actually release it.
Enzymecomplex: Where Digital Art Meets Boundless Creativity
Today, we’re diving into the innovative world of “Enzymecomplex,” a digital event organized by Melbourne-based collective Minorarc for the 2024 Melbourne Fringe Festival. Running from October 1st to 20th, Enzymecomplex brings together independent artists to showcase their work in a virtual space. The event features a diverse range of contributions, including videos, music recordings, writing, and artwork, with each artist having their own unique space in the online “complex.”
Minorarc has a long history of supporting independent music, having organized live performances since 2005. Now, they’re taking a bold step into the digital world with Enzymecomplex, creating an immersive and boundary-free experience for both artists and audiences. With no restrictions on genre or theme, the event promises an unpredictable and exciting journey through a wide array of creative expressions.
We’re thrilled to sit down with Minorarc to explore the inspiration behind this ambitious project, the techniques that brought it to life, and their vision for the future. Let’s delve into the creative process behind Enzymecomplex and discover how this unique digital event is pushing the boundaries of artistic collaboration.
Could you share the inspiration behind “Enzymecomplex”? ” Enzymecomplex is a digital event ( www.enzymecomple…ex.art ) for Australia’s Melbourne Fringe Festival this year (1st – 20th October), where independent artists have contributed videos, music recordings, writing and artwork. Each of the presenters has a virtual space in the event’s online “complex”, where they have had free reign to stage whatever their hearts desired. The compilation album at Bandcamp to support the event, came about in much the same way. We purposely left out any boundaries regarding genre or theme, in the hope that each space in the complex would be a new and unpredictable experience.
We’ve always operated like this since the first Enzyme live performance concerts in 2005, which carried on around Melbourne until 2015. The aim was always to showcase a really broad spectrum of musical styles that exist outside of the mainstream. It has always been about introducing the public to new things, and giving artists a platform without barriers.
During conception, I had a vision to tie all the spaces together with an overarching written story (akin to a Choose Your Own Adventure), but in the end we popped this idea into the “maybe next year” basket. If we made the artist’s presentations sequential, in order to follow a storyline, it felt unfair that some would be visible early on, whereas others would need to rely on guests making quite a way though the site before their work was seen. It was a complexity to the complex that just seemed to complex for a first try at something digital!
Thus, the stories, emotions, and ideas are purely that of the many artists who shared their work with us. We are very thankful to them all for their support and faith in the project.
What techniques did you incorporate into “Enzymecomplex” to make it a reality? For the compilation album, all that was needed was some gentle mastering on a few of the tracks. Other than that, we left the audio files just as the artists had supplied. Instead, our efforts went into working out the best sequence for the music. Dawn Industry and Darkstereo (our two independent music community sites) have released quite a number of compilations over the years, the first being in 2008.
The early ones were CD media, distributed in the pre-streaming age, until around 2013 when we started distributing work digitally. I still miss those CD days! Working digitally is just a more streamlined process though, and it is preferable to ensure that the presentation of the artist’s works match with how the public prefers to “consume”.
This same idea lead to the Enzymecomplex digital event. A way to reach as many people as possible, taking into consideration the big shift in people’s behaviour post-Covid. The aim was to make it easy to access, and able to be enjoyed by guests whenever they wished.
The Enzymecomplex site is quite a simple one really. We went through a stage of research to find the best solution, and finding that nothing pre-existing really did exactly what we wanted, we decided to let the whole thing function much like any other website. The point of difference is really the varied artist’s work within it, and I guess the way we wanted the contributors to flavor things via text and imagery. I really hope that the simple approach worked! A 3D virtual experience would have been really wonderful, but… well, there were of course time limitations, and the limits of my own skill too.
Were there any challenges or breakthroughs during the creative process? There were plenty of challenges along the way, but none of them were really worrisome. The biggest concern all along was doing justice to the fantastic music and art from all the contributors! I really hope we got it right, or at worst, can learn from this experience for next time. Working with multiple artists has its own challenges too of course, but everyone was really nice to coordinate with and supportive of the concept. I would say that it was a lot less stressful than organising real-life music performances, as we did in the past.
How are you feeling about the release of “Enzymecomplex”? Are you excited to share it with your fans? Well, I hope that the artists who contributed are as excited I am! Quite nervous about it too, to be honest. Doing an online event is something completely new to us. We’re sure that the artists are sharing the work with their fans, and we’ll see how everything went once the event closes on the 20th October. We’ll collect some feedback and then think about how we might approach such a project again in the future. It has certainly been fun!
Can you give us a hint about what’s next for Dawn Industry, Darkstereo or your other community arts projects?
Honestly, I’m not sure what comes next. I’d really love to present a real-life concert series for the Melbourne Fringe Festival in 2025, with a focus on neoclassical, ambient and crossover music. The rest of 2024 will kind of determine if this can become a reality, as we reach out to artists and test the landscape so to say. I have no doubt that we “could” do it, and we’ve already uncovered a wonderful venue for such performances. Now the difficult part though… the logistics. It is a long road even once these things a committed too of course, with marketing and promotion requiring a lot of organisation and planning.
Musically, folks who know me well always assume that some recording is happening behind the scenes. They wouldn’t be wrong! I have projects currently working with a live bassist, a violinist, and also a 20 year anniversary album to finish off by 2026. It is nice to always have something to chip away at.
What are your long-term goals for your music career? Are there any specific milestones or achievements you’re striving for?
That’s an interesting question. I’m getting older by the minute, so long-term is a tricky thing to consider. Ideally, my hope is always just to continue exposing underground and independent art for as long as I am able. Playing, recording, and working on music is a life-long love too. I can’t imagine not doing it in one form or another!
As for achievements, in the near future it would be wonderful to be able to perform live again (with Minorarc’s new band-mates), maybe work on a new music video or two, and then put an album together.
The Daytime High": Behind the Bold Debut Album of LA's Rising Rock Trio
The LA music scene has a new rising star: The Daytime High. These three are becoming quite popular with the combination of hard rock, noise pop and what most people consider to be post-punk revival. The band was created in late 2022 and comprises of Micael Johansson on vocals and guitar, David James on bass and Rich Buckland on the drums and other instruments.
Their influences sound like a hall of fame of the rock titans – The Beatles, The Rolling Stones, Pink Floyd. Still, musicians should not always be mistaken for a cover band. The Daytime High is for very few, but are trying to be an independent band and trying to find their own place in the world of music and they captured people’s attention with their debut self titled album which released on 13th September, 2024.
After the first song “Every Single Day” you know that this is not like any ordinary rock album. With many variable beats and easily singable tunes at its nucleus, it prepares for a lot of travelling musicality. “Waterfall” looks at the band’s poetic side, while “Driftin’” adds in a bit of country comfort. And if you’re in search of something more of a grand scale “Pandemonium” doesn’t disappoint when it comes to the build-up.
The appeal of The Daytime High is that despite being bland and generic, they also sound completely new and utterly recognisable all at the same time. Their singer is powerful, tough and lyrical and their rock melodies sound like nothing you’ve heard, at least not without a hint of the old traditional metal and progressive rock styles.
Luckily, we had a chance to surround the band members with questions regarding their first piece of work, the storiates of the songs, and what the future holds for a bright new star. Tune in for some great ideas from a band that should be on everyone’s radar.
Releasing a self-titled album is a bold move. What made you decide to name the album *The Daytime High*? We had several working titles but the artwork and the titles didn’t feel right so we decided to go with no title, or self-titled debut
How would you describe the overall sound and vibe of the album for those who haven’t heard it yet? We should have something for most who like rock music, 60’s to now influences and with, hopefully, memorable moments, melodies, and hooks
Were there any specific themes or messages you wanted to convey through this album? We deal with loss, heartbreak, alienation, and love with equal enthusiasm, all in a manner that uses humor and empowerment elements.
What was the songwriting process like for *The Daytime High*? Did it differ from how you’ve approached writing in the past? We bring ideas together and then try to create a cohesive song that adds elements to be interesting to the listener. The singer (David on Driftin’ and Open Up, Micael on the rest) will write the lyrics.
Are there any standout tracks on the album that you feel really capture the essence of who *The Daytime High* is as a band? It’s like picking your favorite child and it depends on mood but both Every Single Day and Never Good Enough, while sounding completely different, probably just about capture most of the essence.
How has the band’s dynamic evolved during the creation of this album? Did you experiment with any new instruments, sounds, or production techniques in this album? We could have used more Cowbell (Every Single Day) and we did experiment with Mellotron, organs, strings, percussion, Nashville tuning, and synths
Can you tell us about the inspiration behind one of your favorite tracks from the album? Again like picking a favorite child but today it’s History Man since it’s a rocking “stonesey” track that is upbeat.
Is there a central story or journey you want listeners to experience while listening to the album from start to finish? There is always hope regardless of what happens as long as you keep getting back up.
What was the biggest challenge you faced while making this album, and how did you overcome it? We faced technical difficulties and a fairly steep learning curve with the different solutions but we make music so it’s fun regardless of smaller mishaps
How do you translate the energy and emotion from the album into your live performances?** We don’t play live yet, we are working on a solution to do so
With *The Daytime High* being out, what do you hope your fans take away from this body of work?
I would like for them to enjoy the ride and connect in some way with one, or more, of the songs and make this album their own
Do you have any plans for special releases, such as acoustic versions or remixes of tracks from the album? We will record a few acoustic version for our fans over the next couple of months and release on YouTube
What’s next for *The Daytime High*? Can we expect a tour or more new music in the near future? We are nine songs in to our next album so I would expect more releases in the very near future
Bat Flattery’s Latest: A Minute of Raw Power and Post-Hardcore Grit
Bat Flattery is a group of three musicians whose composition can be addressed as post-hardcore, hailing from the Midlands, the latest offering from the band delivers a good beating. As it turns out, judgings or statements that fit in one minute are likely the most devastating statements. This new single is under a minute long yet does not relent on the raw power and righteous frustration that the fans had grown used to since the last “Onibaba Mask” EP was released.
The band came into being after Grassic and Fedic had been put on ice, but with the aid of drummer Plamen Pironev, Bat Flattery refuses to conform. They characterize their music as ordered noise, rock, metal, punk and even after insisting that it is called ‘mathcore’. Every music has an aggressive quality and energy that is hard to escape.
The treatment is nevertheless raw, though music is itself brutal in depicting post – Brexit whining like streaks of paint. This shows the opposite extreme of emotional control amply developed in this band. It is this ability of theirs that presents structure and disarray at the same time that was appreciated by the likes of BBC Introducing and Punk Rock House Party who touted the ‘in your face’ methodology of Bat Flattery’s lyrics and their ‘agitprop music’ content.
If you are a fan of At the Drive-In or other alt-punk bands who are loud and direct, Bat Flattery’s new album is exactly what you have been waiting for. With more releases and live shows lined up for the year twenty twenty and beyond, this trio is able to once again prove that conciseness does feature when it comes to appreciating the post-hardcore movement.
LAB RAT: Turning Trauma into Music with 'Exit Path'
Meet LAB RAT, the Melbourne-based alt-rock grunge-rap artist who’s captivating audiences with his profoundly personal and emotionally charged music. Born Dylan James, LAB RAT’s journey as a musician is marked by resilience and transformation, having faced and overcome trauma, depression, and addiction.
His distinctive sound, forged from a fusion of grunge, rap, and alternative rock, serves as a testament to the therapeutic power of music. LAB RAT’s latest single, “Exit Path”, released via Mushroom Pillow Music, delves into the lasting impact of childhood trauma. Through searing lyrics and an explosive blend of rap and rock, he invites listeners into his world, where vulnerability and strength intersect.
In this exclusive interview, LAB RAT offers a rare glimpse into his creative process, sharing the inspirations and emotions that shaped “Exit Path”. He also reflects on his musical evolution and the deeply personal themes that underpin his work. With candor and intensity, LAB RAT reveals the complexities of his artistry, illuminating the mind behind the music.
This conversation provides a nuanced understanding of LAB RAT’s vision, creativity, and determination, mirroring the intensity and introspection that define his remarkable sound.
Exit Path is an intriguing title. What inspired the concept behind this project, and how did it evolve from idea to final product? Its original name was ‘Spencer Park’ however we decided to rename it a couple of days before release. It evolved very quickly, the instrumental was written in about 10 minutes and 3 months later I’d finally worked up the courage to try
finish it vocally.
Can you walk us through your creative process for this upcoming album? Did it differ from how you’ve approached previous projects? I think I just got better as a song writer. It was written during covid so it was a little restricted but thankfully by the time covid hit me and my producer both had bedroom set ups so we could keep creating.
What is the central theme or message you aim to convey with Exit Path? Is there a particular narrative or personal experience that influenced the music? It’s all in the music.
How does this upcoming album reflect your musical evolution? Are there specific influences or styles you drew from when crafting the album? I think our sound got a lot more refined on this album. As much as I love doing it, I’ve always struggled with blending hiphop with alternative music but I feel like we did a good job on this project.
The sound feels dynamic and layered. Were there any artists or genres that influenced its sonic direction? A lot. Instrumentally it’s been influenced by many bands from the alternative 90’s scene
Vocally, the flow is actually super influenced by Grime artists like Dizzee, P Money & D double E
Instrumentally it’s been influenced by many bands from the alternative 90’s scene
Do you have a favourite track from the album that holds special meaning to you? What’s the story behind it?
You are not Alone & Lucid Dreams always hit different.
There seems to be a darker, introspective tone to some tracks on the album. Can you share the emotions or experiences that shaped this mood? Addiction, Depression & Reflection
What kind of emotional journey do you hope listeners experience while listening to the album I hope the album can help anybody who needs it.
I hope at the bare minimum you enjoy a couple of riffs.
Do you have any visual components or music videos planned for the album? How do the visuals complement the themes of the album? We’ve got an amazing music video done for ‘Exit Path’ and I’m pretty sure in a few months we’ll have another one done for the single ‘Drunk’
How does Exit Path set the stage for your future work? Should we expect more releases in a similar style or will you explore different musical directions? I’m honestly not to sure. I think it will get heavier in the future but we’ll see.
What’s next for you following the release of the album? Are there any upcoming projects or collaborations you’re excited about? I’m very excited for the album to drop, I already have the follow up written and I just want the people to hear it.
The album feels deeply personal at times. How much of your own life and experiences made their way into the lyrics and production? A lot.
Looking back, what has been the most rewarding part of creating this album? Any lessons or insights you’ve gained from the process? I learn a lot with the process of every album but the lesson from this one is to
let go of control.
“Sweden’s beloved indie-folk ensemble, Koala Bar, returns with a bold new sound, marking an exciting evolution in their musical journey. Following the success of their 2022 album Ingest ≈ Digest, the band has embarked on an experimental path with their latest single, “Lions,” crafted in collaboration with renowned pianist and producer Leon den Engelsen.
Inspired by the serene natural surroundings of their studio, “Lions” seamlessly merges organic forest sounds with electronic beats and atmospheric synths, yielding a richly textured soundscape reminiscent of James Blake’s signature style. This innovative blend of raw emotion and genre-pushing production showcases Koala Bar’s growth and creative fearlessness.
We had the privilege of getting to know more about the band to explore the creative forces behind “Lions,” their artistic process, and the inspirations driving their next chapter. As they prepare to unveil their forthcoming EP, The Antelope, in 2024, Koala Bar shares their enthusiasm for this new phase. Join us as we dive into the captivating world of Koala Bar and uncover the stories and themes that shape their latest musical endeavors.”
What was the songwriting process like for “Lions”? Was there a particular spark or idea that ignited the creative process? Initially it came to life by waking up in the middle of the night with a clear idea of a vocal melody and phrasing. We tried this out together in the rehearsal room the next day and figured we could actually make this a dope tune. We started playing around with a new vocoder pedal that we just got and thought it suited the vibe of the song very well. (Jonatan, Axel)
What are the core themes or messages you aimed to convey through the lyrics of “Lions”? With Lions we’re trying to tell a story of what’s going on behind a person’s public appearance. People are struggling out there and they are doing their very best not to show it off to other people. The lyrics are mainly about alienation, codependency, aging and acceptance. (Axel)
With Lions we’re trying to tell a story of what’s going on behind a person’s public appearance.
Are there any personal experiences or stories that influenced the writing of the lyrics? Yes. I had a friend of mine in mind when I first started writing the lyrics. He was struggling a lot then with his identity and mental health overall. I wanted the lyrics to describe the situation from this fictive/non-fictive person’s point of view but at the same time depict the struggle that comes with being a close relative in these sorts of situations. (Jonatan)
How do you think “Lions” compares to your previous work? Is there a noticeable evolution in your sound? As we mentioned earlier, it really stands out from our previous work. A lot of people who have listened to our previous albums would most certainly not recognize that this is a Koala Bar song – but it is! This is us too! That’s actually kind of relieving to realize that you’re not boxed in or limited by the genre of your previous songs. We’ve had amazing responses thus far from people reaching out to us about how they love the song – although Petter’s dad hates it, which actually is quite refreshing, haha! (Olof)
What are your plans for promoting “Lions” and reaching new listeners? One of the best parts of releasing new music is the opportunity to meet and work with all the amazing human beings out there. This is why working with Lilystars Records is such a joy for us. Real human beings with big hearts. This has also given us the opportunity of discovering the south east asian music scene which feels crazy inspiring. We really feel like this is the start of something new and promising and we’re looking forward to what the future will bring. (Axel)
Will “Lions” be part of a larger project, such as an EP or album, or is it a standalone single? It will be on our upcoming EP which will be released next year. (Olof)
How can fans support Koala Bar and stay up-to-date with your latest music and news? Follow us on every streaming platform out there. We’re actually quite entertaining on social media as well so follow us there too or don’t. The most important thing is that you give our music a chance or two – if you dig it there’s a lot more to come! (Petter)
If “Lions” were a color, what would it be and why? All I see in front of me when I listen to the song is the color of the sunset. Some sort of blood red/orange vibe… (Axel)
What’s next for Koala Bar? Are you working on new music or planning any upcoming live shows? We will be releasing a new single in november and then there’s the EP which will drop next year. A lot of our focus is inevitable on this right now, but we’re already in the planning phase for booking live shows next year. (Jonatan)
Is there a particular goal or milestone you hope to achieve with the release of “Lions”? The goal will always be to reach out to as many as we can. With that said it’s not about gaining streams and what not, it’s all about getting the opportunity to play big live shows in front of an amazing audience. We work a lot (!) with our live shows to really make them special with everything from visual to audible elements that makes it a unique experience for the visitor. (Axel)
Surviving the Struggle: How The Infinity Process is Thriving with 'Embrace The Storm'
Toledo, Ohio’s The Infinity Process is making waves in the rock scene with their electrifying blend of hard rock and melodic metal. Their latest single, “Embrace The Storm,” showcases the dynamic trio’s ability to craft high-energy compositions that resonate with audiences.
Comprised of Kimberly Tingley on vocals, Jason Tingley on guitars and bass, and Brent Gfell on drums, The Infinity Process has forged a sound that’s both powerful and emotionally charged. “Embrace The Storm” stands as a testament to their musical prowess and personal resilience.
Born from Jason Tingley’s experience with double-level fusion surgery, the track is more than just a song—it’s an anthem of determination. The band’s trademark combination of heavy riffs, driving rhythms, and Kimberly’s soaring vocals perfectly captures the spirit of overcoming adversity.
In this exclusive interview, we delve into the story behind “Embrace The Storm” and explore its place within The Infinity Process’s evolving soundscape. We’ll uncover the creative processes that fuel this talented trio and discuss how their personal experiences shape their music.
One other thing I like about Embrace The Storm is the emotions that were poured into the video, you can literally taste the emotions which were incorporated, from the lyrics to the crazy guitar riffs to the drums. Seeing everyone go hard is really inspiring, this is a great form of inspiration and message is relatable, I mean every age and sex can get something out of it.
Join us as we delve deeper into the lives of “The Infinity Process” to talk about their journey, the challenges they’ve faced, and what the future holds for this rising force in rock music.
What’s the story behind “Embrace The Storm”? Can you tell us about its inspiration? The main inspiration came from our guitarist undergoing double level fusion surgery last year, and watching everything he had to go through in order to be able to not only continue to play in our band, but also just enjoy life in general without being in constant pain. The more broad inspiration was just dealing with the general struggles that life tends to throw your way, and how you need to decide if you’re going to stand up and fight, or give up.
How does “Embrace The Storm” differ from your previous releases? Did you explore any new musical territories? Musically, Embrace the Storm is more uptempo and energetic while lyrically a little more optimistic than some of our more recent releases. The irony of it, I guess, is that its actually about some of the darkest times in the band and things that could have possibly ended the band. As far as exploring new territory, we are always looking for subtle ways to make our sound more dynamic but not completely abandon who we are. This song, and our last song “Glitches” we experimented with deeper tuning, abandoning our pretty typical Drop D tuning for Drop B, and using baritone guitars.
The title sounds quite powerful. What message are you trying to convey with this song? To revel and thrive in the chaos that life throws at you. Ultimately, there are two ways to respond to adversity. 1) You piss and moan and feel sorry for yourself or 2) you get off of your ass and get after it and write your own story. Are you going to have the ending written for you, or are you going to be the one writing the ending? Control the things that you have control over, and enjoy the ride while waiting for your opportunity for the things that you can’t change. It’s not a pity-party.
Were there any particular challenges you faced while creating this single? Not while we were working on it. We were in a pretty good place while working on this song because it had been almost a year since we did anything due to the neck and nerve problems that Jason was having. So by the time we got back around to writing this song we were just stoked to even still be a band and that Jason was all good to go. We were pretty motivated, and it just kind of flowed.
We were in a pretty good place while working on this song because it had been almost a year since we did anything due to the neck and nerve problems that Jason was having.
Are there any specific musical influences that shaped the sound of “Embrace The Storm”? Nothing really obvious comes to mind. I know the three of us went to the Thrice “Artist in the Ambulance” 20 year album celebration concert last year and were all listening to that album quite a bit during this time. So maybe we were channeling a little bit of our inner early Thrice …ya know, ”All Thats Left” or “Stare at the Sun” kind of stuff. Who knows.
How does this single fit into The Infinity Process’s overall discography? Is it signaling a new direction for the band? I think its just a continuation of a more textured and dynamic direction that we started a few years ago. We sort of regrouped during Covid when no one was playing shows, and I think we just felt a little stale at that time, and since the world was basically shut down for nearly two years we sort of took the rare opportunity to do nothing but focus on improving and we challenged ourselves to try to reinvent our sound a little at that time to include more layering, or more creativity in the dynamics, or structures and polish our sound a little more.
Is there a particular lyric or section of the song that you’re especially proud of? I think for Kimberly and Jason, the first line of the chorus is pretty strong…”Sometimes you need the darkness to see the light”, not only is it one of the most consequential lines for the meaning of this song, but it’s a pretty loaded line. Jason and Kimberly would take walks together during Jason’s rehab from neck surgery, and it was a very reflective time full of deep, bonding talks. That line in the song actually comes directly from one of those walks. It’s very literal in how the line came together, but the metaphor landed so perfectly it was like almost cosmic, like once it was spoken, we instantly knew it was a lyric.
How do you think your fans will react to this new release? We obviously hope it lands with them. We have played it a couple of times at shows before this release and everyone seems to love singing the “oohhhs” on the chorus and seem to have a great time with this song. We think the meaning is pretty relatable because there isn’t a person on Earth that won’t deal with adversity on an almost daily basis, and we appreciate the opportunity to put some level of optimism into the world right now. Musically, its high energy and translates well for live shows with the singable melody, but the visceral energy in the heavy parts so they will hopefully continue to love it live, as well. We are excited about this song so we hope they all dig it too.
Is “Embrace The Storm” part of an upcoming album or EP, or is it a standalone single? We almost exclusively just space out singles these days. We try to just put quality over quantity and with the saturation of media anymore, we think it’s best to just not give anyone too much to consume all at once, and just want to keep putting out killer singles.
Looking ahead, what’s next for The Infinity Process after “Embrace The Storm”? We have some shows booked throughout the rest of the year. We are opening for Shim from Sick Puppies in a couple of weeks here in Toledo, we have a headlining show booked at the end of the year, and we hit the road for an out of town show in November. We are also starting to put the finishing touches on a new song that we’d like to at least start testing out live at the end of the year to keep our setlist kinda fresh and interesting. We’re staying pretty busy and 2025 should be another big year for us, we hope.
“Home” Is Where the Heart Is: A Journey with Eric Alexandrakis
In his latest single “Home,” Greek singer-songwriter Eric Alexandrakis invites listeners on an intimate journey, exploring life’s struggles and the quest for happiness. Drawing from the wellspring of musical legends like Bob Dylan, Tom Petty, and Neil Young, Alexandrakis has crafted a rock anthem that strikes a chord with anyone looking to shed the burdens of their past and embrace a more hopeful future.
The track, bolstered by collaborations with talented musicians such as drummer Ryan Hoyle and expertly mixed by Paul David Hager, masterfully balances personal introspection with universal themes. “Home” showcases Alexandrakis’ knack for weaving powerful lyrics with an eclectic soundscape, serving as a soulful reminder of where true contentment can be found.
In this exclusive interview, we’ll delve into the inspiration behind “Home,” uncover Alexandrakis’ creative process, and explore how he uses the concept of “home” as a metaphor for happiness.
Congratulations on the release of your new single “Home”! How does it feel to finally share this song with the world? Thank you. I’m pretty consistent with releases, but it never gets old. It’s always exciting, and always feels like some kind of contribution to something. I can’t quite put my finger on what it contributes to, but something.
Can you tell us about the inspiration behind “Home”? What sparked the idea for this song? I’ve been studying a lot of music from the 70’s, but mainly Neil Young, early Tom Petty & The Heartbreakers, Nesmith, Bob Dylan, early Springsteen, Melanie Safka, so musically it comes from there. I’ve always been mostly into British bands, classical and soundtracks, so this was a stretch, which as an artist and working musician, a stretch comes with the job. The spark came from having a bad day.
How would you describe the sound and style of “Home” compared to your previous work? I feel it’s like it’s catchy Alternative with Americana touches. I never fall into any set category, as what I do is always my own thing that has some kind of identifiable thread of me going through. I don’t compare anything I do to anything before it. It’s like saying, “Well today is better than last week.” What’s the point?
What’s the story behind the lyrics of “Home”? Is there a personal experience that influenced the writing process? There is a personal experience, but I don’t care to share it. It’s really meant to encourage anyone stuck in mud, to pull themselves out, and find where they belong, because there is always something better…and something worse.
How do you define “home” and what does it represent to you? “Home” in this tune is a metaphor for happiness.
Were there any notable challenges or breakthroughs during the recording process? I’m usually a one man show, and don’t collab on solo stuff. I’ve only done it twice in all of these years. This time I got lazy, and got my friends to also play and mix, and it went as well as I expected, totally elevating the track, and me as an artist.
How did you choose the instrumentation and arrangements for the song? Drum wise I fell in love with Ryan Hoyle’s [Collective Soul, Pet Shop Boys, etc.] drumming about 10 years ago, and have always wanted to play with him. Steve Ferrone is always my main drum collaborator, but he was on the road, so this was a chance to work with Ryan.
Lead guitar vibe, I’ve been wanting to record with my buddy Mark Scandariato for 30 years, and finally the right vibe came up. He toured a lot in the 90’s opening up for people like Bob Dylan, Hootie, Spin Doctors, Charlie Sextant, The Mavericks. When he put down his parts, his playing defined where I was going to take the track, so I made him a coproducer as it would have sounded very different without his lead guitar arrangements.
Mike Surratt is an extraordinary accordion player, so diverse, and just serious about his craft, so that was easy. Akis Amprazis on electric bass is an old pro friend in Greece, and being that he was into King Crimson like me, I thought it would be super cool to include him. He also plays with one of Greece’s biggest bands Pyx Lax. Paul Hager [Katy Perry, Miley Cyrus, Olivia Rodrigo, Devo, Jonas Brothers, Van Halen] who mixed is an old friend as well, but also the top pop mixer in the world, and that’s always a no-brainer.
How do you stay inspired and motivated to create new music? People like me are wired to do it. It’s never a choice, it’s more like an instinct and a need to do it, like feeling the need to eat, or express something. Most don’t understand that. You can’t tell someone not to be gay for example, because it’s all about chemistry. Same thing here. Being driven to create is about brain wiring.
How has your personal life and experiences influenced your music, particularly on “Home”? I don’t like to share personal experiences publicly in music. If I do, I usually project it onto a character, or make up a scenario around the thing I’m thinking about. Same thing with “Home”. I’ve never lived in a field near a train depot, but every line presents something personal, just not what it sounds like.
What do you hope listeners take away from “Home”? That it inspires someone needing a leap, to take that leap, and I don’t mean off of a building.
Looking back on your musical journey, how has your approach to songwriting and production evolved? When I started, it was all about production. I loved the studio process, experimenting with sounds hours/days on end. Now, I’m much more interested in creating a feeling via the songwriting craft, and prefer to move faster. I’m not a perfectionist with production anymore, but I am with vibe and feeling. I am though a craft perfectionist…my craft, not with what the accepted norm is.
What’s your favorite lyric or line from the song? “Sleeping with snakes and fakes, the venom, it’s all high stakes.”
If you could have any artist feature on a remix of “Home”, who would it be? Noel Gallagher.
Introducing ESSIE Laugharne, an emerging UK talent whose music seamlessly blends the dreamy soundscapes of 60s pop with the raw energy of 90s indie rock. Hailing from Biggleswade, England, ESSIE’s latest single “Big Cities” takes listeners on an evocative journey through urban life, showcasing her artistic depth and observational prowess.
“Big Cities” is a sonic tapestry woven with reverb-drenched guitars and ESSIE’s signature warm, soulful vocals. The track deftly captures the dichotomy of city living – its allure and its challenges – creating a nuanced portrait of metropolitan existence.
Drawing from her personal experience of relocating to London, ESSIE explores how big city life is often perceived through the eyes of concerned loved ones. The song’s introspective lyrics delve into themes of personal growth, change, and the search for belonging, resonating with anyone who’s ever taken the leap to a new urban landscape.
In this exclusive interview, ESSIE opens up about her creative process, the inspirations that fueled “Big Cities,” and how the frenetic pace of city life influences her musical output. Join us as we uncover the story behind this beautifully layered track and get to know the artist who’s making waves in the UK indie scene.
“Big Cities” has a powerful title—what inspired the concept for this song? Is it based on your personal experiences? The song was written during the Covid 19 Pandemic when I began writing a concept EP based around living in London before the pandemic with life during the pandemic. In this song I chose to reflect on the concept of moving to a big city from a small town and how loved ones might view that move as foolish/dangerous or simply a phase that will be grown out of when the time comes to settle down. It’s partly based on my experiences moving to London in my early 20s, and partly based on the experiences of other friends who have made similar moves and then been constantly asked by parents and friends “so when are you moving back home?”
What was your creative process like for “Big Cities”? Did you approach this track differently compared to your previous work? I approached this track from the concept of writing from a small town/parental perspective but I also came up with the guitar riff quite early on too and this set the melodic tone a fair bit as well. I then built the rest of the song around the riff and the lyrical ideas.
Did any specific city or urban environment influence the sound or lyrics of “Big Cities”? Definitely London, but I think it works well as a song relating to any major city. There will always be people who long for the hustle and bustle, and there will always be those that couldn’t think of anything worse.
What message or feeling do you hope listeners take away from “Big Cities”? That it’s okay to move away and to thrive in that new place and potentially never leave. As someone who has moved a lot throughout my life for various reasons, I’ve definitely felt at home in different places during different seasons of my life, and I’ve never regretted any of the moves I’ve made (but it is also okay to stay in your hometown, each to their own).
As someone who has moved a lot throughout my life for various reasons, I’ve definitely felt at home in different places duri
How would you describe the sound of “Big Cities”? Were there any particular musical influences behind its style? I don’t really know to be honest, it’s a bit of a departure from my usual more gutsy vocal delivery. I’d say some more Indie influences like The National came into play. I was hesitant at first to release it but I think you shouldn’t be too precious about these things, and hopefully fans still like it even if it’s less upbeat than previous ESSIE tracks.
Has your sound evolved with the release of “Big Cities”? If so, how does this single reflect that change? I think there are always threads that carry through all of my songs, particularly in how I approach guitar riffs, arrangements, and the style of my voice. This one is a bit of a departure in other ways compared to my previous singles, but I think it’s still very ESSIE. I would say that this next batch of songs I’m releasing are a move towards exploring slightly new sounds and genres, but still firmly in an alt/blues/indie rock space.
What aspects of city life resonate with you most, and how do they come through in “Big Cities”? The nightlife has always resonated with me and inspired me, and some of that comes through in the first verse, but I also love the green spaces in cities and how much people just enjoy being out in a park, even if it’s cold, it brings a lot of peace. The second verse touches on that a bit with “pockets of green” and the hope that they bring into day to day city life.
Do you feel a personal connection to the fast-paced, hectic nature of big cities, or do you find peace in other environments? I feel connected to cities when I’m feeling proactive and ready to make the most of the opportunities and night life, but I find a lot of peace and rest when I’m out of the city and getting to connect with nature. I think it’s important to have a balance and I actually don’t live in London anymore, I live in a commuter town so I really get the best of both worlds when I’m in the city for work and then outside for rest and relaxation.
Are there any moments from your own life in big cities that influenced specific lyrics or musical choices in this track? I mean all of them really, but definitely the bridge and talking about finding something in the city that I hadn’t found up until that point. A sense of purpose and acceptance amongst friends and just so many things. I did a lot of growing in London.
Is there a particular lyric or moment in “Big Cities” that you’re especially proud of? Why? I like the opening verse in particular, I think it captures the main worries that people have about loved ones moving to a big city. That everyone wants to steal from you or stalk you, or that everywhere is infested with rats and just not pleasant. These things can all be true, but there’s a lot of goodness going on in city life too, and some people really come into their own when they move away from their hometown.
"Sin Un Adiós: A Journey of Love and Loss with MUVA"
The Mexican band MUVA that has managed to create a thrilling audio-visual global fusion music has the ability in conquering the complex nature of emotions through music. This is evident in their most recent release, a song dubbed “Sin Un Adiós” which came out on September 6, 2024. Starring the beautiful voice of Bulgarian Milena Jeliazkova the track evokes emotions of sorrow and longing inflicting the listeners.
At the heart of “Sin Un Adiós” is the poignant tale of a young girl who lost her mother to the pandemic, one that encapsulates the pain and sorrow of parting with a loved one without choice. This is a feeling that is very applicable in the present times that we live in, with a lot of people having lost loved ones during the pandemic and being unable to perform funerals.
In this exclusive interview, we sit down with MUVA to unpack the inspiration behind the work. We inquire how they adeptly contain the feeling of grief in the leaning of the will-power, and into the whole, creative aspiration of theirs. They talk about how collaboration while in different countries has its downsides and their plans for a demanding future.
And now we would like to take the opportunity to discuss the important release and the aims that MUVA has with ‘Sin Un Adiós.’ It is about music and emotions, as well as about the common feelings experienced by everyone.
What inspired you to write “Sin Un Adiós”? Can you tell us about the story behind the song? The idea was to reflect this duality of feelings, where on the one hand, they tried to portray the deep sadness of losing someone so loved, and where the track quotes him with a passage of darkness and calm sadness, and on the other hand the rage and anger with which he claimed to fate, gives color to the part of the chorus, where as in the texts there are a thousand ideas that make the scene chaotic and aggressive.
In essence, I tried to musically portray the lines that at the time a little girl described in her personal blog, where after the hospital regulations, she was not allowed to approach her mother while her life was slipping away from her hands. Some of the lines that I remember now and that I read at the time shocked me very much said something like:
Why does the world keep turning? if for me life has stopped. There will no longer be a reason to serve two cups of coffee in the morning, because no one will drink one of them.
How cruel this fate and this damned wall, which will not allow me to kiss your hands to be able to say goodbye.
At that time she was a person relatively close to me, because her mother (of whom the song speaks) was working with me at the time.
The title “Sin Un Adiós” translates to “Without a Goodbye” in English. How does this theme play out in the lyrics and mood of the track? The idea was to reflect this duality of feelings, where on the one hand, they tried to portray the deep sadness of losing someone so loved, and where the track quotes him with a passage of darkness and calm sadness, and on the other hand the rage and anger with which he claimed to fate, gives color to the part of the chorus, where as in the texts there are a thousand ideas that make the scene chaotic and aggressive.
How would you describe the sound of “Sin Un Adiós” compared to your previous releases? Did you experiment with any new musical elements? MUVA in essence tries to walk on paths where there are no protocols, paths where we do not seek to belong to a commercial segment, but we pursue honesty and beauty, and where that freedom allows us to play with many styles that come in a little planned way to each of the tracks.
Therefore, at times there are tracks that seem to be closer to some styles, as in this case that rhythmically quotes a mid eastern atmosphere, but that does not mean that from now on the composition will lean towards some specific currents. The only thing that is a little different is that it is a little less electronic and a little more organic, compared to the last album.
Can you walk us through your creative process for this single? How did the song evolve from its initial concept to the final version? Usually, and unlike what many colleagues do, in the case of MUVA, the compositions come out from a fact, which awakens in me a feeling that I think is worth reflecting on and is usually accompanied by a melody or a poem, then I generate a central idea and a general mood, which I bring to the other musicians of MUVA to propose ideas and possibilities, and once we have that, we think of a musician to invite that we feel has the interpretive qualities of what we are looking for. In this case we have the collaboration of Milena Jeliazkova. But dealing with long distance productions is always a challenge because the lines of communication are slow, and it is never easy to concretize ideas, and even more so when the communication is not so immediate.
Are there any particular artists or genres that influenced the style of “Sin Un Adiós”? Not really, although the rhythmic base is selected is a bit Rai, the styles from which MUVA feeds its composition could be any. Let’s say that the only guideline and influence in the general composition is the search for no borders and no protocols.
The song is in Spanish. Do you feel that the language choice adds a specific emotion or cultural context to the track? The choice of language was more related to the search for a balance between the languages we usually use and to revalue the reach of Spanish (Mexican) in a more globalized environment. But yes, in this case, I wanted to quote the context and the cultural reality of today’s Mexico.
What was the most challenging aspect of creating “Sin Un Adiós”? On a technical level, of course the distance and the language. Because many times I tried to say something and it was interpreted in another way, and vice versa. And secondly, I wanted the proposal to respect the girl’s grief, but also to portray as faithfully as possible the feelings that came out of the event.
Is “Sin Un Adiós” part of an upcoming album or EP, or is it a standalone single? Yes, SIN UN ADIOS, is one of the singles that will be released prior to the release of a new album, which in this case will be with our new label Audiomaze, for 2025.
How do you think your fans will react to this new release? Does it signal a new direction for MUVA’s sound? So far the response in the media has been good with our public, but in Mexico it is a little difficult, because there is no scene that allows fusions with styles from around the world. But what we noticed on the other hand is that SIN UN ADIOS, has had a response from the Mexican public that lives outside of Mexico and where, like the girl in the blog, due to border issues, they don’t have the opportunity to be close to their loved ones when one of them passes away.
Are there any plans for a music video or live performances to promote “Sin Un Adiós”? We hope that we will be able to produce a video but not until 2025, and we will tour a little bit in Mexican stages during this 2024 and hopefully by 2025, we will be able to do some dates in Europe.
Looking back on the production of this single, is there a particular moment or achievement that stands out to you? In the case of MUVA, the fact of making a project survive where for the government we are almost outlawed, is already a great achievement.
What do you hope listeners will take away from “Sin Un Adiós”? Specifically with sin un adios, a reflection full of empathy for all those who by the vagaries of fate, often have no chance to say goodbye to a loved one at the time of leaving this plane. And in the case of MUVA, we would like to be able to reach the right ears, ears that are free to listen to honest proposals.
Harry Kappen releases Where the volcano is awake ,Harry Kappen with Where the volcano is awake ,Harry Kappen drops Where the volcano is awake ,Where the volcano is awake by Harry Kappen ,Where the volcano is awake from Harry Kappen ,Harry Kappen musical artist,Harry Kappen songs,Harry Kappen singer,Harry Kappen new single,Harry Kappen profile,Harry Kappen discography,Harry Kappen musical band,Harry Kappen videos,Harry Kappen music,Where the volcano is awake album by Harry Kappen ,Harry Kappen shares latest single Where the volcano is awake ,Harry Kappen unveils new music titled Where the volcano is awake ,Harry Kappen ,Where the volcano is awake ,Harry Kappen Where the volcano is awake ,Where the volcano is awake Harry Kappen
Have you ever come across a musician who can pretty much turn an acoustic guitar into a device that can reverse the course of time? Harry Kappen is one of those. This Dutch born Mexico enthusiastic is making noise in the industry with a sound that is both, nostalgic and puzzling.
However, in a song titled “Where the Volcano is Awake,” he does not just sell a catchy tune, but rather a narrative that cuts Hary’s journey from Dutch flowers to wild Mexican cuisine. Copped from his buzzworthy album “Time Will Tell,” this track resembles a burrito that has been lying in the fridge for a week, heavy with interesting details.
If anything, I picked some elements of Beatles, Queen and Bowie, your ears do not betray you, you have heard it right. But forget about thinking that they are mere clones. It seems that he has assimilated these influences, smashed those into a blender with the genie’s bone and chipped out a new direction.
This song is filled with different emotions and it is almost like watching an erratic movie, on some days when you feel all emotional, the next day you are all set to get up and do a salsa on the top of a volcano.
That volcano in the title? It’s not just a pretty image. It’s Harry’s way of saying “buckle up, life’s about to get interesting.” And interesting it is – this guy’s previous tracks have racked up over half a million Spotify hits. Not too shabby.
So, ready for a musical adventure? Harry’s inviting you along for the ride, and trust me, you’ll want to sing along. Stick around as we chat with the man himself about what sparked this volcanic tune, how he works his magic in the studio, and what’s on the horizon for this globe-trotting troubadour.
Are there any lyrical passages in the song that hold special meaning for you? HK: The song ends with “Let it go, let it go” which is a lot of fun to sing. It emphasizes the feeling of a new beginning (without forgetting where you come from, of course)
What was the most challenging aspect of creating “Where the volcano is awake”? HK: I liked the process of creating the entire album ‘Time will tell’, all twelve songs were created in a smooth way. Without special challenges. And I took the time to record it. Some songs took a little longer, but ‘Where the volcano’ came relatively quickly.
Did you collaborate with anyone on this single? HK: No. My last two albums; ‘Escape’ and ‘Time will tell’ I was alone in the whole process. Writing, playing, producing, etc. That’s how I like it.
How do you think your fans will respond to this new release? Does it signal any new directions in your music? HK: My music is very eclectic in nature, so it can go in many directions.
I don’t have any fans in mind when I record a song. I write for myself about my experiences, thoughts etc etc, and I hope others can relate to that. I get very positive reactions on TikTok, Spotify, Facebook and Instagram, so I think it will be fine.
Are there plans for a music video to accompany the single? HK: I made a lyric video for the song: And it will be that way for a while.
Looking ahead, what’s next for Harry Kappen after this single? HK: I’m already busy writing and recording the new album. I don’t know yet when it will be released, I suspect very early in the new year.
For developments and news there is my website: www.harrykappen.com.
Rick Lee Vinson Group: Healing Through Music with 'Normal'
The Rick Lee Vinson Group, based in Las Vegas, is making waves with their distinctive blend of Americana, folk rock, and modern country. Led by Rick Lee Vinson, the band includes Michael on vocals, Jonah on guitars, and Chris on keyboards. Since their formation in 2022, they’ve collaborated on over 80 songs, forging a strong musical connection.
Their latest single, “Normal,” released on September 18, 2024, showcases the band’s talent for turning personal experiences into universally resonant music. The song draws inspiration from Rick’s brother, Larry Levinsohn, and his battle with Covid-19. Co-written by the siblings, “Normal” explores the struggle to regain a sense of normalcy – a theme that strikes a chord with many in the aftermath of the pandemic.
With its poignant lyrics and moving melody, “Normal” delves into the desire for health and stability, touching on themes of illness, sobriety, and resilience. The Rick Lee Vinson Group continues to captivate audiences with their emotive storytelling and authentic approach to songwriting.
In this exclusive interview, we sit down with the band to uncover the story behind “Normal,” discuss their creative process, and explore what normalcy means to them in today’s world.
How did the Rick Lee Vinson Group originally come together, and how has your journey as a band evolved over the years?
We met in 2022 and have recorded over 80 songs together.
“Normal” is an intriguing title. Can you tell us the story behind the song and what inspired its creation?
The song was inspired by Lar Lee Vinson, brother of Rick Lee Vinson and his bout with Covid-19.
The concept of “normal” can mean different things to different people. What does the idea of normalcy mean to you and the band in the context of this song?
It means being healthy and not dealing with illness. But it’s also about sobriety and not descending into as Lar puts it into Dante’s seventh ring of hell.
It means being healthy and not dealing with illness.
How does “Normal” fit into the overall sound and direction of the Rick Lee Vinson Group? Is it a continuation of your previous work or a new sonic direction?
This one fits right in with our Americana meets folk rock meets modern country sound.
What was the creative process like for “Normal”? Did everyone in the band contribute to the songwriting or arrangement?
This songs lyrics came from Lar Lee Vinson, but the music as in all of the Rick Lee Vinson Group songs were composed by Rick Lee Vinson. About 2/3 of all Rick Lee Vinson Group songs are written produced by Rick Lee Vinson.
Are there any specific themes or messages you hope your listeners will take away from “Normal”?
I think the message is pretty much on the surface of the lyrics.
How do you balance individual creativity with the collaborative nature of being in a band?
Since the driving force of this unit is Rick Lee Vinson, every song has the Rick Lee current direction, however that being said, every member of the group has the creative freedom to bring ideas to every song for consideration.
Was there a particular moment or experience that inspired the lyrics of “Normal,” or is it more of a general reflection on society or personal experiences?
Lar Lee’s battle with COVID is the center of this songs world
How would you describe the chemistry within the band, both on stage and in the studio?
Family all the way, driven by the creative genius of Rick Lee Vinson.
Are there any plans for a music video or other visual content to accompany the release of “Normal”?
Curtis Millen: Revving Up the Funk with 'Driver’s Seat'
For Curtis Millen, music is not simply performing on a stage, listening to a recorded studio session, or applauding when the lights go out; it is an exhilarating adventure packed with rhythm, energy, and soul that every listener finds themselves immersed in. Born in Belfast, Ireland, Curtis has spent the past couple of years making a name for himself within the European funk and jazz scene and has now relocated to Rotterdam.
Drawing upon inspiration from artists such as Prince, Stevie Wonder, and Tom Jones active in different eras, Curtis has blended these influences and come up with a contemporary soul and funk style that is characteristic of him and his fans who appreciate that sound.
Now, Curtis Millen is ready to share the stage along with the release of his debut single “Driver’s Seat”. This one, however, is an assertive, dynamic, and funky pop extravaganza created with the help of an award winning guitarist Niels Onstenk. A traditional rhythm established by icons such as James Brown is successfully synthesized with Vulfpeck type of sound present in this single. “Driver’s Seat” serves as a canvas for Curtis’ showmanship and raw talent at its best.
In this candid interview Curtis speaks about the ups and downs of making ‘Driver’s Seat’, his inspirations and how the tune encapsulates his personality on stage. Curtis details the making of this song explaining why it is the first of many interesting achievements in his growing career in music – from thinking about what the song would be like or what are it’s lyrics.
Congratulations on the release of “Driver’s Seat”! Can you tell us what inspired this song and its concept? The inspiration for this song came from a burning desire to create a funk song that encapsulates the high energy style of song that are often seen in my performances. We listened to a lot of Old Skool Funk in James Brown, Stevie Wonder, Chuck Brown and then took a trip into the New Skool Funk game to check out some Vulfpeck and Cory Henry to see how we could find a blend of the two.
What was the songwriting process like for “Driver’s Seat”? Did the lyrics or the melody come first? After listening to condensed list of treasured songs I was sitting in the studio with my neighbour, Gianni Noten, an expert ion all things funky when out of nowhere, Niels Onstenk, the song’s producer came bolting out of the shower still soaked with his towel round him to grab his phone from the studio desk and record a voice note of the idea for the song that just came to him in his shower time epiphany. For context we have a studio in the living room of our apartment.
The title “Driver’s Seat” suggests themes of control and direction—how does this relate to your personal experiences or the message of the song? Well, it’s all about taking control in the bedroom and having your romantic partner reassured that they’re in for a good time if you just let me do my thing!
Can you walk us through the production process? Who did you collaborate with to bring this single to life? This project was solely a collaboration between Niels Onstenk aka Niké Laos and myself. Occasionally tapping on the shoulders of close friends regarding the mix or the feel and contacting people like artist and DJ Winnie Ama for advice on the vocal performance.
Are there any specific sounds, instruments, or influences that helped shape the mood and energy of “Driver’s Seat”? The bridge really made it for me! I left the studio to go the the gym with the song only having tis chorus and prechorus at that stage. When I came back Niels played the bridge to me and I lost my mind and the hook came to me in aninstant,”Don’t mind the time, Just Enjoy the Ride!”
How does “Driver’s Seat” fit into the overall story or theme of your music career so far? Does it represent a shift in direction or sound for you? A huge shift for me personally as it captures how I feel I sound in a live setting when I’m my peak during a funk performance. It’s the song to pave a way forward for my sound as an energetic funk and soul singer.
The vocal delivery in “Driver’s Seat” is powerful—how did you approach capturing the right emotion and energy in the studio? It took a lot of work. Initially the song was in Bb before Niels played it in a friends car and decided it needed to be higher for bigger energy so he transposed it to D and brought the vocals along up with it. Tried it a few times but the pre-chorus was tricky in the new key so I took it to two different vocal coaches, Meg Davis and Jimmy Adelina to work on belting with a fuller sound and in a way that’s safe for the vocal cords.
The day we did the final vocal take I Had it in my head that I needed to get this nailed. I needed to have it the way I hear it in my head and I didn’t leave the mic alone until I did. Not until I had myself convinced of what I was saying and how I was saying it.
Is there a particular lyric or moment in the song that holds special significance to you? There’s a special part in the middle of the song where I sing along with the horn line but it’s masked with a phaser effect on the vocals but when we listened to that back dry in the studio I fell to the floor laughing at the sound of it. That and the car horn in the middle of that part catch me off guard when I hear it back on big speakers.
There’s a special part in the middle of the song where I sing along with the horn line but it’s masked with a phaser effect on the vocals but when
What was the most challenging aspect of creating this single, and how did you overcome it? Settling on the mix and the vocal performance. After hammering down the vocal performance it took a lot of back on forth on deciding which sound would be the one that would be released. So after driving around Rotterdam listening to it back and comparing it to the likes of Vulfpeck and PJ Morton we found where to take the sound to and settled on the direction forward,.
How have your fans responded to “Driver’s Seat” so far? Has there been any feedback that really stood out to you? The best feedback so far has been that it sounds like its been taken directly out of the 70s and for me that’s what I envisioned when performing it
What message or feeling do you hope listeners walk away with after hearing “Driver’s Seat”? Confidence in being the one who can take the lead. It has an uplifting energy and a lot of testosterone and that’s something to be shared.
How do you balance the storytelling elements with the musical elements when writing a song like “Driver’s Seat”? In a similar approach as from one of my biggest inspirations, Michael Jackson, get your point across and make your voice clear and percussive so that it blends in nicely with the music
Who or what are some of your biggest influences in music, and did any of them shape the sound of this single? Prince, Tom Jones, James Brown, Vulfpeck, Michael Jackson, Charlie Wilson/The GAP Band, Stevie Wonder and Cory Henry. I can honestly say all of them shaped the sound of this single both musically and vocally
Looking ahead, do you have any other projects or releases on the horizon that you’re excited about? After this one we’re releasing a foot-stomping funk song, ‘Break Out the Cutters’ which is coming out in October. Release date currently TBC.
How does “Driver’s Seat” fit into the broader vision of your artistic journey? It’s the first step in a narrative where I am truly myself. It’s the beginning of a musical journey that starts with me being able to say I’m at peace with myself and this is now visible in my self-expression
If you had to sum up “Driver’s Seat” in one sentence, how would you describe it? High-octane funk about taking your lover by the hand and taking them for the ride of their life!
Clyde's "The London Sessions": A Sonic Journey Through Life's Uncertainties
If Dante had lived in Kentucky and swapped his quill for a Telecaster, “The London Sessions” might have been his “Inferno.” Clyde’s latest EP doesn’t just flirt with themes of life’s messy transitions—it invites them to dinner, burns the roast, and then spends the rest of the evening discussing the futility of trying. Frontman Terry Miller, whose raspy, vulnerable voice plays both sinner and saint, leads his bandmates through the stuff of late-night, existential dread—only with more distortion pedals.
“The Traveller” begins like a road-weary sermon, its jangly guitars and modest beat subtly masking the gravity of life’s inevitable encounter with the void. This isn’t some cheerful “we’re-all-in-this-together” road trip. Nope. This is the lonely midnight highway, where the wheels are spinning and you’re not quite sure if you’ll ever get where you need to be. But that’s the point, right? It’s the journey, the conflict between knowing and never knowing.
Then there’s “The Writer.” Where “The Traveller” looks outward into the foggy future, “The Writer” takes us inward, dragging us into the twisted brain of the fool who can’t escape his own mind. It’s both beautiful and excruciating. Miller’s lyrics dance between reality and performance like a David Lynch character stuck between worlds, dodging the “blinding light” while empires crumble. The tension never fully resolves—how could it? That’s not how life works.
Clyde’s “The London Sessions”: A Sonic Journey Through Life’s Uncertainties
In “The Pilot,” the band ties spiritual searching and the wreckage of love to a melody that feels rugged yet radiant. The chorus sprawls out like an open horizon, yet the further you fly, the more you’re circling a void of unanswered questions. Airplanes crash, hearts break, and there’s no easy lesson at the end.
Finally, “The Poser” freezes you in place, a song for anyone who’s ever been paralyzed by the weight of others’ expectations. It’s not just about indecision—it’s about the terrifying possibility that either choice could be wrong.
Clyde isn’t offering salvation with “The London Sessions”. They’re just holding a cracked mirror up to life, and maybe that’s all we can ask for.
fxrrvst's "Hate Has No Home Here": A Sonic Battle Cry Against Injustice
Did you ever read about those ancient maps with incomprehensible scribbles in the margins—”here be dragons”? Listening to fxrrvst’s latest single, “Hate Has No Home Here,” feels a little like sailing off the edge of one of those maps. But instead of dragons, it’s an anthem that rises up like a megaphone made of stardust and raw nerve.
Holly and Matt, this firecracker duo, don’t come at you with the soft hands of indie politeness. They’ve got the heavy artillery of unity, compassion, and one hell of a grudge against hate. Palm-muted guitars churn like a slow-rolling freight train, but there’s a sparkle in the layers too, as if melody always has the last word—even after you’ve been knocked sideways by the gritty overdrive.
It’s not an easy balance, the way tension keeps finding itself dissolved in soaring choruses. But they pull it off with some kind of mysterious grace. Maybe Holly’s voice is to blame for that; it’s got both edge and ache—two things that probably shouldn’t mix but do, kind of like ice cubes in a campfire.
fxrrvst’s “Hate Has No Home Here”: A Sonic Battle Cry Against Injustice
And it’s not subtle. Not like those songs where the “message” hides in a metaphor behind a pillow. This one tears the pillow open. Solidarity is the air it breathes. Can you feel the urgency? Holly and Matt seem to be holding the door wide open for all of us, and everyone else still stuck outside in a whirlwind of hate.
If Picasso had a punk streak, I imagine he’d paint this song: loud, unapologetic, vividly angular. You might walk away from “Hate Has No Home Here” thinking less about the music and more about what you’re doing with your own nerve.
Lounna’s 'Alpenglow': A Journey Through Loss, Love, and Poetic Imagery
Most of the music today either appeals to raw emotion or tells of a certain story; in this context, Lounna is exceptional as she incorporates the two elements with great skill. The singer-songwriter based in Pittsburg has managed to capture attention by perfectly mixing soft-rock and indie-folk while also engaging in the themes of love, loss, and hope with finesse.
For the most recent release “Alpenglow” of Lounna, her ability to make art out of what life throws at one’s way is evident. The female artist created a song that is named after the warm rosy glow one sees at the peaks of mountains just after sunset or before sunrise. It is also about the feeling of anticipation that starkly contrasts with the beauty and reality in the center of a great moment that everything has been leading up to.
Most of Lounna’s art is based on her life and personal experience, for example, the recent period of the struggle against cancer of her husband. She still acts as a motivational person though; in other words, she practices what she calls, “staying soft in a hard world.” as the hardships around her are still surmountable.
In the interview, Lounna spoke about the ideas that inspired the track “Alpenglow”, also the process of production in which she experimented, and the narrative element in her music. Before her next album “Garden For Winter,” Lounna hints at the emotional experience that the listeners should expect.
“Alpenglow is a poetry that lays bare the deepest feelings that one encounters which comes with the fear of loosing a loved one. Banjo infused music and a touch of rock makes it magical.”
Alpenglow means the reddish glow that you see when the sun sets or rises in the summits of the mountains and that is exactly how the song will make you feel. Lounna is dealing with a harsh situation in life where in her husband has been diagnosed with cancer and in this song she tells us about how the fear of loosing a loved one creeps in and ruins one’s mental health. The soft-rock vibe soothes the soul and creates a very melancholic yet comforting vibe. The banjo work in the song stood out for me and sounds extremely good.
“Alpenglow” has such a unique atmosphere. What was the inspiration behind this track, and how did the idea for it come about? I’m someone who is fascinated by words. A few years ago, I discovered the word “alpenglow”. Sometimes when I write songs or when I am looking for inspiration for them, a simple word or phrase gets stuck in my mind and then I usually end up writing a song around the concept. That’s how it was for ‘Alpenglow’.
The term *alpenglow* refers to a natural lighting effect on mountains at sunrise or sunset. How does this imagery connect with the song’s themes or emotions? ANSWER It was actually the definition of “alpenglow” that fascinated me the most. I have a very imaginative mind, and I pictured this beautiful scene of standing atop a mountain at sunrise/sunset. I am always in awe of the beauty of life, of the sun, and of the nature of things, and to me the definition of “alpenglow” alone was inspiring. The themes in this song are quite beautiful yet bittersweet, and I wanted the imagery to properly embrace the story I wanted to tell.
The themes in this song are quite beautiful yet bittersweet, and I wanted the imagery to properly embrace the story I wanted to tell.
Did you experiment with any new sounds or production techniques on *“Alpenglow”* that you haven’t used before? The production of “Alpenglow” was actually very experimental for me. It was the first song that I really sat down with an electric guitar and found a way to incorporate it into my sound. I wrote this song years ago and perhaps didn’t have a real genre for it at the time, and so when it came time to produce it fully, it took shape somewhere between indie rock and my traditional folksy sound. I wanted it to stay relatively true to Lounna with the soft vocals and banjo, but also to be a breath of fresh air. At the time that we produced this, it was my heaviest produced song. (We have continued in this direction since.)
The lyrics in *“Alpenglow”* feel deeply personal. Can you share more about the story or message you’re conveying through the song? “Alpenglow” is a story song about losing someone close to you and being unable to forget and heal from the loss. Even still, I wanted the lyrics to accurately represent the peacefulness of the mountaintop image that I was seeing in my mind, so the story was written in a dreamy, nostalgic rememberance of this lost love.
Being such a daydreamer also means that I am often left disappointed when things don’t go the way that I want. (At 28, I realize this happens quite often.) The bridge of the song, “I never went back home” is when the main character of the song proclaims that they don’t have the strength to grieve and to heal, that they are lost in the memories of better times.
In parallel, this part of the song is my personal aching to stay in my daydreams rather than face the hell that reality is sometimes. My husband recently underwent chemotherapy for lymphoma, and it is easy to want to flee from the responsibilities of life when everything seems to be going wrong.
There’s an ethereal quality to your voice in this track. How do you use your vocal delivery to enhance the song’s emotional impact? Thank you for the compliment! This was one of the first moments where I sat to track the vocals in a fully relaxed, soft way. I wanted to tell the story gently, almost like a whisper on the wind. Because that’s what the story is – an ethereal, hazy moment in time that could be taken away by the breeze at any second.
Were there any challenges in translating the emotions you felt while creating the song into the final version we hear today? The biggest challenge with the creation of “Alpenglow” was getting the vocals and the mix of genres just right. I suppose it’s a little ironic how this is one of Lounna’s heaviest songs but it about such a fragile, beautiful memory. I can only hope that it does portray the emotions in a justifying way.
What do you hope listeners will take away from *“Alpenglow”*? Is there a certain feeling or thought you aim to leave them with?
I want listeners to hear this song and feel a nostalgic warmth from it. I think that just about every human being on the planet knows how it feels to be loved by someone that they lost unexpectedly, whether by death or choice on the others’ part. It’s important that we all be gentle with eachother because you just might be surprised how much we all share our human experiences with each other.
Does *“Alpenglow”* have any accompanying visuals or music video planned? If so, how do you envision the visual representation of the song? There are no music videos for “Alpenglow”, but that is because I saved all of my creativity and budget for the next single… which leads to your next question.
Can we expect *“Alpenglow”* to be part of a larger project, like an EP or album, or is it a standalone single? “Alpenglow” is the first official single ahead of my sophomore record. The new record is titled “Garden For Winter” and will be released on January 31st, 2025. I have a small string of singles releasing between now and then, the next being “Under the Same Stars” ft. Reliable Child, which will be out (with a music video!) on October 18th.
What’s next for you creatively? Are there any upcoming projects or collaborations you’re excited about following *“Alpenglow”*? The next year or so will be dedicated to celebrating and promoting “Garden For Winter”. The record was intended to be released in spring of this year (2024) but needed to be postponed when my husband was diagnosed with his lymphoma.
Given everything, I have a lot of pent up energy and excitement for this record. The entire record is quite collaborative, especially compared to my debut (When I’m Home). There are two featured artists, one mentioned above, Reliable Child, for the next single release. It was a fun experience to write and record with other artists.
The album features a few guest musicians as well, and the full project was recorded and produced alongside Daniel Blake, an engineer/producer local to southwestern Pennsylvania. Additionally, I am about a dozen songs deep on writing my third record, which I am aiming for a late 2026 release.
Love Beyond Chords: An Honest Reflection in 'Fleur Philosophale’
“Fleur Philosophale” is hot and new from https://saurme.com/ while dealing with the age-old concept of unfulfilled love. It becomes more reflection, rather than heartache. The song has been written in a deeply personal manner, and its free structure and meaningful lyrics draw hopeless romantics into the intrigues of love.
Comes in four versions two instrumentals and two new added vocal versions Saurme has truly outdone himself, the song depicts the emotions of a passion bearer residing in another emotional plane. Accepting the fact, that, the person cannot love you back, the words cherish love as an internal, personal experience. The idea is simple but is not very easy to grasp: no one has to love you back for you to love them.
“Fleur Philosophale” is not your regular music in any aspect. The melody is the king supported by fretless guitar and cajon percussion with sweeping harmonies. The singing style, which is closer to the Byzantine style prayer, makes it even more different from pop music, and how Saurme is able to pull this off is a wonder.
Its format might be considered more a sonic guideline for the listener than an actual song. It is heavily lo-fi, and therefore, emotional rather than pretty – the messages come out without a lot of corralling.
Its format might be considered more a sonic guideline for the listener than an actual song.
Each version has something special to offer. French and English vocals dynamic the meaning in their respective cultures while the instrument voiceless the audience on the musical cue and rhythm only.
Drawing from a wide range of influences—from Eastern and Western music to religious chants and modern genres—”Fleur Philosophale” retains a simplicity that makes it accessible. It’s a reminder that love, even when unreturned, can be a beautiful, life-affirming experience.
For those seeking music that challenges expectations and provokes reflection on love and emotion, “Fleur Philosophale” is a must-listen.
Dance Through the Chaos with The Rhythm Junctions’ Groovy New Anthem
The Rhythm Junctions their latest creation – the new single “You’ve Got To Move N’ Groove” – do not disappoint with a fusion of funk and the modern pop. Javiere Inniss and Jonesy B must have brewed a perfect track that starts on high note that will not look for a second verse.
Taking its cues from old school disco and reggae icons Bob Marley, the track has that well-aged flavour yet doesn’t sound dated. Yet, recorded in their home studio, “You’ve Got to Move N’ Groove” is a great reminder of the working people’s ability to stay strong, to fight together no matter what.
Yet, recorded in their home studio, “You’ve Got to Move N’ Groove” is a great reminder of the working people’s ability to stay strong, to fight together no matter what.
What a the lyrics also do remarkably well is transition between genres. There are fat driving bassline and layered vocals which make this track sound classic but still relevant. It’s mastered well so that you could easily add it into current playlists(Not to mention, everything is very funky and nostalgic about it).
More than just a song, with upbeat hooks and easy, peppy lyrics, “You’ve Got To Move N’ Groove” is an offer to join anddance yourself happy. For a boost, or for shaking your booty, there is something beautiful that been crafted here by The Rhythm Junctions.
The Harbours' "Locked In": A Sonic Exploration of Emotional Struggles
The instant nostalgia of “Locked In” by The Harbours feels a bit like fish trying to decipher the sky. This duo from Leicestershire—Ollie Drakard and Will Massarella-Tyler—aren’t presenting a new idea; they’re dissecting one, over and over. What is emotional struggle, after all, but the world’s most repetitive plot twist? Yet they wrinkle it, fold it, give it new edges—like listening to your own heartbreak through a megaphone.
The guitars and rhythm don’t smugly proclaim anything. They drive on, like a well-lit road you almost want to deviate from. It’s an elastic tension—taut but singable. There’s a familiar cadence, but at the same time, it feels like shaking hands with a memory you aren’t sure is yours.
Lyrically, this single spills paradox everywhere—mostly about the push and pull between holding on and letting go. “Look in my eyes, tell me I’m dreaming”—that line is the crux of a person who stands at the precipice but stares backward towards a door that’s stubbornly ajar. Ever tried to throw away a boomerang you really, really don’t want back? That’s “Locked In”.
The Harbours’ “Locked In”: A Sonic Exploration of Emotional Struggles
They ache over time’s cruel forward march while simultaneously anchoring themselves in the muck of the past. It’s like The Harbours are hinting they fully understand freedom, but would rather we swim in chains a little longer—how comforting, right?
I wonder if Ollie and Will know they’ve brewed a song that walks the same hallways as those art-house flicks with dim lighting and lingering camera shots. Just as you think “Locked In” releases you with its call for freedom, it loops you right back. You’re caught.
And maybe that’s the point. What if breaking free is less about cutting ties and more about learning to live with the knots?
Poppy Roscoe's "Vacation Forever": An Indie Rock Escape Plan
Technically speaking, “Vacation Forever” by Poppy Roscoe is an existential question wrapped in an indie rock blanket, dipped in folk warmth, and sprinkled with just enough psychedelic seasoning to make you think about whether hummingbirds ever get tired of flying. But let’s not get caught in the feathers.
The four-piece from Los Angeles is dealing with bigger beasts than exhausted birds here. Izzy Fortune leads the charge with his lyrical curiosity, poking at the absurdity of wanting to flee while knowing deep down there’s nowhere to run. How do you “vacation forever” from life when life is the vacation? Cue Adam Pena’s guitar, which feels more like a beckoning force—there’s something both eerie and comforting about it, as if it’s telling you to jump into the unknown… but only after finishing your laundry.
Poppy Roscoe’s “Vacation Forever”: An Indie Rock Escape Plan
And let’s not overlook the foundation. Jacob Smith may be on drums, but it feels like he’s drumming on your conscience—a steady pulse reminding you that escape comes only in short bursts. Meanwhile, newcomer Dahlia Grizzard slips in seamlessly, accentuating the track’s floaty undertones. Max Meeder’s guitars flirt with the idea of dissolution but never quite let go, making sure we stay tethered—just enough reality to stop us from drifting off into oblivion but plenty of space to breathe.
The real punch here? Desire is a funny thing. Poppy Roscoe knows it’s laughable, tragic even. Everyone’s craving escape, a ‘forever vacation,’ but as the layers of the track reveal, the real horror is finding that the thing we want to escape from is the thing we built: “civilized society.”
Listening to “Vacation Forever” is like looking at a postcard from nowhere.
Zarooni's Latest Single "GOT ME": A Heartfelt Exploration of Identity and Love
A camel once bit my uncle’s toe in Dubai. I think about that sometimes when listening to “GOT ME,” the newest offering from Zarooni. What does that have to do with the song? Absolutely nothing. But as we meander through Zarooni’s world, where the ancient twists effortlessly into the modern, something about the unpredictable—that tension between past and present—keeps resurfacing. That same tension is what I find so compelling in this single.
There’s a sweet discordance here. Zarooni’s voice, like warm honey over something jagged, pulls us into emotional landscapes where love sneaks up on you like a memory when you’re not paying attention. As subtle percussion sways alongside pop chords, you can almost feel the gravel of a desert underfoot, and yet, somehow, you’re midair in the frenetic pulse of a pop anthem. The fusion: it fits, even when it shouldn’t.
The themes of self-discovery and those dizzying inner battles with demons unfold without overdressing themselves in layers of metaphor. Zarooni’s approach is poetic, sure, but refreshingly direct. There’s a perennial sadness here—the kind that’s deeply human. His voice carries the weight of heartbreak, yet with an undertone of hope, like the perpetual gleam of sunlight breaking across the Arabian Gulf.
Zarooni’s Latest Single “GOT ME”: A Heartfelt Exploration of Identity and Love
Culturally, there’s something bigger at play here. As he bridges his Emirati roots with British sensibilities, the track also whispers about unity and the intricate dance of cultural preservation vs. the lure of transformation. It’s subtle, yet unmistakable.
While “GOT ME” levels up in sonic complexity, it feels grounded, too—like trying to understand your own reflection in rippling water. How many hearts can hold opposing truths simultaneously? Maybe Zarooni’s can, and through this, he makes us believe we might be able to.
I’m left wondering: What happens when a small piece of sand is caught in the wind? Perhaps it’s the beginning of more than we know.
Mike Goodspeed's "Family Truckster": A Nostalgic Road Trip Through Sound
Some musical journeys are fueled by endless ambition, others by metaphysical exploration—but if Mike Goodspeed’s “Family Truckster” had an engine, it would run on pure, unfiltered nostalgia. Not the quaint, sepia-toned kind, but nostalgia with muddy boots, stuck behind the wheel of a station wagon that smells faintly of old sandwiches and long-forgotten road maps. The kind that rattles along, broken air conditioner and all, but somehow still gets you there—wherever “there” is.
Goodspeed, Massachusetts’ own low-end philosopher, anchors “Family Truckster” in a swirl of rock and Americana with just enough jazz fusion to keep you off balance. And perhaps that’s the point. Life, like Goodspeed’s basslines, is never predictable.
The album wastes no time in calling in the cavalry. Kevin Stahl’s dry-snare drumming is like the disciplined heartbeat of a veteran road-tripper, contrasting with Ever Onward’s looser, rolling percussive flares that feel more like spontaneous exits off the highway. John DiStase and Mike Valeras share the passenger seat, their guitars trading witty banter—sometimes mimicking an old married couple, sometimes competing like brothers whose parents refuse to pull the car over.
Mike Goodspeed’s “Family Truckster”: A Nostalgic Road Trip Through Sound
But it’s the unspoken, the undercurrent, where “Family Truckster” sneaks up on you. This album isn’t really about a car. Or a road trip. It’s about the stubborn persistence of memory. The weighty expectations we haul around in the proverbial backseat, and the awkward but beautiful moments of learning to let go just enough—just enough to make room for the new. Each song is a snapshot from Goodspeed’s inner scrapbook, a reminder that family isn’t the starting place or the destination, but the rickety vehicle we ride in between.
And somewhere between here and there—release, growth, and perhaps even peace—just might be found tailing that beat-up, sentimental station wagon.
