The Death Spell: Blending 70s Rock with Modern Stoner Metal
When you hear The Death Spellwhat do you expect to hear – exactly I can tell you expect an eerie vibe mixed with crazy guitar riffs and explosive drums toppled with heart-wrenching lyrics, and its with so much pleasure and excitement that I present to you the debut self-titled album The Death Spell.
These guys are blowing up the scene with their self-titled debut album. Imagine a mix of old-school hard rock and modern stoner metal – that’s their vibe. Imagine a mix of old-school hard rock and modern stoner metal – that’s their vibe.
The first song on the album says it all, I think that is the best intro befitting an album this good, the moment you press play you are greeted but an eerie atmosphere that ushers you in a world carefully crafted to bring you utmost bliss.
Songs like “Witch’s Coven” and “Nail You Higher Than Before” showcase their unique sound. It’s like they’ve taken the best of 70s rock and injected it with a modern edge.
The album has a total of 8 songs and one thing I love about the album is the seamless blend of songs. we had the chance to have a conversion with the Oz the man who stood on his feet to produce this mesmerizing album.
The frontman, Ozan Turan, is a total beast on guitar and vocals. He even produced the whole album himself. Talk about DIY spirit! Their sound is raw and authentic, with crazy riffs and drums that’ll melt your face off. The Death Spell isn’t just making noise – they’re making waves. They hit #7 on the Doom Charts in December 2023. Critics are loving their blend of gritty vocals, killer riffs, and deep lyrics.
These guys are tearing up stages across New Zealand and already working on album number two. Trust me, The Death Spell is more than just a band – they’re a musical experience you don’t want to miss.
Want to know more? We’ve got an interview with Oz coming up. Get ready to dive into the world of The Death Spell!
Not really. My name is Ozan, which in Turkish means an itinerant poet, poet-singer, or bard.
Where do you find inspiration?
Books, stories, and movies, mostly horror, sci-fi, and occult topics.
What was the role of music in the early years of your life?
I was born into a musically talented family. Music was a daily part of our lives, especially traditional Turkish folk music. I was surrounded by various instruments and players. I started playing piano at age 7, then eventually picked up the guitar and found my true passion.
Music was a daily part of our lives, especially traditional Turkish folk music
Who inspired you to be a part of the music industry?
Many people inspired me, especially growing up in a musical family. However, in my early 30s, I made a decisive shift to pursue audio engineering and music production, leaving my previous career behind. If I had to name one key inspiration, it would be Turgut Berkes, a Turkish rock musician, painter, writer, audio engineer, and producer. We lived together in New Zealand shortly before his passing, which coincided with the start of my studies in audio engineering. He had an inportant influence and insight on that decision.
How did you learn to sing/write/play?
Mostly by ear and observation. I practiced relentlessly for 30 years, playing until my fingers couldn’t take it anymore.
What was the first concert that you ever went to and who did you see perform?
I saw Joan Baez with my parents in Istanbul in 1988.
How would you describe your music?
Retro, proto, raw, rock ‘n’ roll—very honest, clever, and intriguing.
Has your style evolved since the beginning of your career?
Yes, absolutely. My style has shifted from blues rock to more heavy metal and hard rock, although I always maintain my blues roots and you can hear that.
Who do you see as your main competitor?
Music is not a competition for me. You play or you do not. If you are shit, you would find out eventually:)
What are your interests outside of music?
I am an audio engineer. I do mixing, mastering, and work with various bands and artists from my own studio.
What is the biggest problem you have encountered on your musical journey? Finding the right people with the same level of passion and determination to play with.
Why did you choose this as the title of your project? Didn’t really think much about it. I knew what I wanted to say, that fits..
What are your plans for the coming months? We have recorded a bunch of new demos. We’ll be playing more gigs to road test these songs and start working on our second album.
Do you have any artistic collaboration plans? There might be a split 7-inch record with two singles from two different bands, The Death Spell and another band to be announced.
What message would you like to give to your fans? You are all going to die very soon. Do what you love, enjoy the fucking show..
Brad Walrond's Transformative Debut with "Alien Day"
Get ready for a wordless journey with NYC-based artist Brad Walrond with his first album the Alien Day. Recognized for his activism as a spoken word poet and his involvement in the Black Arts Movement in New York, Walrond is set to unite his unique, strong poetic voice with various music genres. Starting from the hard-rocking “Poetry of America” and ending with the self-reflective “Ashes to Ashes”, Alien Day proves Walrond’s skills in the integration of elaborate themes and various genres.
Beyond its function as an album, Alien Day is the manifestation of black history and art fulfilled, of black desire realized. Songs like “Open Cypher” and ‘Dance Make The Body Free” represent black people’s strength and the expressions of black culture amidst the music’s unique beats. The contributions of the musicians such as Mike Ladd and Jessica Care Moore enrich the intensity of Walrond’s authoritative vocals on each of the song, creating strong statements about the invincibility of black love and knowing.
In this interview, Walrond shares details on his sources of inspiration, how his art works are developed and the development of his art style over time. He speaks about how art works, his experience with music business, and his goals in the upcoming years. As he sets foot in the multimedia space, Walrond’s Alien Day remains a forceful proclamation of self and art.
If I did have a stage name it would be EWA which is the initials to my forthcoming collection of poems Every Where Alien (August 2024) published on Moore Black Press Amistad/ HarperCollins.
The single Every Where Alien is who I am if I had to be boiled down to one sonic form.
I like it because EWA represents the maturity of a uber-dimensional body work since I came back to writing and creating about 10 years ago.
I am EWA, wow it kinda has a ring to it
Where do you find inspiration?
First I have drawn from my lived experience inside Underground art and resistance movements in New York City; The New Black Arts Movement, House Dance Music community, Black Rock Coalition, House Ballroom Scene, HIV/AIDS Artivist Community
House Ballroom Scene inspires me because it is an example of the power multiplicity and fluidity of human divinity. We get to witness in real time as people shed tortured oppressive
What was the role of music in the early years of your life?
Writing songs, learning instruments, listening to music for hours. Music is my own experience with my imagination, the ability to manifest worlds and travel where they take you. I think that’s what I do with my work now. Whether its a poem, a book, an album, or a song
Are you from a musical or artistic family?
My Dad has always had the most amazing voice; if he ever wanted to do a cover concert of Nat King Cole songs he’d be remarkable. My was a poet and playwright, she centered that work in her faith community
Who inspired you to be part of the music industry?
My only absolute goal is to make the things I was born to create; industry or no industry there is a seamless creativity linked to my gift of words. I need to be able to leave here knowing I gave my gift all it has given to me.
Why did you choose this as the title of this project?
Alien Day feels like a declaration to me; we are the aliens and we are here right now today to learn anew where we have clearly failed. How to cohabit Earth; to learn how to live out the fullest and truest expressions of love, of our imaginations, and of ourselves.
What are your plans for the coming months?
Welp, I’m releasing this album and looking forward to performing it live everywhere and wherever ; I’m releasing a book Every Where Alien Moore Black Press Amistad/Harper Collins in August and I’m setting up that national tour now.
Do you have any artistic collaboration plans?
I wanna collaborate with Tems; I’ve been calling her name for the last few months to all my peeps. Her poetic gift is a surround sound supernatural force. I went to dinner with a friend in the East Village and Tems and her crew sit down to have dinner at the table immediately next to mine. I had a galley copy of forthcoming book Every Where Alien, and I signed it and gave it to her. I told her I pray she knows how high her poetic gift is. So if I can run into Tems at dinner after she been my creative muse for months, I imagine there must be a collab on play somewhere in the Universe..
What message would you like to give to your fans?
Be Inspired. Run toward the things that excite you, challenge you, move you, heal you, regard you.
Be Inspired. Run toward the things that excite you, challenge you, move you, heal you, regard you.
How did you learn to sing/ write/ to play
My gift is language, the spoken word and arts scene in 90s New York City made me a peer among a slew of galactic voices. We learned the shape and force of our voices in our own audience. They are my creative heroes. Saul Williams, Mike Ladd, jessica Care moore, Jasiri, muMz (rip), Talib Kweli, Yasiin Bey, Sarah Jones, Imani Uzuri, Shariff Simmons, Liza Jesse Peterson, Carl Hancock Rux, Tish Benson
What was the first concert that you ever went to and who did you see perform?
Bebe and CeCe Winans when Whitney Houston was touring with them
How could you describe your music?
Its brand new, it creates its own forms, it makes room for itself, the words the light and messages inside them are magic things; the music enters the word’s world and they discover new ways to talk, touch, and teach each other
Describe your creative process?
I write what I hear; although as a poet and author my poetry is built to stand on its own on a page it lives a dimensional life inside my body. It has a sound, a rhythm, a texture, an unction, a voice. Poems live as four dimensional forms inside me and my multi disciplinary work including my music and this album is the journey to make it live on the outside of me.
What is your main inspiration?
My gift makes me a humble man; I am so honored to be alive, so blessed to be able to create, so amazed I get to work with my outlandishly incredible peers. This album is in every sense a collaboration between composer producer Howard Alper & I. I am humbled how my voice has and continues to find audience. These gifts are beautiful costly things. I do not hold them lightly. My only job is to give these gifts the honor and respect they deserve.
What musician do you admire most and why?
Shelley Nicole, she makes big music, she writes big songs, she is the epitome of the quotidian genius of the New York City music and creative underground, the world should know her name, like how I know her name.
Did your style evolve since the beginning of your career?
I’d say my work evolved and continues to evolve; my style lives with me and shows up for its own sake however wherever I get down
Who do you see as your main competitor?
I don’t have competitors, I have peers. I’d venture that none of us in our peer group ever regard one another as competitors. We aim to live our gifts out loud and pray the world takes all it needs.
What are your interests outside of music?
I am a poet, author, and performer. I am fully alive inside the boundlessness of language and sound.
If it wasn’t a music career, what would you be doing?
My other career as an author—I’m bridging into speculative fiction and I’m damn excited about that..stay tuned.
So let me tell you about Vanda, the indie-pop artist dazzling music lovers from Chicago to LA. After the release of her highly successful ‘Sober In Another Life’ album, she is back with ‘Stranger’ – a great break-up song that has people dancing while crying at the same time.
From a very young age – Vanda has been involved in music and started dancing on stage at the age of three. Talk about starting young!Her love for real songs can be seen or heard in all she does or performs. This is not different from “Stranger”, where she overlays her distinct vocals over energetic instrumentals that you cannot help but sing along to for the next couple of days.
Here, Vanda is revealing what influenced her, how she works, and her development as an artist in our live talk. She goes raw on effects of being an independent artist in the music industry, the artists who influenced her, and what she is looking forward to. For all her tattletaling, though, Vanda’s appealing to fans like nobody’s business. Just watch this one – she’ll be big in 2024!
Is there a story behind your stage name? Vanda is my last name, actually. My full name is Michelle Vanda.
Where do you find inspiration? Depending on what I am writing about, I find inspiration from my own interpersonal relationships. I also get inspired by other’s art, by psychedelics, connecting with universe, sadness, loss, love, the fact that we as humans experience such a range of all of these things in our lifetime. Its beautiful.
What was the role of music in the early years of your life? I started singing at three years old so my parents put me in my first musical the same year and my entire childhood/teen years were spent on stage/in my dad’s recording studio singing and writing.
Are you from a musical or artistic family? Absolutely. Every person in my immediate and extended family play an instrument. My dad is an audio engineer/guitar player, my mom is a singer. Both of my brothers play an instrument. I was the only lunatic to pursue an artist career 🙂
Who inspired you to be a part of the music industry? I don’t think it was a particular person, but rather my obsession with music itself. I never could have imagined being happy doing anything else with my life since I was a little girl.
How did you learn to sing/write/to play? I was in theater since 3 years old, so lots of practice but I taught myself the guitar at 12 and began writing around that time.
What was the first concert that you ever went to and who did you see perform? The Spice Girls – LEGENDS!
How could you describe your music? I would say I am still experimenting and evolving but maybe a cross between Alt r&b hyper-pop. I released a pretty ballad heavy album last year called, Sober In Another Life, so I would say I still am all over the place – depending on what I am going through at that time in my life.
My favorite place to be (and why I think I fell in love with writing so much) is entering that sacred flow space that any artist can relate to – there’s nothing quite like it – it’s quite therapeutic.
Describe your creative process. I like to lock into a sort of concentrated/channeled state when I enter a writing session, whether that be with someone else or myself, I treat the space/time with a lot of respect and ultimately attempt to let go of all of my preconceived notions of what I THINK a song should be and just feel where its taking me. My favorite place to be (and why I think I fell in love with writing so much) is entering that sacred flow space that any artist can relate to – there’s nothing quite like it – it’s quite therapeutic.
What musician do you admire most and why? So many musicians I deeply admire – currently in a choke hold by Chappell Roan – not only her writing, but the way she is bringing true alter ego artistry back into the music industry is so refreshing but with a much more authentic spin on it with her raw lyricism – it’s been such a treat watching her career explode this year.
Did your style evolve since the beginning of your career? Oh yeah, absolutely. With anything, you get better as you go by learning from mistakes and it’s been the same with music. Stylistically, learning what works for my voice and what doesn’t when I’m laying down vocals has been probably the most notable evolution. Working hard to connect and not worry so much about the perfect note – its more about the feeling
Who do you see as your main competitor? Myself, most definitely. We are all capable of succeeding to some degree and there’s room for everyone at the top but overcoming self doubt/imposter syndrome and focusing on creating authentic art without any outside influences/compromises is the ultimate goal for any artist.
What are your interests outside of music? I love discussing/digesting new concepts whether that’s exploring spirituality, mental health, personal growth – I’m really into connecting with humans in general. Into visual media, movies, YouTube, musical theater.
If it wasn’t a music career, what would you be doing? FBI Agent – maybe my next life!
What is the biggest problem you have encountered in the journey of music?
It costs a butt load of money to be an independent artist!!
If you could change one thing in the music industry, what would it be?
That songwriter/artists were paid more fairly.
Why did you choose this as the title of this project? “Stranger” is the title of the song & the main hook – it’s about knowing someone so deeply at one point and now that you’re no longer together, you see a complete stranger. You know them but you don’t and the cognitive dissonance that comes with those complex feelings.
What are your plans for the coming months? I plan on continuing to release a bunch of new music while getting a show together to start playing shows around the LA area.
What message would you like to give to your fans? Just a big thank you to anyone who stuck by my side during my half year hiatus & I’m very excited to start pouring out these new tracks to you one by one forever and forever and forever until I die x
Join The Conversation As 'Me & Melancholy' Talks About New Album
Today we have a special guest – Peter Ehrling, the man behind Me & Melancholy. If you have not heard of him, then sit back, relax and let me introduce you to him. Peter has been active in the electronic pop genre from the year 2022, blending elements from the past with those of the present.
Picture this: Depeche Mode and The Cure were the parents and New Order was the cool uncle, so to speak. That’s kinda what Me & Melancholy sounds like. Peter is from Stockholm and has been dominating Spotify with nearly 10k monthly listeners. The crazy part?Autodidact – everything: producing, mixing, and all of it.
His last released album is “Illusio Veri” and it will really make you think. It has got these profound messages that will make you reflect, all set to electronic music. From cheery songs such as “My Bucket of Things to Do Before I Die” to mellow tunes such as “When the Morning Comes,” Peter has this capacity to share stories through music.
We are going to talk to Peter about the process of creating his songs, what inspires him in this process and what life situations he reflects in his songs. Whether you are an enthusiast of synthpop or just interested in the genre, I believe you would find Peter’s words interesting. Well, sit back, grab your favorite beverage and let me introduce you to the mind behind Me & Melancholy!
Is there a story behind your stage name? The name came up pretty late one nigth. I was all done with the song The price was too high and I was going to distribute it when I got an idea to send the song using a new name. I have always loved music with a melancholic touch and I was thinking about something that could describe that. Me & Melancholy popped up as a tought like ”yes it’s me and that melancholy Guy I always bring with me”. Anyways I thought I sounded good, so I took the desicion there and then to distribute it as Me & Melancholy.
Where do you find inspiration? I most often find inspiration to lyrics from something that have happened in my personal life or something that is happening in the world right now that I get engaged in. For the music I usually just start playing around with some synth or guitar and sometimes it doesn’t result in a whole new song but maybe a chorus to a song or just a cool riff or beat to save for later (I have 100s of such 🙂 Latest months I have got lots of new inspiration by using more hardware synth. You get another feeling when turning actual knobs and buttons.
What was the role of music in the early years of your life? Music have always had a big part in my life and I was feeling the music and always wanted to drum to the beat with my hands or anything that could be used nearby.
Are you from a musical or artistic family? Not a musical family but my father was a magician so I followed along to many of his shows and sometimes was a part of it.
Who inspired you to be a part of the music industry? i am not sure if it was any particular person, but when I started my first band I was listening alot to New Order and wanted to make songs that sounded like them all the time.
How did you learn to sing/write/to play? When I was young I took guitar classes many years but when it comes to writing music it has mostly been a trial and error approach buy my self.
What was the first concert that you ever went to and who did you see perform? I think I was 12 or 13 and I watched Erasure perform and I was a huge fan. I was not old enough to go by myself, but my kind big brother followed me to the concert.
How could you describe your music? It is synth based and I think almost always with a melancholic touch. It has often a focus on the rythm.
Describe your creative process. I described it partly above but I often start a new session after work when I am kind of tired of talking to people all day and just put on the headphones and start playing around with different sounds and rythms. If I get into the flow I could stay in the studio until 02 or even 04 to complete something I really want to complete. But of course some nights you don’t feel inspired at all and just realize you should go to sleep instead 🙂
I described it partly above but I often start a new session after work when I am kind of tired of talking to people all day and just put on the headphones and start playing around with different sounds and rythms.
What is your main inspiration? Currently I can’t say I have any main inspiration and I don’t have so much time to actually listen to that much music, but I have in the past listened alot to New Order, Depeche Mode, Pavement & Radiohead and many more bands. But even though I might not have listened to much synth bands after say 1995, I think I am inspired by how I remembered that sound was in the 80s and 90s and probably mix in inspiration from more indie rock sound from the 90s.
What musician do you admire most and why? If I must say one musician and think about what music has had the most profound effect on myself I would say that is Joakim Berg from the Swedish band Kent. I have listened to all their songs so much and still love almost every song they have released.
Did your style evolve since the beginning of your career? For Me & Melancholy I think the style may not have changed so much. I guess I have learned and evolved since the first song produced, so the sound have probably changed a bit but I think it mainly sounds simular.
Who do you see as your main competitor? I honestly don’t think of fellow musicians as competitors. I am usually a competitive person but when it comes to music I don’t think that way at all.
What are your interests outside of music? I like to watch movies. Love sports, especialy fotball until just a few months ago I still played fotball 2 times per week. I have also worked with system/product development my whole life so I like to develop something just for fun too.
If it wasn’t a music career, what would you be doing? I already have another main career within development but if I could wish i would have liked to play professional football 🙂
What is the biggest problem you have encountered in the journey of music? I think the hardest part, at least as a independant musician, is the promotional part. It takes time to learn and maybe not something I actually enjoy.
If you could change one thing in the music industry, what would it be? I would be nice to get more more paid as an independant musician.
Why did you choose this as the title of this project? The title of the album Illusio Veri, meaning the illusion of truth, came after thinking abount a theme of a new album and a though I had was that there is so much things that are being said by governments and media and we are are often bying everything without a second though. But when you dig into things deeper there might be an alternative truth.
What are your plans for the coming months? The next coming weeks I will probably have just some time off, but since I have had some really productive weeks after being done with this album you never know if there might be something more after this summer.
Do you have any artistic collaboration plans I have done some collaborations before and I have some in the works right now and more planned for later.
What message would you like to give to your fans? Thank you so much for supporting me, love you!
Young Ghanaian artist Riycon after weeks of dropping teasers has released her long-awaited single “Your Bae”.
A strong and emotive song that delves into the intricate dance of love and betrayal in the lives of couples navigating the complexities of romantic relationships.
The Amapiano and Afrobeats mix song explores the fragile balance between loyalty and temptation, shedding light on the profound impact of polygamy on the heart and soul.
With simple lyrics and a catchy chorus, the song has the potential to leave consumers dancing and grooving.
Love being the greatest emotion has never been an overstatement. However, when talking about what it means to love and be loved, we often forget that sometimes the way someone loves us can change. When that happens, we are left with nothing but the memories of how we were loved by that person.
On her first single of the year 2024, Ghanaian singer KiKi Celine continues her beautiful run from 2023 as she pours out her heart and emotions on her new song titled “Old Love.”
The song cements Celine’s position as one of the best vocalists around and puts her songwriting abilities on full display. The song is reminiscent of early 2000s R&B classics we grew up on, with KiKi Celine’s bounce. Produced by Insvne Auggie, the song takes listeners on a journey of love gone wrong, pain, and reliving the few good times spent with a significant other.
If Celine’s writing or vocals were ever in doubt, “Old Love” will clear any doubts there are about the singer’s artistry. With a burgeoning R&B scene in Ghana and West and East Africa, Celine enters the conversation with this record. The melodies, delivery, and overall storytelling are remarkable and are sure to leave listeners in their “feels.” Love teaches us a lot about others and ourselves that we do not know until we experience being loved by them. The song is an appreciation of how it feels to be loved while calling out people who introduce you to an experience they can never keep up with. When all is said and done, we will need more than just flowers and a touch of old love.
R&B music is alive, and KiKi Celine is determined to be one of the names synonymous with the genre whenever conversations about the genre come up. Stream “Old Love” now on all platforms here
In a splash of sunlit serenade, SEPH dips his quill into our veins with “Gold,” painting not just songs but murals across the cavalcities of heartstrings. Here is an auriferous journey engraving love as both currency and alchemy—precious yet peculiarly cool when clasped.
“Gold”—a track that feels like diving headfirst into daydreams—is relished through Luís Raúl Ramírez’s lens; imagine music notes weaving around each other like golden threads lit under moonlight. His voice doesn’t merely echo; it resonates somewhere between passion’s whisper and longing’s cry, bracketed finely within pop sensibilities that brim brightly for mainstream ears yet drip secretively silently in indie alcoves.
SEPH’s ‘Gold’: Sonic Treasures Unearthed
The embryonic narrative plucked out here is laced heavily: hearts pitched together by elixirs distilled from sonic gold mines pour emotions thick and fluid—as tantalizing to taste as cold honey dripping slowly on warm skin—but always retaining the touch alienated by their own shimmering desire’s frosted breath.
Each cord strummed pulls us deeper beneath waves where we encounter the feeling of falling deep into the between, previewing winking glimmers programmed painstakingly for “The Dawn Of A Dream.”
SEPH crafts concise musical expressions, weaving riddles that mesmerize. His music is a delightful blend of tender-hearted curiosity and an icy, enigmatic persona.
Michal Gutman's "Never Coming Home": Ghostly Grooves
In the tangled, brooding soliloquy of Michal Gutman’s debut solo album “Never Coming Home,” there beats a heart marooned in an oceanic swell of contradictions. Here is where discord dances coyly with tune; eight tracks breathe as one tragic being caught between isolation and skeletal embraces.
Gutman reigns over her self-made orchestral kingdom—a witch-doctor weaving spells through bass guitar strums, looping them like haunting echoes on forgotten shores. The touch-pad synthesizer drips notes that flutter about like ghostly butterflies while dual mics amplify not just vocals but visceral cries from soul caverns deep.
The theme—an eerie feeling akin to homesickness corroding the innards of a shipwreck survivor—spirals throughout this musical labyrinth. It paints sonorous portraits tingling with nostalgia for chains they’ve both donned willingly and yet strive fiercely against finding freedom amid captivity’s sweet pain.
Michal Gutman’s “Never Coming Home”: Ghostly Grooves
Wrapped within layers crafted meticulously by rhythms belting out cabaret tempestuousness intertwined soft rock hymns at 80th regiment club beat cores – we find ourselves shackled spectators aboard Michal’s odyssey only ever half-alight amidst phosphorescent alien seas swaying us into tantalizing turmoil: are you truly never coming home?
This auditory tapestry offers intimate discombobulation draped glamorously across every note challenging our notions of what it means to embrace solitary ethereal party halls winking past midnight within oneself – obrigado Gutman!
Step into the dimly lit juke joints of yesteryear with Brother Chunky’s latest collection, “Dig Deeper”. Here lies a hodgepodge, a delightful stew spiced generously with flecks of old blues and dashes of funk-soul seasoning. Within these nine tracks, you’ll find an artist not only peering back through the musical echoes but also dancing cheek-to-cheek with raw energies from days gone by.
Amidst his gritty guitar strums and throaty bellows that remind one of rust on a sun-baked Cadillac, there’s an undeniable pulse beating at the heart of this album: let go. Letting go—not as mere forgetfulness—but as profound emancipation from whatever clankers may chain our spirit. One stand-out tune is “Get Thee Behind Me” which thumps like heartache wrestling itself free from eternal repeat; it swings wide the cellar door inviting shadows to step out into light-flecked dust motes.
Brother Chunky’s Grooves: “Dig Deeper” for Gold
But oh! Perchance to twirl in “The Best Man” where love is not implored but playfully teased and cajoled—like moonlight coaxing waves onto sandy shores, fleetingly capturing their bubbly whispers before they slip away again. And amidst home studio warmth and tender layering orchestrated beneath Orchard Studio’s archaic beams—this album grows roots deep down into soulful soils.
And then suddenly—it ends! A brief flirtation with eternal soundscapes closes softly leaving us stunned by its embrace yet longing for more.
“Dig Deeper”, frolics in its depth—a soundscape crafted lovingly by Brother Chunky et al., yet echoing infinitely within our collective sonic universe—a reminder to drop anvils of regrets and waltz lightly forward towards what’s next.
In the sonic soup that is “Common” by Holy Høly, one can’t help but feel stirrings of a cosmic diner late at night—where notes are served not on plates, but float through air, fusing classical arcs with lo-fi snaps. The effect is both unsettling and enticing as Ewa Baran dances her fingers against piano keys like raindrops tiptoeing across a forbidden metallic roof.
Enter Kafiristan wielding saxophone and drums—not as weapons but as utensils to slice through layers of dense auditory fog. Szymon Nożyński’s lo-fi samples sprinkle over this feast like sage leaves tossed into a simmering autumn stew; each note sizzles in its own right without overshadowing the others.
This ensemble under Italian label Cultural Bridge concocts more than music; they engineer an atmosphere where jazz flirts shamelessly with disruption—the soulful bleats of sax clashing beautifully against synths’ systematic pulses. It’s less of a song, more an experiment in controlled chaos: every sound calculated yet wild, boundaried yet boundless.
Holy Høly’s “Common” Stirs Up Sonic Soup
“Common” isn’t merely named; it’s enacted—a communal table set for disparate genres to commune lavishly amidst steely echoes and velvety verses. With Holy Høly steering the ship towards uncharted musical territories, listeners find themselves voluntary castaways on an island where convention doesn’t tread and normalcy has no voice.
Thus remains “Common,” haunting our playlists long after silence returns—an echo chamber of eclectic tales best absorbed between heartbeats.
Urban Soul Collider: Spacey Vibes in “Drifting Lost in Space”
In the latest celestial dispatch from Urban Soul Collider, “Drifting Lost in Space” rockets into the ether like a comet made of confetti and existential crises. It’s an Electronic Dance Music symphony stitched with pop threads dense enough to tug on your heartstrings as you bounce along through its pulsing bassline cosmos.
Aria’s digital heart beats through every note, synthesizing human emotions with robotic precision as she glides across star-studded dance floors. The galaxy? A metaphorical nightclub veiled in velvety darkness studded with flickering strobe stars—the kind of place where one could tumble forever without ever hitting ground. USC mimics this feeling of unmoored drifting beautifully within swirling synths that act less like instruments and more like gravitational pulls.
Urban Soul Collider: Spacey Vibes in “Drifting Lost in Space”
As fingerprints vanish into foggy club air, Aria sings her yearning for connection—her voice a silk ribbon unraveled across the vast expanse—a haunting echo amidst synthetic euphoria about being expelled for feeling too vigorously. Here lies the brilliance of USC: crafting shadows out of lightwaves, finding homesickness in a vibe designed to incite revelry; juxtaposing isolation against ultimate unity under pulsating lights.
Each beat drop feels almost like coming up for cosmic air while descending further into alien territory—to love is to be lost but gloriously so among strangers bonded momentarily by rhythm rather than reason.
Ultimately, “Drifting Lost in Space” offers not just escape but solace—infinite space compresses around us warmly suggesting that perhaps home was never a planet or person but simply our permission to feel fully wherever we float.
DANDAN whisks us into a smoldering soiree of the soul with “Heaven to Your Hands,” where she stitches together sinews of dark pop enrobed in gossamer threads from across continents. Her cello thrums through this fabric, an undercurrent weaving ancient whispers with modern cries that pleat and pucker at every verse.
With each bow stroke against her sonorous strings within the confined walls of what could be any dreamer’s bedroom turned studio sanctuary, DANDAN serves not just music but alchemy—melding Latin fireballs, Asian delicacies brimming subtle spice, and Egyptian mystique crawling along our spine. It’s as if Tim Burton hijacked your average acoustic session then pirouetted it round Anubis’ ballroom!
Strings of Fate: DANDAN’s “Heaven to Your Hands”
Striking deep are lyrics about love’s gamble—a journey kissed both by Lake Fate’s mystical fogs and enveloped in shrouds weaved out self-identity patches; they echo serpentine paths toward relational crescendos or anti-climaxes swathed inside musical cocoons birthing raw unguarded treaties between beings entrapped yet uplifted by impassioned forces colliding head-on without apologies.
Her double-life as 9-to-5’er turn nocturne melody crafter slaying chords amidst vacant lobby echoes at witch hours injects relatable human hinges to each sound bridge crossed—an inspiration stroking those gripped alike upon rafts adrift their personal existential streams echoing ‘Here sails I.’
DANDAN orchestrates more than songs; they’re sonic voyages pulling Heaven closer unto earthly hands craving such celestial touches.
As rain washes the clamor from cobbled streets, so does Charlie J’s “We’re All Lost” sweep through the gritty realness of life’s miseries and melodies. On this sonic voyage through foggy mindscape harbors, we trip over snaking cables pulsing with electronic heartbeats; a canvas where echoes bounce in hollow chests—this is a release not so much heard but felt.
Seeped deep into the EP’s marrow are beats that lumber slowly like ancient tortoises bearing worlds on their backs—each track a world weighted with smouldering emotions constrained by societal norms. Within “We Get Low,” the EP’s leading track, Charlie J serves a confession, pouring syrup-thick woes into our ears as if drawing poison from a wound, employing both the soft focus serenity of Elina Lee and sharp pen strokes of Mistry to emboss his themes deeper still.
In an age where screens often serve as confessional booths, Charlie opts instead for naked vulnerability wrapped in rhythmic swathes. His lyrics do not shy away; they arch back with balletic grace beneath spotlights casting long shadows across stages paved in introspection and understanding—an invitation whispered under breaths heavy with melancholy.
“We’re All Lost”? Charlie J Guides Us Home
Across seven tracks interlaced by KingKhan’s deft hands, these songs craft area codes on maps unfolded within dimmed bedrooms across Porthcawl—perhaps even sprawled further outwardly towards bustling hubs hungry for solace in lyrical form. The weave of influences—from Loyle Carner’s poetic tangents to Kendrick Lamar’s raw storytelling prowess—is evident yet seamlessly integrated into something singularly ‘Charlie J.’
So as you dive headphone-first into “We’re All Lost,” be ready: you might emerge dripping wet from washing ashore amidst its currents but fundamentally changed—or at least slightly less lost than before.
In the twilight of a music-splattered soul, Jodré spins through “Angel (From Heaven),” a golden thread in the fabric of contemporary R&B. This isn’t just another track floating down from the cosmos; it is a celestial dance between divine femininity and masculinity, wrapped in velvet vibes reminiscent of Daniel Caesar’s emotive simplicity and Michael Jackson’s gliding crescendos.
Jodré constructs cathedrals of sound at No Starz Studios, where echoes swell like the Atlantic during storm tide—forceful yet smoothed by moonlight caresses. Here stands Lucas Quinn, sculptor-turned-producer shaping acoustics that bleed raw vermillion passion painted on brushed steel canvas engineered robustly by NoCap. There’s an alchemy at work within these harmonies: part Giveon’s poignant grooves met with The Weeknd’s twilight mystique.
Jodré’s “Angel” Soars: A Heavenly Dance
Plunge deeper into “Angel,” one finds lyrics like consecrated whispers among wind chimes ringing across ethereal planes—the very chant spoken about reverberates as wisdom from beyond to bond sacred trusts anew. Notice how heavily each syllable weighs upon ears poised for spiritual dousing; for this isn’t merely song but a sermon under guise carrying forth prophecies via melodic spells woven with threads plucked from angels’ lyres.
The solemn procession towards his upcoming EP sees Jodré casting nets wider into our internal oceans stirring up sentiments long resting whispering beneath waves stirred awake by heavenly utterances disguised in tunes promising more unveils cased within ensuing releases—a continuation indeed to await wide-eyed and brimming chested.
Soul Infused: Anton Commissaris' “Don’t Come Around Here”
In the shadow-hued corners of Anton Commissaris’ latest melody garden, “Don’t Come Around Here,” spills like spilled wine on a lover’s letter—a 12/8 minor blues jazz concoction swirling with ghosts of smoke and midnight. This isn’t just music; it’s an excavation site where listeners unearth the cracked foundations of a tumultuous affair with echoes between chords that taste both sweet and bitter.
Anton Commissaris, a maestro at the piano, crafts notes that bend like light through whisky glass—each twirl around soul-infused jazz lines is a narrative arc in itself. Saturated deeply in the muddy waters of blues and whispers of country timbre, he sings as if his heartstrings are being plucked by the fingers of fate herself. Every verse is loaded with poetic candor about bandaging old wounds while prying off emotional shackles.
Through “Don’t Come Around Here,” we glide along Commissaris’ lyrical river, ferried by his rich baritone that conflicts majestically against an addictive femme fatale’s allure in sonic embrace. It stitches together threads from Stevie Wonder’s tapestry with Bloomsbury-esque melancholia—an auditory tale spun round addiction to love’s sharp needles and heartache’s soft cries for escape.
Soul Infused: Anton Commissaris’ “Don’t Come Around Here”
Isn’t there something painfully beautiful about watching daybreak split through dark curtains? That moment parallels Anton echoing freedom from veins laced with poisonous passion—all articulated through rhythmic crescendos which mimic scattered pulses racing towards severed ties.
This track dances—the kind where each step resonates across cobblestones laden not just within foregone paths but those freshly carved towards sunlit avenues too bittersweet to traverse alone yet optimistic enough for tentative smiles tomorrow. Simply said: it liberally seasons one’s palate with intricate tales riding high on vibrations strung deep through layers unseen but ardently felt.
Dive headfirst into the pulsating heart of “Young And Reckless,” where Pretti Emage, a.k.a. Zayah Nicole Riley, conjures a tempest tucked in beats and bars that refuse to bow down or grow old. There’s something almost mythical in her voice—a modern siren song laced with defiance and draped in the sun-soaked bravado of Tampa Bay.
The track itself is an audacious dance on the tightrope of youth; think less walking, more cartwheeling with no net below but only sky above. Pretti doesn’t just flirt with musical blasphemy by merging whiplash-inducing rap flows with hummingbird-delicate melodies—she marries it, unabashedly declaring herself maid-of-honor at every crossover genre’s wedding.
Every syllable spins yarns about untamed freedom—the reckless abandon of running through life’s corridors without knocking on doors or apologizing for cracked floors. Here stands Pretti Emage: part poet, part guerilla musicianship goddess firing arrows dipped in raw euphoria and resilience syrup.
Pretti Emage Out With “Young And Reckless”
To experience “Young And Reckless” is to inhale deep lungfuls of what feels like sonic liberation theory taught by someone who writes hooks that could catch clouds if you sang them high enough. To describe this single as merely music would be akin to saying fireflies are just bugs—they light up small worlds under vast skies! With verses strung delicately across tireless threads spun from endless summers and roller coaster springs explored during zest-drenched youths drying out into autumnal ruminations—not purely nostalgic because every note promises tomorrow even when barreling past midnight’s encore demand.
Let your ears feast then—no reservations needed here—for we’re not at any table long set before us; we’re setting it aflame together at Pretti Emage’s riotous banquet.
In the lush, fertile expanses of her latest single “ISLAND,” Rosalie James stitches together sonorous threads plucked from life’s tempestuous fabric. Her vocal cords seemingly dipped in both shadows and light, paint a spectrum only perceivable with the heart rather than mere eyes. Alongside Storefront Church, she ushers us through a passageway where notes become watercolors blurring into impressions of her inner world—a canvas smeared by mental health’s intricate dance.
“ISLAND” croons and shimmers as gently as an ocean at twilight—each wave mirrors bouts against depression mirrored back by a young mother’s tender but tremulous hands. The chilling sincerity strikes like cold wind on hot skin; it stirs up goosebumps while whispering tales of resilience borne out of tumultuous silences filled with unuttered confessions to self-soothing lullabies.
Delicate yet starkly powerful, her musicality reflects echoes reminiscent of Joni Mitchell’s lyrical prowess woven seamlessly with Kate Bush’s ethereal reach—handcrafting landscapes that Bon Iver might wander upon pensively. Here rests Rosalie—an alchemist turning personal tribulations into audial gold flecked heavily with streaks derived from the palette of an undiagnosed autistic mind finally embraced in its full tumultuous beauty.
“ISLAND” Vibes: Rosalie James’ Soundscape
This sonic voyage transcends traditional narratives; it is less about arriving safely ashore and more about embracing the wild swells during perilous crossings. Through harmonies meticulously choreographed around themes like neurodiversity and domestic upheaval, Rosalie not only sings but advocates fervently beneath every hovering harmony.
Through “ISLAND,” we brush against survival painted starkly against skies heavy with challenges yet buoyant through chords pulsed directly amidst dappled darkness lit briefly by hopeful luminance—all left reverberating softly even when silence looms near once again.
Autorub’s Artistic Evolution: The Miss Mace Mixes (432hz)
Singer-songwriter Michael Corn, also known as the mastermind behind the music project “Autorub” combines indie rock, soul, and pop in a way that is distinctly his own. The musical genius recently released this hypnotizing two-song EP called ‘The Miss Mace Mixes (432hz),’ the mesmerizing, ‘Miss Mace 432Hz,’ and the electrifying, ‘Electronic Dance Mace 432Hz. ’
This, together with fun and groovy melodies that characterize most of the songs, might be the reason why Autorub’s tracks are so different from the vast majority of other tunes. But that is not all – the EP is in 432Hz key, a frequency, which is said to put out more of a natural and harmonious sound when compared to the traditional tuning of 440Hz and it gives Corn’s excellent music even more insane richness.
The man behind the magic Michael Corn has been involved with the bands such as sammy and heydevils and has also incorporated music in famous television productions such as pawn stars and duck dynasty. Considering such a powerful background, it might be explained by autorub’s further evolution as an artist therefore creating an atmosphere of such a unique mix of musical genres.
During the interview, Corn discuss his work, ideas, and experiences of the filmmaking process and obstacles faced throughout his career. He also shares with the reader his vision of how Autorub will look like in the future. Prepare for a marvel of creativity and music with this extraordinary artist.
I don’t really have one. I considered MIC Drop, but then a boy band had a recent hit with that title. MIC are my actual initials so there’s that.
Is there a story behind your stage name?
If I had one, the story would be that I often leave people with a MIC drop moment, as I confront them on their own BS.
Where do you find inspiration?
It could come from anywhere. If we’re talking about writing lyrics, since I generally write about silly politicians, it’s mostly news stories and posts on social media. Musically it’s pretty wide open. An inspiration could come from something I like about another piece of music, or sometimes it’s fueled by just doing something different than the last piece I wrote.
What was the role of music in the early years of your life?
I was definitely drawn to it early – maybe 5ish. As a role, I’d say it mostly served to prepare me to do what I do. So lots and lots of shedding. Far more than the 10,000 hrs I think, but who’s counting?
Are you from a musical or artistic family?
Yes – it was on my mom’s side of the family. She was a great artist who also played some piano and sang a bit, my aunt played lots of piano, and my grandfather played guitar as well.
Who inspired you to be a part of the music industry?
I can’t boil it down to any one person. It was something I was drawn to pursue from very early on. Some things are just meant to be.
How did you learn to sing/write/to play?
It was a combination of taking piano lessons, and self teaching. While I did have some instruction on composition with one of my piano teachers (had a few over the years), the process of writing good songs is mostly trial and error for most composers I believe. I also used to play along with my records – I’ve heard of many musicians who practiced that way.
What was the first concert that you ever went to and who did you see perform?
It was probably Billy Joel. I actually don’t remember too much about the show…although I think he might’ve jumped off the piano and slightly injured his ankle. Didn’t stop the show or anything.
How could you describe your music?
It’s fun, addicting, melodic, mostly rock (but other genres too), polished but still rebellious, and somewhat sarcastic. Since most songs are mini portraits that call out various politicians on their BS, they are also modern day protest songs.
Describe your creative process.
As to the music, it’s pretty much as simple as pick up any instrument and just play something. See what comes out, and if it’s anything I like at all, then I’ll record it quick onto the phone to save it. Used to be a boombox years ago. For lyrics for Autorub, I will generally research the politician’s online bio, social media posts etc, kind of doing a little book report on them in order to write about them. I look for hypocrisy, and it’s not hard to find.
As to the music, it’s pretty much as simple as pick up any instrument and just play something.
What is your main inspiration?
Just to keep doing fresh things. When one song is finished, I’m ready to do something different. It’s every artist’s journey to keep discovering and reinventing themselves – or else they’re not on it.
What musician do you admire most and why?
Hmm…this takes some thinking because there’s many and I don’t tend to idolize. I’m gonna go with Paul McCartney – or Sir Paul I should say. His catalog is filled with many iconic songs that are all quite melodic, if there’s one common thread. So many generations, including mine, have grown up with his music and it’s set a standard of excellence in songwriting, including his Beatle bandmates. He showed us growth and experimentation as a songwriter in going from “Love Me Do” to say…”Helter Skelter” in a few short years. He also set good examples in how he raised his children – without allowing them to be spoiled by the means he’d gained. And he sums up the message of the Beatles as spreading love, which is an important vibe for the whole planet – especially right now.
Did your style evolve since the beginning of your career?
Yes definitely. As I mentioned earlier, you have to keep reinventing. Tastes and preferences also change naturally over time. I’ve been composing in multiple genres for a long time. It’s once of the things I enjoy most about composing for film/TV – I’ll be asked to do something I haven’t done before, and wouldn’t necessarily try in my solo career. And then maybe it rubs off into my solo material anyway.
Who do you see as your main competitor?
I’m not competing against anyone. I don’t view the arts that way, though many will call the music business competitive. I just do what I do and don’t worry about anyone else. If you want competition try sports or corporate America.
If it wasn’t a music career, what would you be doing?
In college, I studied Psychology as a back up career. But it was never my main passion so that wasn’t meant to be in that way. However, the instinct to help others does play out in writing music, as it is an outlet for expression and healing for everyone. Now that I’m releasing music in 432hz, a known healing frequency, this really all comes together. I’m trying to lead the charge on other artists switching back to this frequency of 432hz for mainstream music, as this will raise the planetary vibe immensely.
What is the biggest problem you have encountered in the journey of music?
I will answer this from a career perspective, in terms of achieving success. The business is generally cut out for the artist to fail at – so this obstacle is experienced by everyone. Major label deals have never been fair for the artist. Royalty rates have historically been low. We hear a lot about this now with streaming services, but it’s existed way before they did. The royalty rates for film/TV usage of music have always been poor. I’ve even had publishers that have requested to take a portion of the WRITER’S share of royalties – incredibly unethical. The entire system, like so many systems, just needs revamping. And it will happen.
Why did you choose this as the title of this project?
I liked the alliteration of Miss Mace Mixes.
What are your plans for the coming months?
More new songs, live performances, and epic new projects that I can’t say more about now!
Do you have any artistic collaboration plans
I plan on working with the best the industry has to offer. Why aim lower?
What message would you like to give to your fans?
I’m grateful for those who are discovering and enjoying my music. I hope it raises their vibes and keeps them excited for more. I also hope it inspires them to follow their passions and be perserverant. As my biggest successes have come in this later chapter, it’s proof positive of not giving up, staying authentic and having faith.
Threads of Truth: Unraveling Diana Omar’s “Plagiarize My Life”
Diana Omar’s “Plagiarize My Life” is a confessional scribble on the bathroom stall of society’s unspoken truth. Here, beneath the haunting whispers of minimalist indie pop—where soft vocals glide over vintage drums like ice skaters lost in fog—you find Omar bewitched by the spectre of her own echo.
Seized by impostor syndrome, each chord twitches like a marionette’s limb in this uneasy lullaby. It unfolds not unlike a diary whose ink bleeds into itself; pervasive lines such as “they bullied the curious girl into the shadows,” spiral repetitively, revealing scars under neon lights and shadows cast from childhood to womanhood.
Threads of Truth: Unraveling Diana Omar’s “Plagiarize My Life”
This track grieves for each masked face we’ve forced upon ourselves. Sessions, where our spirit’s outfit was too audacious for monochrome cubicles or vanilla forums, are chronicled here alongside internal warfare—a battle Diana illustrates masterfully using nothing more than tone shifts between verse and refrain that feel akin to breathing through mirrored corridors.
Ultimately, “Plagiarize My Life” strips bare with musical threads pulled tight around listeners’ chests until you gasp along at its raw intensity. The revelation? We all are stitched together fabrics borrowed—or stolen—from another’s wardrobe yet distinctly ours when worn threadbare with honesty.
In essence, Diana clinches radical self-acceptance—one painfully strummed string at a time.
Balancing Dreams and Reality: Trak's Insightful "Cheddar & Groupies
“Cheddar & Groupies” is the new single from Toronto-based rapper Trak, and this one is raw and straightforward, reflecting on the complexity of fame, money, and meaningless relationships while still wanted love and a simple life.
Born in Egypt, trained in Qatar and currently based in Japan, Trak’s music is undoubtedly colourful. His unique rapping style and rap lyrics’ raw honesty have garnered him some recognition and took him to perform on such events like Yasalam F1 and opened for Sean Paul and Hoobastank.
This track, ‘Cheddar & Groupies’, is one of the tracks produced by Trak that effectively combine different genres without sacrificing good lyricism. Regarding the lyrics, it is a credible account of his life and the dreams of leading a lavish life with money, fame, and lots of girls. However, there arises an element of internal struggle and a yearning for a life that transcends the prestigious life of a ‘playa.’
This track, ‘Cheddar & Groupies’, is one of the tracks produced by Trak that effectively combine different genres without sacrificing good lyricism.
The production quality is perfect and the overall sound is good where the big beat and the multi-layered tracks are clearly heard and crisp. The song, which was a mix of rap and pop, had Trak rapping energetically and the song structures has kept the song interesting throughout.
In its essence, one gets the impression that “Cheddar & Groupies” is just an elaborate story of what it is like to be a young artist trying to make sense of life and the grind of the music industry. The fact that Trak is unashamed of being unique shows in how he incorporates other sounds with such sincerity and narrativization. As he keeps on expanding his niche then this single can capture the depth of his musical journey profoundly.
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Jordana Delgado is a Vancouver based pianist, composer and singer songwriter who is making quite a stir through her poignant yet classy tracks. She followed various genres right from her childhood and the combination of the emotional style and the romantic prominence was the key to her music.
Her most famous album is “Rainy Times” and many people were touched with the stories that she tells in the songs. The visuals of the album earned the short film over 430000 views on YouTube, showing Jordana’s side of creativity. Some of her successful releases include “Somewhere in My Memory”, “Autumn Leaves”, and “The Cradle” . it is no surprise that “Autumn Leaves” got airplay on CBC Radio.
Now, Jordana is ready to amaze her fans one more time with “The Dancing Pink Flowers”, the leading track from the new EP “Seasons”. The track is based on Bossa Nova with the original piano tune represents spirit of spring in a gentle, tender music. According to Jordana, the feeling when it comes to music is like ‘cherry blossom dancing gently through the soft spring breeze’.
It has been quite a ride for the veteran artist who still has the capacity to leave audiences in awe of her depth and range. It is now time for Jordana to take us through her various pieces, her sources of inspiration and the meaning behind these profoundly touching pieces.
Is there a story behind your stage name?
It’s just my real name 😉
Where do you find inspiration? I find inspiration mostly in nature. There’s so much beauty around, it’s magical!
I also find inspiration in live music. Seeing other talented musicians perform is very inspiring.
Are you from a musical or artistic family? Yes, when I was born both my parents worked in the music industry. My dad was a touring musician and my mum was a booking agent. I grew up around artists and live music because of their jobs.
What was the role of music in the early years of your life? Music has always had a prominent role in my life. My parents always had music playing at home and they brought me to lots of live shows. We would go to see my dad play if they played nearby. My dad also brought me to some of his band rehearsals. My mom, because of her job, brought me to every show for children in the city: music, puppets, theater, circus… It was only natural that I showed interest in music very early.
Who inspired you to be a part of the music industry? It happened naturally. It wasn’t a decision that I made one day. I guess it was the musical environment I had since I was born.
How did you learn to sing/write/to play? I started singing when I was around 3 and asked my parents for piano lessons when I was 4, but they thought I was too young. At that time, the only music education available was the old-school Conservatory of Music. They knew how hard that can be on young kids, so they let me experiment and have fun with music by myself. I sang, played the recorder, a little keyboard and the guitar. I picked up songs by ear. Those were a few years of experimentation and learning mostly by myself.
When I was 13, my parents saw that I was really serious about music and signed me up for piano lessons and formal music education. I went to the Conservatory of Music and got my degree in piano performance in classical music. After that, and because I also wrote music, I got interested in jazz harmony, so I went to study with a private teacher. I also learnt a lot from playing in many different classical ensembles, world-music bands, pop bands… the more variety the better.
Overall, one has to find the balance between experimentation and education because both are very important.
What was the first concert that you ever went to and who did you see perform? Since I was exposed to live music from a very early age, I couldn’t say. It probably was one of my dad’s bands.
How could you describe your music? At first sight, people say it’s neo-classical music. I can see why they say that: it’s mostly piano solo music. However, I think it’s descriptive music. I tell stories with music and I use any musical element I need in order to serve the story. That means that I can have piano pieces that sound classical, others sound jazzier, others more Brazilian, others more pop… I use any musical style I need to tell my story better. I also write songs and I love to custom-make the piano part so the accompaniment describes exactly what the lyrics say.
I tell stories with music and I use any musical element I need in order to serve the story.
Describe your creative process. My creative process looks different every single time. However, there’s a common element: the storytelling. Music brings stories to my head, I see them! The process could start with an improvisation, or with me wanting to explore some music theory element, or trying to express a feeling or emotion.
It could also start with a title, or a word in mind, or a specific story. The spark could be anything! Once the process has started, the story comes to mind and then I just follow it and see where it brings me. Sometimes the story requires me to do some research and sometimes the music just unfolds before my eyes in real time.
What musician do you admire most and why?
Regina Spektor. I fell in love with her songwriting many years ago. At that time, I only wrote instrumental music, and she’s the reason why I started to write songs.
Did your style evolve since the beginning of your career? Of course, totally! I’ve played so many different musical styles: classical, world-music, pop, a cappella, singer-songwriter… and I enjoyed immersing myself in each of those genres for a while. I think that, in my music right now, you can hear little hints of everything I’ve done in the past. Your style keeps changing and evolving as reflection of yourself.
Who do you see as your main competitor? Myself! I’m not here to compete with anyone. Everyone has a unique path and a unique voice and one should not compare themselves with others. I only compare myself with my past self. Am I improving? Am I moving forward? How can I do this better? That’s all I care about.
What are your interests outside of music? I like to be outside in nature as much as I can. However, I also like reading, knitting and going to my ballet classes.
If it wasn’t a music career, what would you be doing? I’d still be involved in the arts for sure. I’d probably be working in the theatre world as a production designer or stage manager.
What is the biggest problem you have encountered in the journey of music? How to balance the personal life with the artistic life. As an independent artist, you’re by yourself and you have to do all the work that usually requires a team of people full-time. But you’re alone trying to do everything which usually means that you end up working 12-15 hours a day. And it’s still not enough. It is very challenging to put limits to that so you don’t end up with massive burnouts every so often.
Another big problem is smoke-sellers. Nowadays is easier to release music since we don’t need record labels anymore. However, there are many many people out there trying to take advantage of musicians’ dreams, asking for your money for services that achieve nothing and trying to scam you. There are also very good professionals that actually help you, but one needs to be very careful.
If you could change one thing in the music industry, what would it be? Musicians shouldn’t play for free, ever! We actually spend more time and money in our training than a doctor or a lawyer. In addition, we need to buy expensive equipment, pay for studio time and a long list of other things. If you wouldn’t ask a doctor or a lawyer to work for free because you value their training and expertise, why would you ask a musician to work for free?
Why did you choose this as the title of this project? My new single is called “The Dancing Pink Flowers.” It’ll be included in my EP “Seasons” as a representation of the spring. When I sat to write it, the theme was clear: spring! And what is more representative of spring than the gorgeous cherry blossom? Pink flowers everywhere, dancing with the wind… so: “The Dancing Pink Flowers”
What are your plans for the coming months?
Right now, I’m working on the release of my EP “Seasons” that comes out on July 26th and also on its release party. For the fall I have plans to finish a project I started in 2022: “The Rainy Times Story.”
For those readers that are new to my world, “The Rainy Times Story” is a 9-episode short film that develops through the tracks of my debut album “Rainy Times”, and that has gained so far over 430k on YouTube. It is a very special story about the pass of time. I released 6 episodes between 2021 and 2022 but for personal reasons I had to stop it. Now, in 2024 is time to bring to life the last 3 episodes!
Do you have any artistic collaboration plans? I do collaborate with other musicians in the Vancouver community but they are usually one-time collaborations for a specific gig. They’re usually very spontaneous. Right now, I don’t have any serious collaboration in mind. By “serious” I mean recording and officially releasing a song.
What message would you like to give to your fans? I want to express my eternal gratitude to them! I do what I do thanks to the fans that support me and cheer me on along the way. I wouldn’t be here without them! THANK YOU!!
“Wave Goodbye”: Eddie Cohn's Serenade - A Downtown Session
As the needle drops on Eddie Cohn’s “Wave Goodbye (Downtown Session),” one feels as though they are stepping into a sepia-toned reverie, where guitar strings flutter like the wings of a moth against an old porch light. Here is music that hangs heavy with the scent of bittersweet farewells and smoldering personal revolutions.
In this track, minimalism crafts its echo. Each strum of Brett Farkas’s electric guitar travels sprawling paths down dusky corridors of introspection; each note lingers like fingertips reluctant to let go. As we wander through the heartbeats woven by Cohn’s earnest vocal delivery and acoustic adornments, it becomes clear: this is not merely a song but a ritual for shedding skins.
“Wave Goodbye”: Eddie Cohn’s Serenade – A Downtown Session
The pulse of “Wave Goodbye” resonates in those hollow spaces within us all — whispering stories about change clothed in twilight gowns. It captures goodbyes breathed softly under breaths – whether to past lovers whose memories linger or versions of ourselves better left behind among moonlit shadows. These melodies rise and fall like chest heaves, spilling secrets into cavernous rooms lit only by flickers from a muted television broadcasting long-forgotten MTV Unplugged sessions.
What emanates fiercely from “Wave Goodbye” isn’t just sound; it’s catharsis wrapped subtly in echoes and silences crafted delicately by Kevin Penner’s mixing and mastering prowess—all set against L.A.’s concrete jungle as captured through Leslie Andrew Ridings’ lens—a nostalgic nod draped in modernity.
With simplicity sublime yet profound influences boldly printed between lines sung – here lies Eddie Cohn holding out his hand invitingly towards metamorphosis’ embrace-all sealed with farewell kiss upon listeners’ ears till their next encounter.
A Star on the Rise: Zara DuCrôs Debuts with "Ball Game"
Allow me to present to you Zara DuCrôs – New Zealand-raised singer and actress, now based in New York, who has already created quite a stir with her debut release, ‘Ball Game.
What’s dope is that Zara knowingly assumed her mom’s maiden name to be unique in an environment that is saturated with vanilla names. Her work is inspired by real life experiences or people she holds dear, the setting of New York offers her the coolest environment to be creative in.
Music has always been a part of Zara’s culture as soon as it opened its doors to the public. She had this ill Ukrainian piano teacher named Nataliya in her childhood that played a huge role in her sound and love for music. It is possible to see/hear those formative years in her songs.
Talking about that beat, ‘Ball Game’ is a loaded up pop-rock kind of deal, but you ain’t seen nothing yet from Zara. Inspired by such artists as Taylor Swift, Olivia Rodrigo, and The 1975, her development of a new style allows for acoustic and soft vibes to fuse with the harder elements in the most intriguing manner. It means that there are no limitations, there are no guidelines that one has to adhere to when creating artwork.
Is there a story behind your stage name? Well, ‘DuCrôs’ is my mother’s maiden name, and it’s actually one of my middle names. My real last name is ‘Smith’, but I decided against using it given there are already so many prominent ‘Smith’s’ on the entertainment scene. ‘DuCrôs’ also just sounds cooler to be honest, and it’s French!
Where do you find inspiration? I draw inspiration from a lot of areas in my life, though I primarily find it in the relationships I have or have had with people around me. I enjoy writing about specific periods of my life; thus far it’s usually the most turbulent, change-inducing, or hopeful eras that produce the best music. It helps to live in NYC as well – there’s inspiration everywhere here.
What was the role of music in the early years of your life? I would say that music was one of the pillars foundational to my life from a very early point. I’ve been singing as long as I can remember, and picked up the piano at age 7. Music, in various forms, whether it was playing Tchaikovsky or singing pop songs in the car with my mum, was the most important outlet for me. It’s always been the way I am best able to express myself.
Are you from a musical or artistic family? I can’t really say that I am – I’m the only one of my family who has decided on a career in the arts. However, my brother (one of the most talented people I know) is a really talented lyricist. He used to write a lot.
Who inspired you to be a part of the music industry? This question is hard! I don’t know if there is any one person that inspired me, because I always felt like it was something I wanted to do. Although, one of my best friends (who has a band himself) convinced me while we were still in high school to start doing more with my music, because I was always too scared to. Maybe I could put it down to him!
How did you learn to sing/write/to play? Singing is something I don’t think I ever learned properly, but I was definitely a part of school choirs growing up. I figured out how to write songs gradually as I entered the teenage years – I taught myself, really just drawing upon my favourite artists as a reference/rubric for what sounded right.
When it comes to playing piano, I grew up with a lovely Ukrainian piano teacher called Nataliya. She was so passionate that it definitely rubbed off on me. I gained classical training with her for a little over ten years – I still think about her a lot and miss those days.
What was the first concert that you ever went to and who did you see perform? The first concert I ever saw was Justin Bieber’s ‘Purpose’ tour – I was about 13 years old and probably just fan-girled the whole night.
How could you describe your music? I would describe my music as a blend of pop and punk influences, with lyricism that explores the turbulence of girlhood. This new single has a pop-rock vibe to it, though a lot of my other work I plan to release is more of an acoustic sound – soft pop stretching from a piano ballad to a more folky/indie pop track. I think that my sound will be ever changing!
Describe your creative process. It definitely differs, though usually I will sit down at the piano when I’m feeling inspired and bang out a song in anywhere between 30 minutes to a couple of days. Sometimes that’s frequent, and sometimes I have huge dry spells. I have a journal that I’m constantly jotting down ideas into – lyrics, concepts, experiences, etc. so when the idea for a verse or a catchy hook strikes, I have the concept ready to go. Or vice versa!
What is your main inspiration? A lot of things; mostly my relationships with people who are important or have been important to me.
What musician do you admire most and why? I struggle to narrow that down to one. Lyricism is super important to me – I love clever lyrics. For that reason, I love artists like Lizzy McAlpine, Sophie Holohan, Olivia Rodrigo and Taylor Swift. I also love creative production and am really impressed by artists like The 1975, Del Water Gap and Harry Styles who I feel take risks all the time and make interesting choices when it comes to producing a track.
Did your style evolve since the beginning of your career? My career is really only just beginning, so I don’t know that I could speak to the evolution of my style. I definitely think that it will in the future; after just my first release I can feel myself wanting to experiment more with my sound.
Who do you see as your main competitor? I honestly have no idea. The other girlies in pop? I definitely have a lot more to produce before I’m competing at the top!
I definitely have a lot more to produce before I’m competing at the top!
What are your interests outside of music? I’m also an actress! I’m frequently taking technique classes and recording self-tapes. I also love team sports, going for nice walks etc. Recently I’ve had a weird obsession with the weather as well that I can’t really justify.
If it wasn’t a music career, what would you be doing? If not acting, maybe journalism. That interested me for the writing elements – I also think I would have enjoyed being a live-cross reporter on the news.
What is the biggest problem you have encountered in the journey of music? I think getting over what people might think about what I put out – it took me a while to take the first step, but at the end of the day I’m really proud of what I made, and I like my music! So it’s alright if no one else does.
If you could change one thing in the music industry, what would it be? I’m not entirely sure. Though if I speak for right now (as in June 2024), I would love to see more fun, dance-able pop music make an appearance. I feel as though as a culture we peaked with summer music in 2016 and it hasn’t been the same since. Less moody ballads (though I do love those) and more upbeat bangers!
Why did you choose this as the title of this project? The line in the chorus “we’re playing different ball games” seemed to encompass the song best out of them all – so calling the song ‘Ball Game’ felt like the best choice.
What are your plans for the coming months? I have plans to get the ball rolling on an EP soon; there are a lot of tracks that I am excited to share, so I would love to put out a larger body of work moving forward.
Do you have any artistic collaboration plans? Not as of yet, though I’ve been meeting a lot of new artists in recent months who are super talented, so who knows! A collab could be on the horizon.
What message would you like to give to your fans? I’m not sure that I have any fans just yet! But if there are any out there, I would want to say that my goal is always to make music that helps you feel seen. I know how much music has helped me deal with the rockiness of relationships and change throughout the years – if my music can help anyone in the same way it helps me, that would mean the world.
"She's Got It”: Cybèle's Empowerment Anthem Steals the Show
As the needle drops on Cybèle’s latest sonic canvas, “She’s Got It,” a whirlwind of empowerment spins through every decibel. Here we have music that doesn’t just walk into your living room; it dances in wearing neon boots and tosses glitter into your soul.
The first note strikes—an electric pulse—melding Dua Lipa’s disco-pop vibrancy with wisps of Michael Jackson-esque theatrics right before plunging deep into something uniquely, irrevocably *Cybèle*. Her vocals aren’t merely emotive—they’re revolutionary war cries from atop velvet mountains, harmonizing both her French finesse and Chinese-American vigor. The track is like flipping pages in an atlas where every nation speaks pop but accents its syllables differently.
But what does she celebrate? Women—their grit wrapped softly under feathers yet fierce as unyielded swords strung across their backs. This songwriter isn’t here to play melodies for you; no, she crafts hymns for inner revolutions birthmarked by dreams so audacious they might scare the stars away if whispered at nightfall.
“She’s Got It”: Cybèle’s Empowerment Anthem Steals the Show
This release marries cinematic production—a grandeur only matched by Cybele’s committee-meetings between Berklee College studies and Harvard debates—with streetwise whisperings about homelessness or pink ribbons twirling against cancerous indifference concerning women who fight endless odds each day without losing rhythm!
It finishes not with a bang nor whimper but rather as rivers meld back quietly after nourishing earth: empowering manifestations encased within rhythms anyone can echo out loud! A powerful testament — joyously complete.
‘…real love’: Silja Rós’ Soulful Tribute to Youthful Freedom
Ok, let me introduce you to this incredible all-rounder direct from the beautiful country of Iceland – Silja Rós. This chick is the total package, incorporating dancing into her singing, acting, and even writing songs in a way that will amaze you.
Such a sound matches the uniqueness of Silja; her music can be best described as R & B, alternative pop and soul. Influenced by Sade jazz taste and Erykah Badu soul, but one cannot mistake her for anyone else other than Silja. If you take a closer look at her references like Jacob Collier, Olivia Dean, Frank Ocean and so on, everything is clear.
After the success of the EP known as “The way u. . . ,” Silja is back with her new single ‘ … real love’ and it is about to become your new favorite summer hit, fam. This is an ultimate disco track that hypnotizes with its beats and feels like a perfect soundtrack for the youth of the 80s and 90s.
This is an ultimate disco track that hypnotizes with its beats and feels like a perfect soundtrack for the youth of the 80s and 90s.
Silja Rós states that ‘…real love’ is about her experience living in Los Angeles in a colorful apartment full of people like the popular show *Friends*. The song is about the happiness and the liberty of the warm summer days well spent with friends, chasing dreams and having fun.
It is not just the atmosphere of the track that catches the listener’s attention but also Silja’s mellow voice and these jazzy groovy rhyms right from the beginning of the song. That awesome bass beat and the warm Rhodes piano gives this track this laid back, cool, pure vibe feel.
In conclusion, real love’ is so much more than just a song – it’s an incredible and inspiring piece that would never cease to be popular among people of various age. Silja has created a true gem of a song that is going to be the summer anthem and encourage everyone to embrace the little things in life, true friendships.
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Let me put it simply – when you listen to TONYT’s latest single ‘Revolving Doors’ you would not be wrong to assume it is a track from a full band with several musicians. First things first, you are met with the first chord progressions that immediately remind you of early pop-punk from the 2000s.
The breakdown towards the end is heavier and more aggressive for a metal band here and now with these killer electronic elements and synth lines occurring here and there. All in all, it is a deliciously dynamic and multifaceted ride and its complexities make it a roller coaster ride all the way.
This track gets straight to the topic that is most contemporary to the United Kingdom, given the circumstance of the impending election. How it reflects the current culture and mood, kind of like a soundtrack to the crazed political climate people are experiencing at the moment. Talk about depth!
And you know what? The story of creating ‘Revolving Doors’ is as surreal as the tune of the song. When Tony and Josh recently discovered a demo they recorded while in college over a decade ago, they took over a year to pass ideas back and forth to each other before the creation of this project from two ‘hyperactive’ friends. That constant to-ing and fro-ing has paid off big time and what we get is a track that is well thought out and yet it is raw with energy.
Moving forward, the guys are already planning strategies to adapt “Revolving Doors” to a stage performance with an album release, live sessions, music videos, and remixes on the horizon. They’re sure to knock the roof off!!!
All in all, ‘Revolving Doors’ is nothing but another testimony on TONYT’s capacity of integrating all those different musical jigsaw puzzles into one coherent, engaging and not to mention catchy musical piece. It is a track that reflects the turbulent nature with which it was recorded, and the turbulent political climate it discusses, all the while being one hell of a fun, explosive, and powerful alt-rock song. Watch these two: they are only beginning to blaze new trails and cause ripples in the industry.
From Retro Roots to Futuristic Flair: Exploring Carsten Schnell's 'Heiss!'
I’d like to introduce you to this amazing artist in electronic music scene – Carsten Schnell who has been producing those mind-blowing tracks since 90s, and recently came up with this track named – “Heiss!”this jam is a straight up lesson on how to mix the old school vibe with the new school rhythm that will keep heads nodding cross generational boarders.
“Heiss!” starts with these arpeggiated rhythms that would remind you of those days of synthesizers from Roland and Yamaha. And just as one thinks he’s seen it all, one wakes up to this!He comes at you with these orchestrated, modern broke beats and electronic dance music elements that make the song fresh.
Like an adrenaline rush that lasts just a few minutes, “Heiss!” is still packed with hooks, and been given Carsten’s trademark radio-friendly sheen, without losing any of its depth and dynamics. It has an incredible beat, the rhythm is perfect, and it has an energy that is perfect for playing in clubs as well as listening to when compilation is being made.
Carsten is a magician at combining people and robots as features, and the manner he incorporates these futuristic vocal inserts to “Heiss!” lends the number a sci-fi feel that is rather fitting.
But here is where “Heiss!” gets really exciting – the name of the show means “hot” in English and one can draw a conclusions that the creators of the show were referring to climate change. During you are dancing the night away to the catchy beats, Carsten calmly reminds you about global warming and the effects of people on the environment. Genius, right?
It’s, perhaps, a perfect blend of his pioneering work and his predisposition to exploring uncharted territory within the electronica sphere. This track helps to preserve his creativity to the maximum, and to introduce himself to the modern listeners as an innovative musician. Be prepared for some fun, tears and motivation – all at the same time!
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Okay, music lovers, I have a special one for you today – the details about “Secret Place,” this new spooky, but gorgeously moving track. It is a work of Andrew Caryl and a talented artist from Belgium, Human Without Gravity, whose real name is Lieselotte Verrecas.
With its focus on peace and solitude, “Secret Place” captures the desire each of us has for an oasis from the rigors of life. Lieselotte sings the most heavenly operatic soprano over these fat booming piano notes that wrap around your head like a blanket. It’s their musical therapy, the medicine for the ears, you feel me?
The story of the song is so familiar too. Lieselotte was a resident of a big city that was full of noise and she began to yearn for quiet. In her own words, “I always thought, ‘I wish I had a secret place. ’ . . . ” And that was the inception of this heart-touching piece.
Andrew’s brilliant mixing and mastering enhance Lieselotte’s poetic, reflective lyrics, and the songs’ healing nature is undeniable. When I spoke with dude, he shared with me all of the juicy details : his numerous musical inspirations, his foray into the production booth, his opinion on how the music business is moving.
You’re going to want to hear what Andrew has to say and how he and Lieselotte harnessed that desire for calm in creating their new musical sanctuary. Don’t miss the opportunity to go behind the scenes of “Secret Place”.
What is your stage name Andrew Caryl
Human Without Gravity
(Human Without Gravity is the artist on this track, and Andrew Caryl is the co-writer and producer. The questions are being answered by Andrew Caryl)
Where do you find inspiration? As a producer first and an artist second, I mainly look for artists and songs that are what I refer to as “within the 4 chords” – a reference to the spaces just ‘outside the box’ If you place a square inside of a circle so that the corners of the square touch the inside edges of the circle, you end up with 4 semi-circular spaces surrounding the square.
In the world of mathematics, each of these spaces is called a chord. I find that songs and artists that fit into these spaces – not middle-of-the-road pop-hit stuff, but also not way out there either. That is hard to find. That is what inspires me. It’s not about genre. It’s about finding a unique sound in a world full of copycats. When I find them. I jump at the opportunity to produce them.
I find that songs and artists that fit into these spaces – not middle-of-the-road pop-hit stuff, but also not way out there either.
What was the role of music in the early years of your life? I started playing trumpet when I was around 8 years old. That was influenced by my grandfather, who was a big fan of Dixie-land jazz. My mother was the president of the Barry Manilow fan club, so we went to a lot of Barry Manilow concerts. As a reward for my tolerance of all that, she would let me pick a show from time to time that I wanted to see.
I’m dating myself a bit here, but some of my first concerts were KC & The Sunshine Band, Iron Maiden, Kraftwerk, and Howard Jones – a crazy wide love of music across multiple genres. By my early teens, I had discovered electronic music. I studied music theory and composition at university. I have been writing and producing ever since.
Are you from a musical or artistic family? Not really. There aren’t any other musicians or artists in my family, but my parents and grandparents were massive fans of music. Their love of everything from jazz to rock really influenced me. It helped me understand that just because I don’t ‘like’ a song or an artist doesn’t mean it isn’t good. It taught me to listen to everything with an open mind.
Who inspired you to be a part of the music industry? My old friend Steve Thompson. He is also a musician and former band-mate. He reached out in 2020 during covid. We all had plenty of time on our hands, and he thought we should get a remote/virtual band together and record cover songs for fun. He called it ‘The Distance Blues Project’. We recorded a few songs that summer.
It forced me to get my ‘chops’ back on the keyboard. It inspired me to start writing again. This is when everything took off. I started meeting some really talented singers and other producers and working with them. I found that what I really loved was the technical aspect of music production. So I dove in head first. I’m still learning.
Everyone is still learning. But after landing a song as a finalist in a pretty large songwriting competition, I gained a lot of confidence that I was good at it. This all started with a phone call from Steve in early 2020.
How did you learn to sing/write/to play? I’m not proficient at playing any instrument. I can play just enough keys or guitar to accomplish what I need. I don’t really sing much, but when I do, it’s a style I developed a long time ago. I think I have a terrible voice. So I had to find a way to create a sound that would work and would sound cool. So, when I do sing, it sounds a bit like Trent Reznor but with more distortion. Mostly, I rely on working with other singers who can actually sing!
What was the first concert that you ever went to and who did you see perform? I’m dating myself again here! The first concert I ever attended was Barry Manilow because my mother used to take me to every Manilow show she could get to. But the first concert I ever bought a ticket to was KC & The Sunshine Band. My first record was a gift from my grandparents: Johnny Cash’s ‘Live at San Quentin.’ I have a huge love of music across all genres.
How could you describe your music? ‘Secret Place’ with Human Without Gravity, for a moment. Lieselotte (Human Without Gravity) writes melancholic pop music about being human and the disappointment that often comes with being human. She’s very introspective. With songs like ‘Greed’, ‘Drinking Tea With Demons’, ‘Storm’ and ‘Secret Place’, she has a voice that pulls you in and makes you listen to what she has to say.
Describe your creative process. I always start a song with a beat or melody that I love. Then I build around it. When I create something that seems to be working, I’ll then start thinking about the subject matter, lyrics, etc. and build out the rest of the production. Depending on how the song evolves, the genre, etc. I’ll then start looking for a singer. Or, in the case of my personal projects as Darren Vader or dilemma sect, I’ll record the vocals myself.
Human Without Gravity, whose real name is Lieselotte Verrecas
What is your main inspiration?
Nature. Mother nature is fascinating. Full of beauty. And full of life. And full of mathematics. Everything comes down to numbers and patterns. I really get inspired during those rare moments when I can sit in silence in a quiet place outdoors. Just last week, I was on a pretty secluded beach. The wind and waves. Man, it’s so rhythmic and soothing. The same thing happens in the forest. I love sitting alone in the forest. The wind flows through the trees. It’s truly musical; and magical. Those are the times that I come up with the best ideas.
What musician do you admire most and why? This is a tough one. I admire so many. But right now I;d have to say it’s a tie between Post Malone and Tayler Swift. Yes, both in the pop genre. or country. I guess that depends on the day of the week. But that’s what I love and admire about them. Post Malone was able to to bring his fans into hip-hop, pop, and country music all at the same time. I really love that he doesn’t have to pigeon hole himself into a single genre. he’s teaching listeners that genre doesn’t really matter. I think that is awesome.
Did your style evolve since the beginning of your career? Absolutely. My early songs sucked so bad. I mean really bad. And the production. wow. so bad. And it was very stiff and electronic. I learned to produce with a more human feel as I developed my own sound as a writer and performer. I started listening to everything. For a while, I couldn’t figure out how to rectify my love of everything and turn it into a production process that made any sense. But now I think I am figuring that out and am developing a production style that I like.
Who do you see as your main competitor? I don’t think about ‘competition’ at all. Everyone is unique and everyone brings something great to the table. So I don’t think about it as competition. In fact, collaboration is the key in today’s music industry. If you are collaborating and making friends in the industry, you probably won’t get very far. It’s not just about business either. It’s about human connection and understanding that we all have great things within us. Everyone has a unique view that can make a project great.
What are your interests outside of music? I love to travel. I love meeting people and experiencing new cultures and ways of life. I also love college football and motorsports.
If it wasn’t a music career, what would you be doing? I’d probably be a magician or a circus clown. Maybe a river rafting guide or an interior decorator. So many possibilities!
What is the biggest problem you have encountered in the journey of music? Income. It’s really hard to make a living in the music business. It’s become a lot harder with the advent of streaming services and the lowering of the attention spans of the younger folks. Everything with the fans who buy music is increasingly driven by social media. They don’t seem to be experimenting with new music nearly as much as I did when I was younger. They prefer to only listen to what their friends are also listening to. This makes it harder to build a fan base and breakthrough as a new artist.
If you could change one thing in the music industry, what would it be? I would get rid of music streaming. Sure, it provides a platform for anyone to release music, but it has also completely changed the landscape of how an artist makes a living.
Why did you choose this as the title of this project? ‘Secret Place’ was born through the experience that Lieselotte (Human Without Gravity) had while living in a big noisy city. In her words, “It was never quiet, which stressed me out because I really needed a place where I could find some peace. I always thought, ‘I wish I had a secret place…’ And that’s how the song was born.”
What are your plans for the coming months? I hope to work with Human Without Gravity on another project very soon. in the mean time I am working on an EP with London-based artist Shea, an acoustic EP with Louisiana-based singer Richard Guidry, a couple of upcoming tracks with Florida-based singer Melanie Joy Wilpon, recording a new album with my alter ego ‘dilemma sect’ and focusing on projects for TV and film.
Do you have any artistic collaboration plans You bet. I am always collaborating. I have projects in the works with Shea, Richard Guidry, Melanie Joy Wilpon, Okafuwa, Robbie Rosen, and Alessa, among others. I thrive on collaborations.
What message would you like to give to your fans? I really love the folks who follow the music that I help create. If they follow me, then they have a wide range in musical tastes. I appreciate them so much! I always say “Don’t let genre define you or what you like. Be you. Be yourself. Explore.”
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I recently had the opportunity to chat with Peter Daniel, a very talented Seattle-based saxophonist, and composer who recently released his new single called ‘Miles Around’ which is from his complex and innovative series called ‘Quartets.
For this one, Peter got together an amazing cast: Marina Christopher for bass, Marina Albero for Fender Rhodes, and Heather Thomas on drums. Together they make this great, full bodied jazzy sound that just engulfs you. The musicianship is exceptional but it’s Peter’s artistic direction and the chemistry that makes “Miles Around” an entirely different ball game.
Today, Peter’s musical odyssey is as diverse as can be. He has supported electronic dance music artists, explored funk and soul for ten years, and trained as a jazz musician. Those manifold inspirations amalgamate into his completely distinct style as both a composer and a performer.
I wanted to get an insight into his creative process, his artistic progression and his experiences during his journey towards pursuing music full-time. He also talked about his first musical influences, the events that made him decide to dedicate to music and his philosophy of always working with other artists.
Picking Peter’s brains was enlightening and gaining insight into the current jazz scene that he has emerged as such a passionate advocate for was amazing. He has so much to tell and it seems like a genuine passion for teaching – tune in for more of the details!
Where do you find inspiration? My education was primarily focused on jazz, and I have been exploring the funk/soul world in depth for the past 10-12 years. I have also had the privilege of a very diverse career, backing up EDM bands, latin jazz and pop artists, hip hop and indie rock icons and everything in between, so some of the lessons I learned there make their way into this music.
What was the role of music in the early years of your life? I’ve been playing since the 5th grade and immediately took a strong interest in music. I found myself in jazz band in middle and high school and took a lot of inspiration from my music teachers. My middle school band director, now retired, actually came to one of my shows last year; it was great to see him.
Who inspired you to be a part of the music industry? I didn’t embrace music as a profession and full time pursuit until I was already in college studying a science degree. I had friends in high school who were similarly motivated and through them we encountered some of the players on our local scene: guys who didn’t have a recognizable name but were making their living through music.
This was an eye-opener for me, that there was this class of musician in between hobbyist and playing two nights at Jazz Alley. I also got a lot of encouragement from my private teachers both in high school and college who helped assure me that I had what it was going to take.
I didn’t embrace music as a profession and full time pursuit until I was already in college studying a science degree
How did you learn to sing/write/to play?
I learned writing like most skills are learned: trial and error. This is a large collection of recorded music that I’m proud of, and the road that lead to it is paved with many more compositions that no one will ever again hear played.
I tried to pay attention to songs I liked and then break them down to figure out what specifically about them I was drawn to. Through that process and through feedback from bandmates (writing for instruments you don’t play involves a learning curve) I have developed my voice as a composer and arranger.
What was the first concert that you ever went to and who did you see perform? One of the earliest I can remember is Wynton Marsalis with Jazz at Lincoln Center on tour in Seattle, it must have been in the early 90s. I can’t remember what the venue was, I was in 3rd or 4th grade. And while I can’t remember any of the music they played, I can remember how the music made me feel, how excited I was, and how bright the stage and the band was.
How could you describe your music? It’s a mixture of jazz and funk with influences from pop music. Maceo liked to say his music was “2% jazz, 98% funky stuff.” We’re probably closer to a 50/50 ratio.
Did your style evolve since the beginning of your career? Absolutely. As what you might call a session or studio musician, I find myself performing in a wide variety of styles, each of which informs me in a different way. As I progress, these influences grow and change in various ways. Also as I continue to grow and improve as a saxophonist, what is available to me changes and what I can produce grows as well.
What are your interests outside of music? It’s a bit of a cliche around the Pacific Northwest, but I like being outside. My wife and I love multi-day backpacking trips into the North Cascades, and we’ve taken our daughter camping several times a year.
What is the biggest problem you have encountered in the journey of music? The industry is constantly changing. It is now easier than ever to create and distribute music which is both a blessing and a challenge. The barriers to entry have been severely reduced so any artist who has something to say can find a way to say and share it without having to convince the former gatekeepers of the music industry.
However this leads to a flooded market with an unimaginable number of artists and songs to contend with if you want people to hear your songs. Finding your voice, finding your audience, and effectively connecting to them have always been surefire ways to succeed, but how those are executed requires a wide variety of new skills in order to catch the eye: photography, graphic design, video editing, etc. are all now necessary for musicians or their teams, with more resources and platforms every year. It’s a lot to keep on top of.
Why did you choose this as the title of this project? When I formed this quartet I was in a number of regular bands and found myself playing with the same two dozen or so people. There are a lot of great friends and players in the Seattle scene and I wanted to create a context to play with a lot of them, so I started a group that intentionally rotated players.
The album features 4 different rhythm sections comprised of some of the players who were on regular rotation so I called it “Quartets.” One of the early iterations of the band was Heather Thomas on drums, Marina Albero on keys and Marina Christopher on bass and I really enjoyed the sound of that lineup, so it was important to me to get this version together once it came time to record.
What are your plans for the coming months? The album will be out later this year, likely in the fall. To keep up with all the news, head to www.peterdanieljazz.com
Do you have any artistic collaboration plans I will be at Timber! Fest this July in Carnation, WA where I will be launching the Peter Daniel Horntet. We are working with a number of artists at that festival including Dean Johnson and Kate Dinsmore, and I’m hoping to expand the collaborative work of that group in the years to come.
What message would you like to give to your fans? Thanks for all your continued support! We are nothing without our community, and I am truly humbled by the one I have assembled here.
“Checkmate In Two, Donnie”: THE HYBRIS Strikes Again
“Checkmate In Two, Donnie,” by THE HYBRIS is their latest outcry, a track that doesn’t merely ripple but rather tsunamis through the placid waters of contemporary rock. Here in this audial cosmos, we meet again our indefatigable trio—Ringo Rabbit, Beanie Bison, and Malcolm Mandrill—who don their capes not just for show but as armor against societal decay.
Wielding guitars like swords and lyrics sharper than a scalpel’s edge laced with lemon juice and salt—painful yet cleansing—the band from alt-rock’s whimsical corner hurtles toward us on steeds made of distorted chords and pulsating drumbeats reminiscent of ’80s punk spirits dancing under discolored pop art skies.
In “Checkmate In Two, Donnie,” one can almost see these fine superheroes poised over a darkened chessboard sprawled across an alleyway where shadows whisper secrets. Each checkered move narrates tales: thwarting the knavish dash to power by figures veiled behind masks not as charming or benevolent as theirs. It’s all at once a murky fairytale illuminated by fireflies trapped in old jam jars—a beacon for those navigating the foggy streets besieged by political ghouls.
“Checkmate In Two, Donnie”: THE HYBRIS Strikes Again
Imagine if superheroes didn’t swing between skyscrapers but straddled bass drums projected towards horizons tinted by neon rebellion—you’d get close to what THE HYBRIS conjures here. As they crisscross continents—from Nice to L.A., tipping hats off in Cologne—their anthemic resonance echoes within earshot; it reshapes silences into discussions infused with purpose beyond beats per minute; it sparks dialogue seasoned generously with disgust yet anchored firmly in hope—it is very much ‘hybris’, daring greatly despite risk of descent.
As “Checkmate In Two” murmurs its last note amidst electronic applause fabricated from yesteryear claps salvaged from vinyl grooves long thought forgotten—remember this: You’ve journeyed through more than just sound waves; you’ve surfed upon rip currents aiming boldly for shores unknown.
Keep your ears tuned; there’s still more heroism left in these valiant misfits capable of upsetting popular musical myths—with every chord struck stirring revolution one riff at a time.
