Trigmatic & Epic Minds Release ‘Ghana Yoo’: A Cross-cultural Symphony For Ghana & South Africa Paying Homage To Ebo Taylor
The much-anticipated single ‘Ghana Yoo’ has officially been released, showcasing the unique collaboration between some of the finest talents from Ghana and South Africa. This vibrant track brings together the seasoned artistry of Ghanaian musicians Trigmatic and the legendary Ebo Taylor, alongside South African talents S’Villa and Epic Minds, creating a musical fusion that transcends borders. Listen here
‘Ghana Yoo’ celebrates the rich intercultural music relationship between Ghana and South Africa, blending the iconic Ghanaian Highlife sound with South African vocal melodies. The track is elevated by a smooth Afro House to Amapiano beat, creating an infectious rhythm that is both nostalgic and contemporary.
The single masterfully samples ‘Atwer Abroba,’ a track from the legendary Ebo Taylor’s 1978 album “Twer Nyame,” originally released on Philips-West African Records. This homage to Ebo Taylor–a pillar of Ghanaian Highlife–honors his enduring influence while introducing fresh, modern elements that resonate with today’s audiences. The use of this sample underscores the longevity and essence of Highlife music, bridging the past and present in a dynamic and culturally rich composition.
For Trigmatic, ‘Ghana Yoo’ marks another milestone in his ongoing collaborations with South African artists, having previously worked with notable names like Ralph Gum, Azana and Mthunzi. This single is a testament to his commitment to bridging musical cultures and creating a sound that is authentically African yet globally appealing.
Epic Minds, known for their pan-African approach to music, also continue their tradition of cross-border collaborations with this release. Following their previous successful partnership with Trigmatic on the track ‘Fire’ from the “Black & Gold” EP, ‘Ghana Yoo’ further solidifies their position as key players in the African music scene.
‘Ghana Yoo’ is now available on all major music platforms, inviting listeners to experience the powerful synergy that can only come from a meeting of creative minds across different cultures. This track is more than just a song; it is a celebration of unity, creativity, and the boundless possibilities of music beyond borders.
Young Rob Out With Vibrant Visuals For ‘Show Me’ Featuring CocoDrops
Ghanaian London-based crooner Young Rob unleashes the visuals for his recent Hip-Hop hit with rising rapper CocoDrops, ‘Show Me.’ And director Joachim Lucious ensures it’s a visual feast.
Things unfold in a moody bar that erupts into a vibrant scene, conveying the essence of a magical night out. Viewers are treated to a brief stand-up comedy skit before things go nuclear. Young Rob quickly asserts himself as the man of the hour. His charm and honeyed lyrics take center stage, earning him a dance with the hottest girl in the room.
CocoDrops’ debut appearance, on the other hand, is as stunning as the rest of the Ghost Pictures Production. Her dramatic reveal and dynamic performance mirror the hype her verse ignited some months ago. Fans will be thrilled to see Young Rob and the Emerald Queen in their element, lighting up the scene with their charisma and party antics. ‘Show Me’ has been making waves since July, and the new video is poised to give it new life. The single was well-received, highlighting Young Rob’s knack for creating seasonal anthems while introducing fans to Belgian-Zambian rapper CocoDrops. Listen here
Don’t miss out on this explosive experience as the summer draws its final breath. Head to YouTube and get lost in the moment.
The Art of Contrast: V of Vossae's 'Vibra' Unveils a New Dimension
Victoria Vera, known professionally as V of Vossae, continues to demonstrate her mastery in blending light and shadow through her music with her latest single “Vibra.” Released on June 14th, 2024, as part of her EP “La Montaña En El Cielo,” this track stands out as a captivating piece that showcases Vera’s artistic vision and musical expertise.
“Vibra” immediately draws listeners into a meticulously crafted sonic world. The track opens with a chilling atmosphere, setting the stage for an emotional journey. Vera’s ethereal yet grounded vocals glide effortlessly over the haunting musical landscape, creating a dynamic interplay that keeps the listener engaged throughout.
One of the track’s most impressive features is its seamless transition from a haunting, atmospheric introduction to a more rhythmic, beat-driven section. This evolution highlights Vera’s skill in manipulating musical elements to maintain listener engagement. The rhythmic components strike a balance between calming and energizing, driving the track forward while preserving its initial intensity.
The rhythmic components strike a balance between calming and energizing, driving the track forward while preserving its initial intensity.
The Spanish lyrics add an authentic and personal layer to the track, inviting listeners into Vera’s world and creating a sense of intimacy. The poetic nature of the lyrics complements the rich musical arrangement, allowing “Vibra” to resonate on multiple levels.
Production-wise, “Vibra” excels. The meticulous mixing and mastering process is evident, with each element given space to shine while contributing to the overall cohesion of the track. The use of atmospheric production techniques enhances the song’s haunting qualities, creating an immersive soundscape.
“Vibra” stands as a powerful testament to Victoria Vera’s talent as a singer-songwriter and producer. It’s more than just a song; it’s an experience that lingers, solidifying V of Vossae’s unique voice in the alternative pop landscape.
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The music group ‘Bunch of Ace’ is consist of 15-year-old German twin sisters, Alandra and Alessja and they are gradually making their way to becoming a principle competitor in the music industry.
Their most recent release, the single “Apple Tree”, is surprisingly mature folk rock with blues, pop, and even country traces: befitting artists younger than they are. It is surprising to hear this kind of lyrics from thr yung champs, which touch on such topics as loss, childhood, and desire for personal liberation.
Their writing started at the age of 13 through songs and transition to performing on stage at the age of 14 which shows their early growth as musicians. With a focus on pop oriented rock and roll which was derived heavily from the outfitting sounds of the 70s and 80s, Bunch of Ace incorporates such styles accurately but adds a modern twist to the mix.
’Apple Tree’ discusses the ideas of home and time, accompanied by music that is beyond the concerns of political divisions. Both Alandra and Alessja are still active in creating this music and experimenting with new styles, but the growth from playing in basements to making music that can reach people with powerful messages is impressive. In the years to come, Bunch of Ace is undoubtedly one of the acts to watch as they develop the aesthetic of their music.
Our group’s name is ‘Bunch of Ace’ and we don’t use any artist names, it’s simply Alessja and Alandra.
Is there a story behind your stage name?
Our names both start with an “A” so the first idea was “Bunch of A’s”. But we thought that doesn’t sound very well, so we thought of “Bunch of Ace” which also refers to every band member being unique and a true ace up the sleeve.
Where do you find inspiration? Inspiration can be found anywhere, when walking through a city, having a party with friends, but also when you spend time outside in nature. It’s the thoughts and feelings you have then which you use in your songs later, maybe not even consciously.
What was the role of music in the early years of your life? We always loved to listen to music, and we started playing when we were about six or seven. This love grew even stronger, and now, with 15, we are really passionate in what we do.
Are you from a musical or artistic family? Our parents love music as well (guess we’ve inherited it), but they are not professional musicians. Anyway, they both support us as much as they can.
Our parents love music as well
Who inspired you to be a part of the music industry? We love to listen rock and pop music from the 20th century, especially of the 70’s and 80’s. That’s were most of our motivation comes from, simply listening what others did and try our best to be a part of it.
How did you learn to sing/write/to play? We started to learn our instruments in a music school, and we are still there. Meanwhile we also started to teach ourselves, we learn songs-that means we first listen, and then play. It’s also very helpful to watch live shows of other musicians, so that you observe what and how that musician plays.
What was the first concert that you ever went to and who did you see perform? That was a German musical for kids by Peter Maffay, called Tabaluga. It’s an adorable story of a little green dragon. We’ve seen Peter Maffay quite often live. Last year, we went to a Sting concert and this year in spring we went to Joe Bonamassa. Well, these are the famous artists, but we also like to go to local, small concerts, that’s always fun.
How could you describe your music? It’s diverse. Apple Tree is in the pop and country direction, but also has kind of a hip-hop beat. Our previous songs were completely different, for example “Where our heart goes” which is more modern rock and “Everyday” that is kind of soft pop. The next songs are going to be something else again, a bit into the blues and swing direction. We combine a lot of things and love to try out new styles, new combination of styles.
Describe your creative process. When being creative, one cannot set working times. You cannot force it, and when you have an idea in the middle of the night…let’s go! Often one of us has the first idea for a song, which the one shows to the other one then, and then the jamming starts.
What is your main inspiration? Our main inspiration is music. Music can make you happy, excited, sad, reflective, and so much more. It can make your heart beating faster, giving you that feeling that just music can give you, and we try hard to create that and to give it to everyone.
What musician do you admire most and why? Jimi Hendrix. Among others, of course, but anyway he had an incredible talent, he invented a new style and thinking, without being academical about it, without having a decent background. He was a decisive influence for music how we know it now.
Did your style evolve since the beginning of your career? We are 15 and increase our knowledge every day. The more we do that, the more we can put into the music, develop it.
Who do you see as your main competitor?
We have none. Music is something one should do together, not against each other. We respect our colleagues and look forward to working with them.
What are your interests outside of music? Alessja loves riding as well, she puts a lot of effort into it. We both dance, together with our friend, it’s always a lot of fun.
What is the biggest problem you have encountered in the journey of music? Sometimes you are not sure which decision is the right one, musically or with regard to managing, and then you have to weigh.
If you could change one thing in the music industry, what would it be? We think it should be more fair.
Why did you choose this as the title of this project? The song is about our apple tree, so we called it “Apple Tree”
What are your plans for the coming months? We are going to release at least 4 songs this year, but we got a lot of work to do.
Do you have any artistic collaboration plans For the next songs, we are going to work with a Latvian blues guitarist.
The Revolution Will Be Funky: House of Allegro's "Evolution"
The air is full of intoxicating fumes of revolution, as if a riot has erupted in a perfume factory. Right up in the thick of that rebellious aroma is House of Allegro, comprising DJ Alec B and vocalist Michelina, truly a powerhouse duo. Their new album, “Evolution,” is a 10-song electronic dance, house, and psychedelic hybrid built to blow your mind.
Alec B’s production is pure mastery in the manipulation of sound, turning what might otherwise have been humble sounds into golden waves of pulsating energy. Michelina’s vocal is the perfect complement-a kind of captivating lure that weaves in and out of the music like a strand of pure enchantment. They build a sound that is both explosive on the dance floor and captivating to the introspective ear.
The Revolution Will Be Funky: House of Allegro’s “Evolution”
But “Evolution” is something more than the compilation of high-energy tracks; it’s a manifesto, a battle cry-a vivid appeal for the liberation of the human spirit. It is meant to embrace chaos as beauty, to let oneself go into the unknown, and find liberation amidst turmoil. It’s as if the Velvet Underground’s “White Light/White Heat” collided with Daft Punk’s ecstatic futurism, sprinkled with a touch of cosmic stardust.
Well, with “Evolution,” I couldn’t help but think about the Dadaists-those original anarchists who attempted to rip apart convention with art. House of Allegro carries this same ethos onto their music: boisterous, noisy, and fascinating cacophony that will leave you winded and asking for more. Well, are you ready for revolution?
Love, Life, and Afrobeat: A Deep Dive into Wrash Heed’s Latest EP
Afrobeat artist Wrash Heed, who hails from Lagos, Nigeria and was born Rasheed Osanyinpeju continues to rise through the ranks of the Afrobeat scene with his new EP, “This Is It. ” It’s five tracks of addictive beats and socially relevant lyrics about love, life, and being oneself.
With tracks ranging from the lighthearted games of “Taken or Single” to the self-reflecting emotions of “Falling”, “This Is It” provides a satisfying mental workout that also conveys powerful feelings to translate into physical movements. The genius in this EP lies in the fact that Wrash Heed has once again managed to come up with songs that prompt both critical thinking and head nodding.
To add more depth to our discussion, we delve into issues that surrounded the creation of “This Is It” and the sources of inspiration that the band drew from while making the record. In this interview, Wrash Heed speaks about his personal development as an artist, the main message behind his art, and what he anticipates to achieve.
However, as we explore more about the making of “This Is It”, it could be deduced that Wrash Heed’s music was far from being mere entertainment. This one remains a spirited portrayal of life in its richness and its pleasures and an affirmation of the unifying force of rhythm.
Were there any challenges you faced during the production of “This is It”? How did you overcome them? The production of “This is it” was both a rewarding and challenging experience. One of the main challenges was finding the right balance between staying true to my roots and pushing the boundaries of my sound. I wanted each track to reflect my Nigerian heritage while also incorporating global influences.
It wasn’t easy to blend these elements seamlessly, but by working closely with my producer, El Buzzi, we were able to experiment with different sounds until we found the perfect mix. Another challenge was ensuring that the EP felt cohesive while still allowing each track to stand out on its own. This required a lot of fine-tuning, but in the end, I’m proud of how it all came together. The key to overcoming these challenges was patience, persistence, and a deep belief in the vision we had for this project.
Is there a particular track on the EP that you feel especially proud of or connected to? Why? While I’m proud of the entire EP, both “Showcase” and “Taken or Single” hold special places in my heart. “Showcase” is a track that really encapsulates the energy and spirit of This is it. The fusion of genres in “Showcase” reflects my artistic journey and the different influences that have shaped me. The lyrics are playful yet meaningful—they’re about expressing yourself fully and without reservation, which is something I strive to do in my life and music.
On the other hand, “Taken or Single” is a track that delves into the complexities of relationships. It’s about navigating the grey areas of love and commitment, which is something many people can relate to. The track has a more introspective vibe, and it allowed me to explore a different side of my artistry—one that’s more reflective and emotionally charged. Both tracks highlight different aspects of my journey, making them special in their own ways.
Did you collaborate with any other artists or producers on this project? If so, how did those collaborations influence the final product? Yes, I had the pleasure of working with some incredibly talented people on This is it. The entire EP was produced by El Buzzi, who really helped bring my vision to life. His ability to understand and translate my ideas into sound was phenomenal.
We had a very collaborative process where we bounced ideas off each other, and that synergy is evident in the final product. Each track feels like a perfect blend of our creative inputs. I didn’t feature any other artists on this EP because I wanted to keep the focus on my personal narrative, but El Buzz’s production was a crucial collaboration that shaped the entire project.
We had a very collaborative process where we bounced ideas off each other, and that synergy is evident in the final product
What do you hope listeners will take away from “This is It”? I hope that listeners will come away from This is it feeling inspired and connected. The EP is about self-expression, embracing who you are, and celebrating the journey that leads you to that realization. I want my music to resonate with people on a personal level, whether it’s through the beats, the lyrics, or the overall vibe.
I hope listeners can find something in the music that speaks to their own experiences and encourages them to be true to themselves. Ultimately, I want them to enjoy the music, feel the energy, and maybe even dance a little.
Are there any musical influences that played a significant role in shaping the sound of this EP? Definitely. I’ve always been influenced by a mix of genres—Afrobeats, R&B, dancehall, and Amapiano are all woven into the fabric of this EP. Artists like, Burna Boy, Wizkid, Rama and Omah Lay have had a profound impact on my approach to Afrobeats, while global sounds like dancehall and Amapiano have also played a significant role.
I’m constantly inspired by the way these genres can be blended together to create something new and exciting. The fusion of these influences is what gives This is It its unique sound and makes it a true representation of my musical identity.
How do you see “This is It” fitting into your broader artistic journey? This is it is a milestone in my artistic journey. It’s the culmination of years of growth, experimentation, and self-discovery. Every project I’ve worked on has led me to this point, where I feel like I’ve truly found my voice as an artist.
The EP represents a turning point where I’m more confident in my sound and my message. It’s a statement of who I am and where I’m going, and I see it as a foundation for future projects. As I continue to evolve, This is it will remain a key part of my journey, marking the moment when everything clicked for me artistically.
Looking ahead, what’s next for Wrash Heed after “This is It”? After This is it, I’m excited to keep pushing boundaries and exploring new sounds. I’m already working on new music, and I’m planning to collaborate with other artists to expand my creative horizons. There are also plans for live performances, where I can connect with my fans in a more direct and personal way.
I want to continue building on the momentum from this EP, reaching more listeners, and solidifying my place in the global music scene. The journey is far from over, and I’m looking forward to what’s next.
Another talented artist hailing from Granada, Spain, is Carlos Ucedda who has recently dropped a new single called “Isla Paraíso. ” Usually, Carlos actively experiments with indie pop, electronic and Latin motifs, and this song is not an exception.
Leaving behind the darkness in his previous releases, “Secret Relief,” “Isla Paraíso” reflects a more vivid color scheme. The single involves energetic piano patterns, celestial synthesize pads and Chacana’s lyrics in his native Spanish language to ensure a warm and serene tropical island feeling.
During the interview, Carlos opens up on his musical experiences and the forces that inform his work. In this interview, he reveals how he selected the instruments he uses and the music that has inspired him, including baroque classical, David Bowie, and Tina Turner.
While he stays true to the Spanish influence in his music composition, Carlos continues to experiment with different sounds and themes that identify him as an important artist in the indie pop genre.
Let’s follow step by step behind the scenes of this work and his debut album “Mystique” to better understand the vision of this up and coming artist.
Is there a story behind your stage name? I get into illusions like any other person or human being. A lot of work and illusion to enjoy.
Where do you find inspiration? I find inspiration in my lyrics that I write for any song I work on. And a lot, a lot of music listened to since I was very young. From there I find the atmosphere of my inspiration.
What was the role of music in the first years of your life? Singing everything I heard, and repeating all the radio spots and radios.
Are you from a musical or artistic family? No. Except for an uncle of my father, who loved to cheer up sometimes when we got together playing the guitar and singing Spanish folklore.
Who inspired you to be part of the music industry? Simply looking for (Light in the sound of Notes)
Ready to continue having fun sharing art.and, charm as much as possible.
How did you learn to sing/write/play? I started giving lessons thanks to my bosses when I was working in their business, they helped me get into music and helped me financially with the lessons.
I started giving lessons thanks to my bosses when I was working in their business,
What was the first concert you went to and who did you see perform? I couldn’t tell you exactly, since for a few years in my teens I used to style various music groups for stage…
How would you describe your music? Versatile
Describe your creative process. First I get inspired by the lyrics I write for any song I work on. Then I study the references I want and would like to convey for the entire recording process.
Who is your main inspiration? The senses
Which musician do you admire most and why? Farinelli, Jessye Norman, David Bowie, Grace Jones, Tina Turner
for their charisma, talents, ferocity and icons of all kinds 😉
Has your style evolved since the beginning of your career? I studied classical music, specifically Baroque and Sacred music. I still go to classes once a week. But just as I like to sing Baroque and Crossover music, I really like the diversity of styles and genres. I love versatility and I adapt my vocal register to different styles of music.
Who do you see as your main competitor? I don’t follow that path. As I have said, the most important thing for me is to enjoy and create versatility.
What are your interests outside of music? I am also a stylist.
If it weren’t a musical career, what would you be doing? I have had my own business for quite a few years.
What is the biggest problem you have encountered along the way in music? Not being able to dedicate as much time to it as I would have liked before. Now I am immersed in it and enjoying it very much.
If you could change one thing in the music industry, what would it be? Greater facilities for emerging musicians and singers, so that everyone can be heard without any barriers.
Why did you choose this title for this project? Well, the beginning of this project had another peculiarity. But I had been thinking of creating a song in my native language for a long time, since I usually sing in different languages in my creations. So, that’s where ISLA PARAISO came from.
What are your plans for the coming months? I just released my first album MYSTIQUE, the album contains 13 songs. It became public three days ago: mystique@carlosucedda.com.
I’m also currently creating a new song.
Do you have plans for artistic collaboration? Possibly very soon.
What message would you like to give your fans? I would simply like to thank all the people who are supporting me enormously, for their beautiful words of affection, encouragement, and for continuing to transmit musical work. Thank you from the bottom of my heart 🙏🏻🫶😌
Carrying Torches on Evolution, Inspiration, and the Indie Music Scene
Carrying Torches, a band originated from the suburban city of Chicago and the farmland fields, has been setting itself apart since 2016. Their music which fuses synth wave, Americana and heartland rock has attracted an ever expanding and quite a diverse audience.
One of their recent releases is the song “All For Nothing,” which shows the band’s talent for creating great, easily accessible songs that explore deep and intense emotions. In All That Remains, the following musicians form the band’s musical line-up: Justin Daniel, Jon Paul Gray, Misty Okroi, Taylor Smith, and Mike Bass The band reflects the stylistic and generational variety within their music and playing style.
It is an interview of Carrying Torches that focuses on the band’s journey, or in other words, the evolution of the band from its school days being only involved in bands to it being quite famous now in the Midwestern region.
We discuss about trends they took from other bands, such as Alkaline Trio and Blink 182, and how those have influenced their current sound while staying true to themselves. Whether they are avid followers of Carrying Torches’ music or just casual listeners, this conversation gives a deeper understanding of the love that fuels their musical journey.
This is your invitation to stay with us as we explore more of a band’s history that has remained prominent in defining the future of music in the Midwest and beyond.
In our beginning phase of writing songs, there was a song of ours entitled “Carrying Torches.” The song may have been about carrying a torch for someone, holding a love for all eternity. The lamplighter as a source of illumination is inspiring and carrying something is also a burden all must endure.
Where do you find inspiration?
Life, relationships and experiences can be a great source to draw from. Additionally, other bands and art inspire.
What was the role of music in the early years of your life?
Most of our members participated in the school band so a lot of fundamentals were impressed then. We would go on to have teenage bands and have found a way to keep going after all this time.
Most of our members participated in the school band so a lot of fundamentals were impressed then.
Are you from a musical or artistic family?
Justin, our singer, was largely formed by his grandfather but as for the other members, they find themselves as the musical one.
Who inspired you to be a part of the music industry?
Favorites among our band include Alkaline Trio, Blink 182, The Killers and Kings of Leon.
How did you learn to sing/write/to play?
Some of us cut our teeth in school band, but it is largely self taught or learned from peers or the internet.
What was the first concert that you ever went to and who did you see perform?
From Jon Paul Gray, drummer, it was Green Day and Blink 182.
How could you describe your music?
Electric heartland garage rock out of Chicagoland
Describe your creative process.
Justin, our singer, will come to the band with more or less the bones of a song and it’s on the rest of us to fill in the guts of the body.
What is your main inspiration?
Writing the best music we possibly can
What musician do you admire most and why?
From Jon Paul Gray, drummer, Travis Barker from Blink 182. His skills and resilience have wowed me since i was a young man.
Did your style evolve since the beginning of your career?
Yes, it takes any band real time to find their voice.
Who do you see as your main competitor? The mainstream music industry which easily finds millions of streams where the indie artist earns each stream the hard way.
If it wasn’t a music career, what would you be doing?
We all have day jobs- chef, caretaker, teacher, machinist and others..
What is the biggest problem you have encountered in the journey of music?
Discouragement from lost opportunities or feeling passed on.
If you could change one thing in the music industry, what would it be?
Better pay for streams
Why did you choose this as the title of this project?
It seemed a fitting name for a rock project
What are your plans for the coming months?
Writing, recording, multimedia, playing out
Do you have any artistic collaboration plans
Yes we play with many other bands and we collab with a film crew based in our area to make videos
What message would you like to give to your fans?
Thank you for being there we will do our best to keep delivering!
Jon Brændsgaard Toft's "Brick by Brick": A Cosmic Quilt of Sound
Jon Brændsgaard Toft’s “Brick By Brick” evokes the image of a dying star on some desolate planet. It is a record about the human condition of how relationships are as tenuous as a spider’s web glistened in the moonlight. It constantly shifts between progressive rock and acoustic folk through Toft’s mastery of the many instruments he plays, not unlike some sort of time-travelling seamstress sewing together a patchwork quilt.
As I delved into the album, I began thinking about the vulnerabilities of trust how painstakingly it’s built and how it can break down in an instant. The lyrical Toft involves this theme in such a complicated interplay supported by time signatures that were anything but simple, rhythms that bounce with the pulse of potential listeners. The addition of three-part harmonies creates a layer of complexity, like finding that hidden room in the ancient mansion.
Jon Brændsgaard Toft’s “Brick by Brick”: A Cosmic Quilt of Sound
What really sets “Brick By Brick” apart, though, is how it effortlessly marries the cosmic with the mundane. Toft’s songwriting flows like a familiar conversation, comfortable, and relatable yet it’s from time to time laced with deep insight. He crowds the fragility of the human heart into the vastness of space, never allowing one to forget just how connected everything is despite how small we each are.
Immediately, “Brick by Brick” made me think of the surrealist paintings of René Magritte: the way he would take something very ordinary and make it quite out of the ordinary. In very much the same way, Toft takes music and perception, updating the universe to reflect our fragile, fantastic humanness in a mirror.
The intoxicating smell of Benjamins wafts through the air, and Kache Monet’s “Racks” is the scent that has me entranced. This song has the bravado of a newly minted winner and not even a semblance of haughtiness. Like sipping a cold drink on a sweltering summer day, refreshing, rejuvenating, and leaves you thinking you can take over anything.
The wordplay in Kache Monet’s verse is as smooth as a great chef making an incredible gumbo served up with a side of unbelievable confidence. Tony Tig‘s verse adds a welcome dash of delight to the track, that perfect hint of cayenne pepper needed to make everything pop. Rather like old friends telling stories about hard work, it shows the beauty of collaboration.
Kache Monet’s ‘Racks’ is the Scent of Success
Besides the bravado, “Racks” is a human record of desire to be successful, to be financially free, and to find daily motivation. It’s a motivational speech in musical form-no cliché affirmations included. What Kache Monet has to say is rather simple: perseverance and determination might get you to where you want to be, but it’s the guts to take that leap of faith that’ll make you different. It’s a message of music, like the hum of a well-oiled machine.
Listening to “Racks” brings to mind the American dream: the story of the self-made millionaire-the Horatio Alger story that has been told again and again. But Kache Monet’s take on it’s different; it’s a mature look into the nuances of success-the battle between ambition and doubt. The track “Racks” is captivating because it is one of those empowering songs, even if the world seems to have its other plans.
Rhythms of the Earth: Michael Beck's "Tierra" Weaves a Tapestry of Unity
Allowing myself to be enveloped in “Tierra,” the latest offering by Michael Beck and Chandra Lacombe, the soft scent of bergamot wafts up, awakening a deep yearning to connect with the natural world this single so masterfully embodies.
The tapestry of emotions from Michael Beck’s soulful vocals weaves me into a place where the rhythms of the earth speak to the pulse of my heart, as the whispers of ancient secrets fall from Chandra Lacombe’s fingers onto the kalimba, and Txai Fernando murmurs sweet nothings to the wind on his flute. Moussa Diallo provides the heartbeat on bass, Uriel Seri the percussion heartbeat, while Sudha provides supporting vocals of leaves dancing softly.
In fact, “Tierra” is much more than the sonic tapestry’s call to unity, a celebration of our connectivity with things that remind one of beauty and strength in harmony concerning the current challenges faced upon this earth.
Rhythms of the Earth: Michael Beck’s “Tierra” Weaves a Tapestry of Unity
I couldn’t also help but make comparisons between “Tierra” and the works of Hildegard von Bingen since Beck and Lacombe get deep into spirituality beyond borders and boundaries.
That said, for all its beauty, “Tierra” is far from faultless on occasion, the production can feel a mite overly polished, the edges sanded down to a smooth, commercial sheen. The small niggle does little to deter from the impact of this release, though.
As the last notes die away, I am left to reflect on Rumi’s words: “Raise your words, not your voice.” “Tierra” stands as testimony to a few soft, persistent voices that even at the bleakest moments, beauty and unity can take the fore.
Gene Pritsker's 'Gene & The Strings': Where Classical Meets Cool
Gene Pritsker’s “Gene & The Strings” is an intriguing, deliciously botched culinary experiment in mixing and matching classical and hip-hop, winking toward sonic pandemonium. This album is something like taking a very traditional string quartet and then letting Kendrick Lamar and Bach collide, coming up with something utterly new.
The magic of the album is how it puts together what is usually two opposing entities in a harmonious relationship. Lara St. John‘s performance on solo violin pieces shows remarkable restraint, while with the larger ensemble pieces featuring the Kahlo String Quartet, a sense of urgency is injected. Just when you think you might have it pegged, along come David Banks‘ vocals to inject a hip-hop-like influence on the tracks, and pleasantly, your entire experience is derailed.
Pritsker is brilliant in the balance of the sacred and the profane. He picks up chaos with abandon and blurs every boundary of decency in the classic. It was as if a Jackson Pollock was springing to life before one’s very eyes, turbulent, lovely, and totally mesmerizing.
Gene Pritsker’s ‘Gene & The Strings’: Where Classical Meets Cool
Yet what really sets “Gene & The Strings” apart, however, is a sense of community. This album is all about collaboration, bringing together disparate voices and styles to create something far greater than the sum of its constituent parts. It is truly a testament to music, where it binds us all in a shared experience without genre or style difference, and with which to fashion something truly original.
Despite the innovation, “Gene & The Strings” is inherently an album of nostalgia: a nod to times when music appreciated experimentation more than genre, and when the division between high and low art existed in a state of blissful ignorance. This is a call to action, an ongoing reminder that music is one potent catalyst for change, creativity, and beauty.
Love in All Its Messy Glory: Nazzy the Mic's "BTTR"
Like a patchwork quilt stitched together with imperfectness, Nazzy the Mic’s “BTTR” is imperfectly perfect; the rawness sewn in with deliberate stitching emits undeniable warmth. This 19-year-old Philly artist weaves an intricate, deeply personal, and universally relatable narrative, reminiscent of a whispered secret among old friends.
This production by LVYN GTS is subtle and poetic, like a gentle breeze in July at noon, while Nazzy holds court with her intoxicating vocals. Her voice is smooth as honey, tangy as vinegar, and well-tempered as the right formula. And when she raps about love and devotion, it is as if she is talking to the soul with no other mechanisms present.
You might flick it off as “just another love rap song,” but “BTTR” is different. This is choose-your-own-adventure in action, as Nazzy navigates the labyrinth of love with refreshing vulnerability. Unafraid of the messiness, she tends to the intimacies of devotion head-on. It’s almost as if she’s channelling the spirit of Frida Kahlo, minus the physical pain.
When Nazzy’s lyrics meld with the production, though, that’s when things become real magic. It’s a perfectly placed key change, an intuitive next step that launches the full experience, and you’re just floating on a cloud. “BTTR” reminds you that love is at its best teeming with contradictions and paradoxes. It’s one of those timely and timeless messages, you know, like a vintage postcard from the future.
So what’s the bottom line? “BTTR” serves as a further testament to Nazzy’s craft and openness. One could draw from this song the feeling of being seen, being heard, and even unsettled arguably, in the healthiest sense of that word. As Dolly Parton once said, “If you want the rainbow, you gotta put up with the rain.” With that analogy, “BTTR” is the rainbow, and Nazzy’s the tumultuous weather that makes it all worth it.
The Unconventional Beauty of Wilburs' "Wilburs II"
Such a case is Wilburs, quite peculiar for a band, just about as a platypus would be to a party. The latest album, “Wilburs II”, perfectly captures the depth in which the band or rather, Justin Wayne Moore strongly embraces the beauty of chaos.
The more I listened to the album, the more I was taken through a gamut of different sounds, much like walking into a thrift store and never knowing what surprise one may find. Such is the skilful marriage of indie alt-rock, merged with traces of the peculiarities of Modest Mouse, the innovations of Bjork, and the soulful undercurrents of D’Angelo. It’s like trying to describe a flavor hard to pinpoint, yet undeniably delightful.
Wilburs II” is an ode to self-acceptance, plain and simple; a clear call to dismiss pretension and accept the self. Moore whispers an elegant invitation, through lyrics, to flee the need for validation and simply be with one’s self. It is a message that strikes a chord deep within, like the first gentle breeze of summer. It is not entirely rainbows, however, the right amount of melancholy tucked away, wrapped in fragile clothing of vulnerability, making this record feel very human.
The Unconventional Beauty of Wilburs’ “Wilburs II”
As I listened, I couldn’t help drawing parallels with the Impressionist movement whereby artists rejected the traditional and normal in an effort to capture those elusive life moments. It’s Impressionism on sound a snapshot of emotions, thoughts, and feelings frozen in time. Moore’s solo project, recorded in appropriately named “Amish House”, shows what solitude and the gift of license can bear.
After all, “Wilburs II” reminds us that the most exquisite things in life are things one cannot control. Let’s raise a glass to the unconventional, the marginalized, and the beautifully flawed because it is in those imperfections that the true beauty of humanity exists.
Weaving a Tapestry of Empowerment: Alli Brown's 'My Own Superhero'
As I listened to Alli Brown’s “My Own Superhero,” the ancient Greek tale of Ariadne and her path through the labyrinth with but a thread of courage came to mind. In a similar vein, Brown’s latest single is an expertly woven sonic journey that takes us deep into the darkest recesses of our own consciousness. With a sound so beyond genres, she creates a tapestry of empowerment both as battle cry and lullaby.
Then the message becomes clear we are our own heroes, capable of saving ourselves from the shadows that want to consume us. Brown’s voice sounds soft, like a summer’s breeze, yet weighted in meaning not to be so easily shrugged off. There’s a subtle artistry in how she constructs her lyrics to bring human feelings across in simple yet revitalizing and deep ways. And when she sings about finding inner strength, one can’t help but feel an upsurge in his vein to do just about anything.
Weaving a Tapestry of Empowerment: Alli Brown’s ‘My Own Superhero’
What ultimately sets Brown apart, however, is how well she balances that perfect mix of vulnerability and resilience. Her music’s like a patchwork quilt, tacked together with bits of folk, country, and rock. It’s to the credit of her songwriting skills that she can combine such disparate styles into a sound that no one else could own. Amidst all the variation, “My Own Superhero” ends up sounding curiously cohesive, a missing puzzle piece which has finally fallen into place.
And all this while listening to the song repeatedly a question popped into my head: what if each of us had it in, what if we had the guts to turn into our very own hero? What if instead of waiting for somebody else to save us, we got up and took matters into our own hands? Brown’s music might not provide all the answers, but no doubt it’s a very good starting point.
A Sonic Tapestry of Hope: Unpacking Mortal Prophets' 'ICNCLST'
A flickering, dying neon sign dances in my brain as I delve headfirst into the latest EP from Mortal Prophets entitled “ICNCLST.” It’s as if the psychedelic rock/pop of John Beckmann has tapped into some sort of collective unconscious, left behind on the main streets of America.
Richness abounds from the skilful work of Gerald Menke’s guitar, reminiscent of both Pink Floyd and Appalachian folk music, while expert production by David Sisko allows every nuance in Beckmann’s contemplative lyrics to shine through. But the fire which will really fuel this EP lies in themes of love, yearning, and what it means to be human. With words, Beckmann resembles a modern Woody Guthrie as he narrates the struggles and victories of ordinary life; its manifestations serve as testimony to resiliency.
The messages of hope and perseverance in the EP come across as incredibly relevant. As if the very fabric of society seems to be coming apart at the seams, the music of Mortal Prophets is a balm to the soul. Of course, not all is positive; the lyrics by Beckmann at times do touch upon those aspects of human nature people usually like to hide. Therein lies a balance, one that pays off immeasurably.
A Sonic Tapestry of Hope: Unpacking Mortal Prophets’ ‘ICNCLST’
I listen to “ICNCLST,” and it immediately brings to mind abstract expressionist paintings, notably by Mark Rothko, in that they’re so turbulently emotional yet somehow managed to balance it. It’s to the group’s credit that they leave me thinking this. But other than its artistic merit, this EP is essentially a very human affair with which anyone who has been through heartbreak or the elation of love will identify.
But all in all, “ICNCLST” is a triumphant work that will reveal all its depths only on repeated listens. As the great poet Rainer Maria Rilke once said, “The only journey is the one within.” And for that expedition, this latest EP from Mortal Prophets is an excellent companion piece.
From Embers to Inferno: Angher's 'Nothing Remains'
The eternal question: can a phoenix rise from the ashes of a 15-year hiatus or will it be a faint echo of its past self? Enter Angher, the heavy metal behemoth founded by cellist Grégoire Korniluk, which dares to answer this question with their latest release, “Nothing Remains”. And, oh, the existential angst that ensues!
As I plunged deep into the sonic soundscape of “Nothing Remains”, my mind leaped right to abstract expressionist Jackson Pollock. Like his chaotic yet calculated strokes, Angher’s sound is a professional merge of heavy guitars-great work by Nils Courbaron-and driving rhythms-Quentin Regnault, you beast! Adriano Almeida makes quite a monster of an impression with his vocals, which veer between guttural growls and soaring melodies that raise images of a tempest-tossed sea.
But beneath the aural assault, there’s an amazingly labyrinthine journey of identity, existential reflection, and the actuality of change and loss. As if Angher was holding up the mirror to our collective psyche, perhaps daring us to look at the abyss. Of course, the lyrics pop up as a poignant reminder that self-awareness is a releasing and scaring perspective-a notion Guilherme Aguiar’s basslines seem to underpin with every throbbing note.
From Embers to Inferno: Angher’s ‘Nothing Remains’
Not that there are not missteps in Angher’s rebirth. At times, the production feels too smooth, losing some of the raw, visceral energy so very compelling in their earlier work. But such a complaint is minor within an otherwise triumphant return to form.
I closed my eyes and let the musical current wash over me; the Greek concept of “kairos”-an opportune moment to seize and change-kept coming into my mind. Angher’s “Nothing Remains” is a clarion call for just such a turn, an encounter with the abyss inside and rebirth to light. Will you heed the call or stay mired in the quicksand of complacency? It is your choice much as the music would be.
Unpacking the Past: Ellery Twining's Ode to Dusty Springfield
The mystique of dusty relics and forgotten memories. It’s as if Ellery Twining’s latest release, “Dusty Springfield’s Record Collection,” has unearthed a long-lost time capsule, emitting a whiff of nostalgia that wafts through the air like the scent of old vinyl.
Twining’s ode to Dusty Springfield is a masterclass in reverence, weaving a sonic tapestry that’s equal parts folk rock and experimental curiosity. The song’s narrative is a deeply personal one, with Twining’s spoken word delivery conjuring images of thumbing through Springfield’s record collection at The Mystic Disc record store in the 1990s. It’s a testament to the enduring power of music to transcend time and space, connecting us to the past while informing our present.
Unpacking the Past: Ellery Twining’s Ode to Dusty Springfield
But what truly sets “Dusty Springfield’s Record Collection” apart is its thoughtful exploration of musical legacy. Twining poses important questions about the importance of preserving our cultural heritage, and the role we play as custodians of the past. It’s a message that resonates deeply, particularly in an era where the very notion of ownership and legacy is being redefined.
As I listened to the song, I couldn’t help but think of the Library of Alexandria, that fabled repository of ancient knowledge that was lost to the sands of time. What secrets lay hidden within those dusty tomes, waiting to be rediscovered? Twining’s song is a poignant reminder that our musical heritage is a precious resource, one that demands our care and attention.
In the end, “Dusty Springfield’s Record Collection” is a love letter to the past, a paean to the enduring power of music to shape our lives. As Twining’s words fade into the ether, we’re left to ponder the significance of our own personal record collections – and the memories that lie hidden within.
Mapping the Heart: Ruari McGrath's 'If I Knew Your Name'
Ruari McGrath’s debut album “If I Knew Your Name” is a cartographer’s dream – a meticulously mapped terrain of the human heart, with its twists and turns, crevices and canyons. This Aberdeen native’s music is a slow-burning fire that crackles with the embers of 1970s singer-songwriters like Nick Drake and Leonard Cohen, but with a unique, contemporary spark.
The album’s themes of longing, introspection, and the passage of time are woven together with a thread of quiet desperation, a sense of searching for connection in a world that’s increasingly disconnected. McGrath’s lyrics are a masterclass in subtlety, conveying the complexity of human emotions with a simplicity that’s both disarming and profund. Take, for example, the way he captures the ache of disconnection in the album’s title track – it’s a gentle breeze on a summer’s day, rustling the leaves of your soul.
Mapping the Heart: Ruari McGrath’s ‘If I Knew Your Name’
But what truly sets McGrath apart is his ability to balance the personal with the universal. His songs are like tiny, perfectly crafted worlds, full of intricate details and textures that invite you to linger. And linger you will, as the album’s 12 tracks unfold like a slow-burning fire, warming your bones and illuminating the dark recesses of your own heart. I’m reminded of the way a good novel can transport you to another time and place – McGrath’s music does the same, but with the added intimacy of a shared secret.
Produced by Ian Schouten and Nassif Younes, and recorded in the intimate setting of East Lake studio, Perth, “If I Knew Your Name” is a triumph of indie folk storytelling. It’s an album that will leave you pondering the mysteries of human connection, and the ways in which we search for meaning in a chaotic world. As I listen to it, I’m struck by the thought that sometimes, the most profound truths are the ones we whisper to ourselves in the dead of night.
A Message in a Bottle: Roger Ricks' 'I Would Do It' - A Song of Hope
Deep in a Swiss cave, one still whispering ancient rivers into echoes, I came upon the haunting melody of Roger Ricks’ latest single entitled “I Would Do It.” This introspective tune came to me, a message in a bottle, carrying the whispers of unreturned love, pain, and the resilient desire for rebirth.
Weeping, wailing electric guitars are custom-made by Ricks. Notes fall, like honeyed tears, onto this acoustic landscape. His voice is one great, impassioned confessional, pouring out in libation to the gods of love and loss. It’s as though he’s sharing secrets with some old friend, words tumbling forth in cathartic release.
But at its core, “I Would Do It” is a paean to hope and renewal. Ricks’ message is clear: even in the darkest mists of despair, there is a way out. It’s a lifeboat cast out into the chasm, begging one to reach out, hold onto it, and lift oneself up into the light, showcasing the strong capacity for resilience and transformation within the human spirit.
A Message in a Bottle: Roger Ricks’ ‘I Would Do It’ – A Song of Hope
Wrapped in this womb of sound, I remind myself of the Japanese art of Kintsugi: an art form performed on broken pottery by its mending in gold enamel, making it presentable in its imperfect beauty. The music of Ricks approaches that sensitive art of Kintsugi, the romantic elevation of the cracks and fissures of human nature.
Emerging out of the cave, into the sun in my eyes, the question whispers an answer: Can we find comfort in the shards of our shattered dreams and, like Ricks, make them beautiful anew?
Note: All the proceeds of Roger Ricks’ music go to support children in need, so every listen is an act of hope and kindness.
Channel Media Explores 'Distractions' On New Project
When was the last time you felt completely focused? In a world filled with endless distractions, the new album “Distractions” dares to ask the big questions: What is pulling you away from your faith? Why do we repeat the same sins, and what keeps us trapped in those cycles?
“Distractions” breaks away from traditional Christian music boundaries. This groundbreaking collection incorporates genres ranging from Highlife, R&B, Contemporary Pop, and Rap, delivering a compelling message through a fusion of sounds that captivate the ears and move the soul. The album uncovers the root causes of our distraction and the layers of sin that lead us astray.
“Distractions” is a raw and honest exploration of spiritual struggles and human vulnerability. The album consists of seven tracks: “Rest,” “Blessing,” “You,” “Otamfo,” “Epiphany,” “Peace,” and “NTTNM.” Each track reflects the artist’s personal experiences, creating a deeply relatable journey for listeners.
Stream “Distractions” available now on all streaming platforms.
One of Ghana’s exciting emerging talents, Notse who identifies as a Highlife and Afro Fusion artiste returns with his second single of the year “MIJO”.
“MIJO” is the quintessential life story centred on the perils and obstacles we brave daily without giving up. Notse aims to offer inspiration and motivation to listeners who find themselves at a crossroads and do not know which way to go. As such Mijo comes on as an aid to any and all who are lost and need a helping hand to guide them through these challenges.
The inspirational lyrics are melodically delivered over an enchanting soundscape of Afrobeat and Highlife-inspired beat complemented by Notse’s melodic Afrosoul rap delivery.
Describing his music as a fusion of Hip-Hop and Afro sounds, Ghanaian fast-rising artist Lord YG is positioning himself as one of the country’s next big things as far as music is concerned. Following previously released records, he outdoored his new music in a 2-Pack.
Titled ‘Better Days/I’m Gone,’ this 2-pack does not only add to YG’s rich discography but always displays his artistry and talent.
The first song, “Better Days,” is a song of self-reflection and affirmations. The song’s message is one that resonates with a lot of young adults who are trying to make the most out of their lives. Sometimes our expectations and realities may not align. But the song encourages us to keep faith and look out for better days. The Faygo-produced song can be described as “Ghetto Gospel” based on its message. Lord YG encourages people that, “No matter where you are in life, we all still hope to see days that are better than our current ones.”
Produced by Zodivc, “I’m Gone” is a trap song that follows the theme set by “Better Days.” However, Lord YG takes pride in the progress he has made in his life. He points out how challenging life was and his ambition to create a better life for not only himself but for his family while appreciating how better things have become. The song paints a picture of life being a race, where YG expresses his joy in being a head and making strides in his life thus far.
Rapping predominantly in English, Lord YG employs melodic rap in his delivery and execution of the songs. His lyricism, although simple, carries weight in its meaning.
‘Better Days/I’m Gone,’ maybe a 2-pack, but is one that feels more for the content it carries. Lord YG, through this project, is echoing the realities of many in today’s world while offering assurances that there are brighter days ahead.
You can stream ‘Better Days/I’m Gone’ on all music streaming platforms here!
Soww Ffar Drops Enchanting New Single "P3p33p3" Off His "Love, Stories & Lies" EP
The song “P3p33p3” is the latest single from the EP “Love, Stories & Lies” that sensational Ghanaian musician Soww Ffar released last year.
Dennis Kwesi Agbenyezi, real name Dennis Kwesi Agbenyezi, weaves a tale through a beautiful musical composition that combines English, Pidgin, and GA. He poured his heart and soul into this song; every rhythm conveys his emotion.
It has an honest, genuine feeling that hits close to home, and the singer’s new point of view adds a personal spin to the age-old subject of love.
Since we haven’t uncovered the mysterious woman’s identity behind the song, the lyrics are realistic and capture the ups and downs of love freshly and authentically.
Passionate singing by Afrobeat and alternative singer Soww Ffar enhances the song’s allure and allows it to genuinely express its artistic and storytelling journey.
This song is a moving reflection on his life and an artistic portrayal of the common emotions of love and desire; as a result, it strikes a chord with listeners on an individual level.
“P3p33p3” rounds off the 6-song EP with contributions from AratheJay, Slvmlife, Kay Dizzle, Tulenkey, Amaka, Ole, Simple, Don’t Leave Me, and Coconut.
Other than that, Console ChroNikz produced the music video under Sein Faisal’s direction. Follow him on X and Instagram.
The sweet perfume of the rebirth wafts through, like the faint aroma of freshly baked croissants on a Sunday morning, as Stars in Coma’s “Aluminum” single alights as softly as a spring shower on our arid souls. André Brorsson is the brain behind this bedroom pop project, casting sonic spells since 2005, and this latest offering certainly doesn’t disappoint.
The music in itself is a glam indulgence of indie pop, J-pop, synth pop, and glam rock stitched together in an eloquent patchwork quilt with great love and care. The melodies are catchy, the beats infectious, and the musical details intricate, playful. But it’s really the themes and messages that set “Aluminum” ablaze. Brorsson is on a mission of getting rid of old conceptions, being reborn into new beginnings, while pleading for spiritual cohesion in a world torn apart by polarization in society.
Stars in Coma Impresses With “Aluminum”
I couldn’t help but think about the Japanese concept of “yūgen,” that profound and mysterious sense of the beauty of the world, while listening to “Aluminum”. It is as if Brorsson has accessed this essence and condensed it into a sonic elixir that is deeply personal yet universally relatable. Here, the DIY ethos of the project shines through, like a beacon of hope in a world dominated by glossy, soulless productions.
So, what does this all mean, then? Perhaps it is a call to arms, the rallying point to help people knit together in their differences and find something in common with each other. Maybe it is just a beautiful, quirky pop song that simply makes us feel good. Either way, “Aluminum” is a triumph, testimony to how music heals, touches, and draws us closer into community. As the great philosopher Ferris Bueller once said, “Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” -don’t miss this one.
Jonnyung's 'Lost in Awareness': A Sonic Descent into the Psyche
“Lost in Awareness” is about the secret room in your mind, finding it—only to find it occupied by a swarm of thoughts and memories. Jonnyung, the leading brain behind this sonic maze, weaves a dense tapestry of sound that’s as claustrophobic as it is cathartic. It’s like being caught in some never-ending déjà vu, a maelstrom of distorted basslines and haunting atmospherics that seems to merge the past, present, and future.
The more I kept listening to the release, the more I kept thinking of the existential meanings behind being “lost in awareness.” Is it an existential state of being or one of mind? Jonnyung skillfully incorporates the elements of Future Garage and UK Garage so strongly that it’s like a ticking clock to some kind of ultimate accounting. Meanwhile, Ambient and influences from Dubstep whisper their secrets into my heart, goading me or challenging me to confront the darkest holes of my own psyche.
Jonnyung’s ‘Lost in Awareness’: A Sonic Descent into the Psyche
Here production is also a marvel: Each layer of sound has been given a delicate setting to give a feel of depth and dimensionality. It’s surely one of those tracks that can take you into a dreamscape where familiar and alien elements follow each other in an uncomfortable alliance. Of course, the nods to Burial, Four Tet, and Aphex Twin and the like are all there, but he’s made himself a niche within that soundscapes that’s identifiably his.
I couldn’t shake the idea from my head that “Lost in Awareness” is not a product release but a sign, reflecting our general disorientation towards the world, which every day becomes more disconnected and uncertain. It’s one that reminds us that even in the most dimly lit recesses of our minds there’s beauty lying in wait.
From 'Call It' to 'Mystery and Magic': Sunset Salore’s Journey to Her Debut EP
Today, I have the pleasure of sitting down with Melbourne-based alt-pop artist Sunset Salore, who is quickly making waves in the music scene with her distinctive sound and evocative lyrics. Known for blending funky basslines with catchy hooks, Salore’s music captures the micromoments of contemporary life with a fresh perspective.
Her debut EP, ‘Love Kills The Monsters,’ is set to release on October 4th, and it promises to be a compelling exploration of human connection and emotional depth. This is what she said about the upcoming release:
“It is a 7 track EP, so a long EP or short album, whatever way you want to look at it. We will do a full band launch in Melbourne, Australia, early in the new year, once everyone gets over the Christmas crazy period!
With singles like ‘Call It’ and ‘Mystery and Magic’ already resonating with audiences, Salore is poised to establish herself as a rising star in the alt-pop genre.
In this interview, we’ll delve into her creative process, musical inspirations, and what fans can expect from her upcoming EP.
What is your stage name Sunset Salore (salore pronounced sai-lor)
Is there a story behind your stage name? It’s a play on the word ‘sailor’. The idea of sailing off into the sunset – everyone loves a good sunset, right!
Where do you find inspiration? Everyday life is what inspires me the most. It’s easy to take inspiration from the big things, but the little things are what intrigues me. A lot of my music is about moments that are pivotal, or the sum of a lot of moments which get to that pivotal point. There’s inspiration in everything, and often those things are the most relatable.
What was the role of music in the early years of your life? I sung in choirs growing up, so harmony and music was always a fun part of my life, but I played piano, violin, clarinet, drums, guitar, you name it. I can’t say I was amazing at any of them and singing was always my main instrument, though piano has stuck with me, but I loved music in all it’s forms. To this day I collect musical instruments and still take immense joy from that.
Are you from a musical or artistic family? My great grandfather was a pianist on the Belfast music halls in Northern Ireland. He had an act with his brother who was a singer. Apparently they were quite popular in the 1920’s or thereabouts! My grandfather bought me my first keyboard in the 1980’s, a lovely little Casio which is still in my parents house.
Who inspired you to be a part of the music industry? I don’t think it was a conscious decision influenced by one single point of inspiration, but I always loved listening to music, going to gigs, and singing, so I guess it just happened organically from being around music a lot.
How did you learn to sing/write/to play? Well, I took piano lessons as a child after the keyboard was gifted to me by my grandfather. I didn’t start songwriting until much more recently when I was working with Freedom Music Studios in their Artist program. That challenged me to get out of my comfort zone and to try my hand at writing. It’s a skill I’ve been trying to hone since then, though I’ve been working with KYE on my more recent songwriting efforts and I really think we’ve got into a good rhythm!
What was the first concert that you ever went to and who did you see perform? This is a hazy one for me, but I think the first major one for me might have been Take That. (If you want to be precise about it, it was probably some Disney show when I was 3 or something!) It snowballed from there and they all merged into an onslaught of gigs – which was wonderful! My first artist that I bought however was probably Kylie Minogue or Michael Jackson both on cassette. The first CD was Bon Jovi. Now I’m showing my age… !
How could you describe your music? I’ve seen it evolve over the years and it has merged a few genres to the point I found it hard to label this latest body of work. The closest we’ve been able to label it as is Alt-Pop. For me that means funky baselines, catchy hooks, something to move your feet to, while telling stories of contemporary everyday life micromoments.
I’ve seen it evolve over the years and it has merged a few genres to the point I found it hard to label this latest body of work.
Describe your creative process. Lately what has been working for me is either writing on my Roland digital piano connected to my BOSS RC-600 looping station to capture the key hooks and then writing melodies and lyrics over the top. Or, the other method has been to work up something digitally in a DAW and then extrapolating the digitised concept out into something more fully fleshed.
I meet with my coach, KYE, weekly and we work up a demo from wherever I have landed to that point. From there I have been enjoying taking the songs that make the shortlist into the recording studio, where I’ve really enjoyed them being worked up to the next level.
I’ve been working with Spud Thompson in production, and I’ve rewritten some parts of the tracks in the moment depending on what they needed. It has been a collaborative process.
What is your main inspiration? I’ve listened to a lot of older funk, jazz and soul in the writing of this EP, and have included a lot of influences from these eras/genres. I like making a new sound based on what feels right in the moment, not necessarily staying true to a particular genre.
What musician do you admire most and why? I love Florence Welch from Florence and the Machine (I even named my cat after her), because of her vocal agility, ability to convey emotive concepts and write consistently interesting music. She’s fantastic live too.
Did your style evolve since the beginning of your career? Yes, absolutely, though not necessarily consciously. It also varies depending on the instrument I’m playing, so for instance while drumming, I much preferred rock compared to what I might sing, or listen to when practicing guitar for example. I guess the common thread is that my musical taste is eclectic.
Who do you see as your main competitor? I don’t believe in having competition in this space. The music world is tough enough without trying to compare yourself or fight for attention over others. I think we can lift each other up, learn from each other, and celebrate music instead.
What are your interests outside of music? I volunteer for a charity called Rafiki Mwema www.rafikimwema.com who support vulnerable children in Kenya who have faced abuse. We support them through the justice system, as well as to regain physical health and offer access to psychosocial support during the process.
Check them out, the work is incredible, and they need funds to continue the work.
I also love animals and have 3 cats and a horse who keep me busy!
If it wasn’t a music career, what would you be doing? I would be working in marketing, which is what I do currently to support my music career! If I won the lottery though, I’d do music and charity work full time. Maybe there’s even a novel in there waiting to be written, who knows. It’d be a tough ask for me to give up music though.
What is the biggest problem you have encountered in the journey of music? Once I figured out the path on which to hone my skills (and that never ends), and the steps to record and release music, the challenge really is funding. As an independent artist, there’s no big record label propping you up.
If you don’t know how to do something, you have to ask around, or get on Google and hope you got it right. It is expensive to do this properly, and I want to get to a point where my music can fund itself so I can continue to make music.
If you could change one thing in the music industry, what would it be? Access to fair pay for music. Streaming numbers are impressive, but returns for artists are so little that it can be really, really tough for an artist to make a living doing this craft.
Why did you choose this as the title of this project? Love Kills the Monsters is also the title of an upcoming track on the EP. It was the second track I wrote, and as soon as I did, it became obvious the EP needed to be titled after it. The concept really is about loving your demons away, whether they are personal battles or someone else’s. The idea that kindness can soften or solve for our problems is one I wanted to explore.
What are your plans for the coming months? Well the first single, ‘Call It’ landed on the 12th July, and this single, ‘Mystery and Magic’ dropped on the 23rd August. So next we are launching the EP in full on the 4th October which is very exciting! It is a 7 track EP, so a long EP or short album, whatever way you want to look at it. We will do a full band launch in Melbourne, Australia, early in the new year, once everyone gets over the Christmas crazy period!
Do you have any artistic collaboration plans In some of the new material I’m already writing I have some collaborations in mind, but they’re not really at the stage to comment just yet. I’d love to do collabs though! If you’re keen, reach out…!
What message would you like to give to your fans? Keep supporting live music, particularly independent artists releasing music. We need you and appreciate you SO much for all that you do. If you can’t make it to a gig, share the music with your friends, and add it to your playlist. That goes so far. Other than that, a big THANK YOU for all your support to date.
‘Call It’ has been really well received and it’s thanks to listeners like YOU! Hopefully ‘Mystery and Magic’ will resonate with you just as much. Finally the joys of listening to independent artists like me are that we are small enough to read your messages and chat with you on our social platforms etc so feel free to reach out and follow along! Mystery and Magic
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This track is perfect for relaxation which is evident from the calming and soft feel of the music. This can be seen in the song “Kelly Drive / PistachiPhiladelphia’s Nabil Muquit and Jake the Jeweler’s newest song, “Kelly Drive / Pistachio,” delivers a new and lively take on summertime in the city. The two-track record is an excellent combination and transition of different genres, signifying KSHMR and Zafrir’s development as musicians.
“Kelly Drive” is an upbeat song that features use of synthesizers and captures the spirit of a great summer’s day. Its dynamic beat and fun, toe-tapping melodies give one the feeling of driving through the streets with the windows rolled down.
Jake the Jeweler
Taking inspirations form the likes of Weeknd and Childish Gambino, these are names of some the greats to ever do it, but still, Nabil’s jazz influences in the melodies and Jake’s multi-layered production set them apart. On the other hand “Pistachio” has a more laid-back.
This track is perfect for relaxation which is evident from the calming and soft feel of the music. This can be seen in the song “Kelly Drive / Pistachio” and how it reflects how Nabil and Jake are still diverse artist and they can make music that has harmony but in another spectrum. This track does not only highlights their partnership but also serves as a perfect accompaniment to any summer playlist.
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In her new song, “I Really Do,” Leonie Evans explores the always fascinating theme of the combination and development of intricate feelings into a song. Using her own experience of the path towards self-identity, Evans shares a genuine narrative about her first love with a woman while discussing concepts of fragility, hatred, and acceptance as well.
The instruments used in the track, and the performance of musicians on the track, make for a rich mix of sound that cannot be easily classified. From the folk feeling provided by the violin to the jazzy pop and soul feeling of the Omnichord, “I Really Do” is a perfect example of avant-garde folk music.
From the folk feeling provided by the violin to the jazzy pop and soul feeling of the Omnichord, “I Really Do” is a perfect example of avant-garde folk music.
Unfortunately, while this track was recorded and mastered in New Orleans, Jim Barr did help to provide an authentic live feel that adds more depth to the emotional contents. Subdued folky vocals of Evans act as a compass, helping to navigate through the complex story of love and accepting oneself.
Thus, while “I Really Do” showcases Evans’ aptitude in embracing various styles of music, it also proves that she is capable of creating songs that can both speak to her own profound feelings while also being relatable to countless listeners.
This single serves to cement her status as an artist who is not afraid to challenge the listener and probe into the very essence of human experience when it comes to making music.
Raw and Real: Exploring 'All My Secrets' by Margarita Sleepover
“All My Secrets” is the first released single of the Margarita Sleepover, and it’s a song that tells about loss, redemption, and the very essence of being alive. Lead singer Nell personally experienced the loss of her husband at 37, and she internalizes her sorrow and turns it into a strong song.
Recorded at Sutton Wood Studios, with the help of producer Will Davies, the track has a mix of soft and powerful tones. Even the music video is simple a perfect blend of Nell and the song where some emotions can easily grabbed the attention of their audiences and stir emotions that remind them of their past.
Even the music video is simple a perfect blend of Nell and the song where some emotions can easily
Listening to “All My Secrets” one can hardly argue with the fact that Nell has a unique gift of turning individual suffering into art of general significance. That is why having a debut in the format of such a single can serve as the beginning of a great and fascinating journey of Margarita Sleepover in the world of show business.
It proves that Nell has the ability to create warm, heartfelt and genuine songs that people can really feel. ‘All My Secrets’ is not just a song, but a story of coping with grief and finding the light within the darkness.
