"Raw and Real: Talia Grace's 'From Under You' EP Review"
With her new EP “From Under You,” takes us on an incredibly raw and honest journey through pain, healing, and profound personal growth. Recorded in the intimate setting of her producer Taylor Webb’s apartment, the simple instrumentation allows Talia’s powerful vocals and poignant lyrics to just envelop you completely.
She doesn’t waste any time diving into the deep end on the opener “I Call the Girl Before the Girl.” Driven by that stark piano line, Talia reflects on past relationships and mistakes with a hard-won wisdom that immediately lets you know this is no ordinary pop record. It sets the tone for the brave vulnerability that courses through the entire EP.
“Lavender Latte” has more of a delicate folk-pop vibe as Talia paints one of those vivid, lived-in scenes of a relationship’s demise over a café meeting. Her expressive vocals and the lilting melody transport you right into that tender, heartbreaking moment. Tracks like this are why she’s earning comparisons to Sara Bareilles and Julien Baker.
Her expressive vocals and the lilting melody transport you right into that tender, heartbreaking moment.
But the real showstopper is “Smoke,” which reckons with Talia’s experience of sexual assault survival. It’s a haunting, harrowing performance buoyed by those aching strings as she processes unimaginable pain into stunningly powerful art. It’s devastatingly beautiful in a way that’s hard to put into words.
She closes things out on a defiantly hopeful note with “Greedy Reminders” and its uplifting message of overcoming struggle. Talia’s soaring vocals give you full-body chills as she reminds us that we’re truly never alone, no matter how dark things get.
“From Under You” is Talia Grace baring her soul over these four tracks, sharing deeply personal stories that cut right to your core. But more than that, it’s a display of remarkable resilience, empathy and openheartedness that introduces her as a vital new voice. Don’t sleep on this one.
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Gianfranco GFN’s latest single “Doctor Wind” is a captivating fusion of melodies and rhythms that transports listeners on a spellbinding musical journey. This upbeat and retro-inspired track brims with the energy of superhero anthems and the magic of cinematic adventures, making it an immersive and danceable experience.
The triumphant swell of horns and lively percussion set the stage for an adventure, while the upbeat tempo and retro nuances infuse the composition with an infectious energy. Gianfranco GFN beautifully illustrates how the wind, like love, holds the power to soothe and inspire, prompting listeners to embrace love’s fleeting nature.
“Doctor Wind” is a true collaborative effort, featuring a stellar ensemble of musicians, including Gianfranco GFN on guitar, David Caraccio on bass, Nicolas Pittet on drums, and an array of skilled artists contributing their talents. Each instrument plays a vital role in creating a rich and layered sonic landscape that mirrors the grandiosity of the wind and the emotions it stirs.
The recording and mixing process, spanning Switzerland, Abidjan Côte-d’Ivoire, and Italy, further emphasizes the international spirit and collaborative nature of this project.
As the horns soar and the rhythms dance in the audiovisual adventure of “Doctor Wind,” listeners are left mesmerized by this engaging orchestral masterpiece that seamlessly blends lush melodies and complex rhythms.
Gianfranco GFN’s dedication to crafting genuine music is evident in every note of “Doctor Wind.” This carefully orchestrated symphony of notes and rhythms evokes a spectrum of emotions and invites introspection, serving as a captivating prelude to the artist’s much-anticipated upcoming album.
Through “Doctor Wind” and his forthcoming compositions, Gianfranco GFN beckons listeners to engage with music on a deeper level—to not only hear but to truly feel, contemplate, and discover echoes of their own lives within his harmonies. Prepare to immerse yourself in a musical movement where each note carries a story, and every beat sketches a vivid image.
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it always makes me happy to evaluate an artist’s transformation, and Erik Hansen’s EP “Seasons of the Wind” proves that his is a successful path. Former Fallen Angels band member Hansen’s solo debut is a bold move to combining grunge sound of Nirvana and The Offspring with rocky pieces of AC/DC and Metallica. This five-track EP does not only reveal Hansen’s capacities as a musician and lyricist but this also allows us to experience the versatile forms of rock music.
“Seasons of the Wind” is an entry into Hansen’s creative sphere. Production quality is excellent, where there is a flawless layering of each instrument which results in a complex and rich sound experience. The reason why the EP goes beyond the expectations is the Hansen’s emotional and exciting vocals. The EP that was co-produced by Pamela Moore, a fellow Queensryche member, and it included the many artists like Chris Gohde and John Hansen, the artist’s father, it is a proof of this collaboration and the efforts of the artist.
“Seasons of the Wind” taps on the massive potential of the rock while it blends the melody of folk music with eloquent poetry. “The Road” and “Send Me a Sign” are case in point of Hansen’s skill to switch up from grunge anthems to punk-informed activism, and “Horizon” demonstrates a tender acoustic moment to contemplate. The EP ends up with “Traveler” and “Forever Dream. ” So, epitome of Hansen’s signature sound with the help of distorted guitars and deep melodies is exhibited.
The song “Season Of The Wind” brings Hansen a new title of the solo artist. Now the fans are expecting his further projects with great interest. In this special talk, we learn about Erik Hansen’s creative process, his impulses, and the way he produced this wonderful album.
Is there a story behind your stage name?
Nope, just the name that I was given at birth haha!
Where do you find inspiration? I find it from everywhere in life, it could be the sunset streaming through the trees, the sound of laughter, interactions with people, conversations. There’s so many things to see, touch and feel that it all inspires me to want to play different bursts of musical expression on the guitar. After that I usually figure out what lyrics fit against the mood of the song.
What was the role of music in the early years of your life?
There was always music around the house, my dad is a guitar player so that was the gateway to having an instrument around to start playing. My mom was more the rocker and would always be blasting the stereo with CDs, vinyl or radio stations from various rock and country artists. So hearing that at early age definitely left an impression.
Are you from a musical or artistic family?
Yes, my dad plays guitar and my moms always been creative with crafts and other methods of self expression.
Who inspired you to be a part of the music industry? I really started getting more serious about the guitar in 6th grade when I started hearing what was being promoted on rock radio at that time so bands like Nirvana, Soundgarden, The Offspring, Green Day, Alice in Chains. Over time I developed into a competent guitar player and always found an interest in writing songs rather than playing covers, so I just set out on figuring out what it’s like to be in a band, writing songs and playing shows.
I feel like I have plenty left to say on the guitar and would like to inspire others to keep carrying the torch of guitar playing and rock music.
I feel like I have plenty left to say on the guitar and would like to inspire others to keep carrying the torch of guitar playing and rock music.
How did you learn to sing/write/to play? I’ve had various guitar instructors over the years, usually for not much longer than a few months. I never really liked the structure of guitar lesson books so I developed most of my rhythm and lead playing by learning songs and paying attention to the chord structures used in various keys. I did learn theory so I understand minor/major interchanges but I never went all in learning how to use all the various modes. It’s definitely one of those things where I spent a lot of time putting in the work of learning to play, I probably spent at least 1-2 hours a day in my youth and through the years practicing and playing.
When it comes to singing I have had some lessons in the past to learn the basics but never got serious about it till around 2021. I came across an ad on cork board at a rehearsal studio from Pamela Moore promoting vocal lessons. I reached out and we’ve been working together ever since. I’ve tried to apply the same consistency I did learning the guitar to singing so that I can keep improving and to see if I can make myself competent sooner.
What was the first concert that you ever went to and who did you see perform? My brother and I went to see Megadeth at the Paramount Theatre in Seattle, I think Hell’s Bells (AC/DC cover band) and Gruntruck also played. I seem to remember it was a holiday show put on my one of the local rock radio stations 99.9 KISW.
How could you describe your Music? I describe it as a mix of 70s/80s/90s rock music, my influences come from rock, metal, country, classical. I want to continue to write stuff that’s diverse, there could be some slow heavy songs, fast songs, acoustic songs, clean open airy songs etc…I’d like to just paint with a broad brush in the genre of rock music but keep it very heavily guitar oriented.
Describe your creative process. My creative process always starts with the guitar, I’ll just pick a guitar up and play. It could be acoustic, distorted guitar, clean guitar but I’ll just let whatever wants to come out, jump off the fretboard. If I like an idea, I’ll record it and try and give it around 24 hours before I listen again.
Sometimes you can be too excited about an initial idea but it doesn’t sound that great after the excitement wore off. When I revisit it and I still like it, I’ll start to see what vocal melodies come out against the riffs. During that process I might say a word or a phrase that I like and maybe that will turn into the meaning of the song or the inspiration for the lyrics.
From there I try to keep revisiting and massaging the song musically, rhythmically, vocally until I feel like presenting it to others for feedback.
What is your main inspiration? I’ve been inspired by various guitar players and songwriters over the years, some of them for different things. Randy Rhoads is a huge inspiration as was James Hetfield and Dave Mustaine. Angus and Malcolm Young, Michael Schenker, Uli Jon Roth, John Fogerty, Chris Cornell, Layne Staley, Tom Petty, Phil Lynott, Ken Hensley, Ritchie Blackmore, Tony Iommi.
What musician do you admire most and why? That’s a tough one but lately I’ve been really appreciating Chris Cornell’s songwriting abilities and vocal melodies. They have a cool psychedelic dirge to them that kind of reminds me of a cross of The Doors meets Black Sabbath. I’ve always liked that epic kind of haunting sound.
Did your style evolve since the beginning of your career? Yes, very much so. When I started my first band Fallen Angels we were doing metal in the style of Megadeth and Metallica. The style morphed into Slayer and Sepultura over time then into bay area thrash bands like Forbidden.
I was always trying to add melody to the music but as you go you start to figure patterns or tempos that you like for various things. When Fallen Angels disbanded, I started playing with some of the members from that band in a project called Sygnal which was my attempt at playing more 70’s hard rock/80’s heavy metal.
During this project is when I started writing music on the side for my solo project, at first it was mainly acoustic oriented but changed into a hard rock side different from what I was going before. The challenge of learning to write vocal melodies for my own vocal range against the music steered it towards what writing style I’m in today.
Who do you see as your main competitor? I see myself as my main competitor in that can I write something better than before, better hooks, better melodies, catchier songs in different moods. Art I find so hard to quantify into rankings since in sports you have points and scores to compare. Also art resonates in such different ways with people, I think it’s more about finding people that resonate with what you’re doing.
What are your interests outside of music?
I enjoy working on electronics, doing mechanical work, martial arts, riding my motorcycle, being outdoors and walking my dog.
If it wasn’t a music career, what would you be doing? Good question, I work in the electronics industry as I have a degree in it. I find that fulfilling since I like engineering and implementing ideas. Or doing mentor work of some kind, I feel like I’m a pretty good teacher and like showing people how to do things.
What is the biggest problem you have encountered in the journey of music? Finding my audience, I’ve never had a big PR campaign behind me or had offers to do extensive touring to try and build that audience. I came onto the scene as record labels have been dying out and there being less money available to take chances on bands. I figured I needed to have a steady job and funnel money from that back into music and to try and be my own record company.
If you could change one thing in the music industry, what would it be? I think that we need to keep nurturing live music and venues, it’s in these places where new artists and ideas are born and nurtured. I know it’s a business and people have to make money to keep a float but I also don’t want to see a bunch of corporate monopolies running everything.
It’s a slippery slope of listeners caring enough to pay for music but also wanting access to things for free or a minimal cost. I think musicians need to spend more time honing their songs rather than creating a quantity of songs so that we can really tap into a talent pool of music people will gladly spend money on to support.
Why did you choose this as the title of this project? I like nature and the outdoors and fits with my views of life ever changing and just rolling with the punches.
What are your plans for the coming months? I’m currently working on trying to get a show setup here in the Seattle area and to start playing live more. I’m also working on new material and have tentative plans to start recording this next winter. Do you have any artistic collaboration plans None at the moment, I’ve been filling in with my buddies band Skelator for live shows. They’re working on a new album and I might be contributing some guitar solos.
What message would you like to give to your fans? To never give up and keep punching higher. This life is a bumpy road but with perseverance and dedication you can achieve so much. I’m always trying to improve and that’s a never-ending quest for everyone!
Out of Hiatus, Into Greatness: EnnieLoud’s 'Out of Danger
EnnieLoud is a trip-hop band from London, and this year they are back with the release of their single “Out of Danger” which is an amazing and meaningful comeback. On this track, which was written by the band’s frontwoman Cassandra Raffaele, the band manages to combine effortlessly the trip-hop and the electronic music, creating a chillingly beautiful atmosphere.
“‘Out of Danger’ is a minimalistic masterpiece which is a mix of gentle textures, noisy percussion, and broad effects, leading to an engrossing sound experience. Raffaele’s soulfully delivered lyrics are very important and make you feel that you are not alone; he does a great job with cathartic performance that is at the same time intimate and powerful. In this song, lyrics explain the subtle connections between lovers and the feeling of being out of danger after being close to uncertainty emotions. The music’s ambient sound, together with Raffaele’s expressive voice, offers a song that will bring peace of mind while touching sensitive emotions.
The single is a manifestation of a free-creative Ennieloud’s who connects with their fans in a unique way. Such music project is not only their comeback but also, symbolize their status as innovators of the modern alt-soul and trip-hop genre. It is a track that is designed to leave a mark deep within the heart of the listeners, thus making them looking forward to the audio exploration of the duo in their journey of music.
In this exclusive interview, we will find out EnnieLoud’s inspirations, their creative process, and the path to the creation of ” Out of Danger. ” We will also talk about the artist behind the music and what the future holds for EnnieLoud’.
Is there a story behind your stage name? Yes there is. Cassandra: It all started by me. I had already a solo project but I was looking for something different. I had so much music inside me that just wanted to come out and make some noise. I wanted to express certain sounds, atmospheres, and dimensions that I hadn’t been able to before.
And that’s where the “loud” part comes from – that desire to make some noise and let it all out. And with the help of the amazing guys in the band, I was able to bring that “noise” to life. And that’s how ENNIELOUD came to be.
Where do you find inspiration? We got artists from all different backgrounds, coming together and vibing off each other’s styles and inspirations. I mean, we’ve got electro beats represented by BeeOff mixing with my world full of blues and soul. Lauryn Hill, Aretha Franklin are my muses as well as Goldfrapp, but I am crazy for Moby and the UK trip hop scene. Our inspiration sounds topped off with some pretty cool chilled atmosphere and electro-escape guitars, that’s Ross part.
What was the role of music in the early years of your life? Cassandra: Music is my life, ever since I was born, it has been always a part of me. My toys were my dad’s instruments. I feel music like something so familiar. Now, I feel it like an anatomic part of me. I cannot exclude her from what I am.
Music is my life, ever since I was born, it has been always a part of me. My toys were my dad’s instruments
Are you from a musical or artistic family? Cassandra: Yes I am. My dad is a drummer and composer. I have grown watching him playing on the stages and recording session in the studios.
Who inspired you to be a part of the music industry? We have met a lot of people and artists who inspired us, but the London music scene ispired us above all. Cassandra: Just being in that environment, surrounded by other talented artists, constantly exposed to different sounds and styles of music, has been such a source of inspiration for us.
It’s like a big melting pot of creativity and we always come out feeling re-energized and re-inspired. But more than that, it’s the community aspect that really inspires us. We love being able to collaborate with other musicians, share our love for music, and push each other to be better. It’s all about living and breathing music together.
Furthermore, one of the most important people has been Chris, from The Lost in the manor. He gave us a lot of suggestions and taught us how to better what we did and we do with music.
How did you learn to sing/write/to play? Cassandra: It’s something natural. I studied music anyway and I have learnt playing instruments to express what come easily from the deep part of me. Beeoff studied at the Sae Institute of London, he is a sound engineer, Ross studied music, guitar, drum and bass. He is also a music teacher.
How could you describe your music?
it’s a mix : alt soul and trip hop, with some teardrops of bluesy and jazzy mood. That’s Cassandra’s fault.
Describe your creative process. It is various. Sometimes, we start from a loop, or from a verse.
About Out of danger, it all started with a sick loop our guitarist came up with. We couldn’t get it out of our heads and knew we had to build a song around it. So, we took that loop and added some dope synth on top of it. Then, the lyrics. Cassandra wrote this one on the fly, from the heart.
What is your main inspiration? A lots, musically you know, we are a band of 3 people with different backgrounds as told you. Cassandra: personally, life and people stories are the main sources of my inspiration on my songs.
What musician do you admire most and why? We love St Vincent, Alison Goldfrapp, Lauryn Hill (iconic) and Brittany from Alabam Shakes,Celeste, as well the electronic music scene from Berlin.
Did your style evolve since the beginning of your career? Yes, it evolved, I mean, it is something peculiar for a musician. Cassandra: Like biology, the evolution is a natural process you can apply to everything, if you want to resist against the extinction.
Who do you see as your main competitor? BeeOff: We do not feel music as a competition, but as an opportunity to share ideas, art.
What are your interests outside of music? Ross: I am a basket coach; Cassandra: I love street dancing, BeeOff: trekking
If it wasn’t a music career, what would you be doing? We don’t know. Cassandra: I would need to live another life to answer you, so personally I do not know. Usually, I do not think what I would be doing, but I prefer to think what I am doing.
What is the biggest problem you have encountered in the journey of music? Reaching people.
If you could change one thing in the music industry, what would it be? It is really complex to give you an answer because the music industry is complex too, it changes contantly. I can tell you what I hope never will be changing: the fire of creativity, curiosity for exploring new sounds, love for producing art, against the superficiality of the algorithmsWhy did you choose this as the title of this project?
If you look at the world now, we are definitely not “out of danger”, considering wars, atomic war threat. So, our song is without doubt, a message of hope. Love will care people.
What are your plans for the coming months? Producing and sharing music. Trying to reach new people with our music.
Do you have any artistic collaboration plans Yes, we have it. Stay tuned!
What message would you like to give to your fans? This song is our comeback and we wanted it to be raw and honest. We wanted to connect with you on a deeper level. Stay with us! Be part of the journey.
Dylan Wager Screams 'Lay It On Me' In Latest Single
It’s always thrilling to find an artist who skillfully incorporates the inspiration from the great musicians with their own style. Dylan Wager’s recent single, “Lay It on Me,” is a smooth soft rock song that is inspired by the songwriting of Michael McDonald, Steely Dan, and Thundercat.
The chord progressions are creative, the guitars are soulful, the drums are laid-back, the bass line is funky and the synthesizers are vintage, all of which make this track pulsate with a nostalgic yet fresh energy.
The harmony of the vocals stacked on top of each other is so beautiful that it tells a relatable story about the need for physical intimacy in the age of digital connections, and, thus, it prepares the stage for two more singles before the release of his full album in June.
Folks who are into smooth grooves and soulful vocals, “Lay It on Me” is here to make your heart beat faster and your feet start to tap. From the punchy drum beats and dreamy guitar riffs to Wager’s rich, velvety voice that croons with effortless romanticism, this song immediately turns the dance floor into a party. The bridge has a driving, contagious guitar solo that gives a feeling of excitement to the song’s smooth and gentle vibe.
Dylan Wager, being from a musical family, has shown with this single that he has the talent, charisma, and sound to make a significant impact on the music scene. With his sophomore album, “Soft Chain,” which is going to be released this spring, there are many things to anticipate.
In this exclusive interview, we will find out Wager’s inspirations, his creative process, and the path to the creation of “Lay It on Me. ” We will also talk about the artist behind the music and what the future holds for Dylan Wager.
Dylan Wager. My last name is pronounced “Way-Grr”. It’s my real name.
Where do you find inspiration?
I find inspiration in a lot of different types of music I listen to. Most of the time, the overall texture of a song will inspire me. For example, recently I’ve really been enjoying the Low Fidelity textures of Mk.gee and MacDemarco. What I’m obsessed with is always changing though so if you ask me the same question next week, I might give you a different answer. I also find inspiration for lyrics in my personal life and observing my thoughts on the world.
What was the role of music in the early years of your life?
I remember the first time I really liked a song. I was probably 5 years old. I was in the car with my dad and we were listening to the radio. “Use Somebody” by Kings of Leon came on and I remember asking my dad what song that was because I liked it so much. Soon after that I got an iPod for Christmas. It had a bunch of popular songs from the early 2000’s that my sister had loaded up on there. “Baby got back” was probably my favorite one on there. It was awesome.
Are you from a musical or artistic family?
Yes I am. My grandfather was in a surf rock band called The Chantays. He wrote the popular song “Pipeline” in 1963. My parents are musicians as well. My dad plays guitar and my mom sings. They still perform together to this day. My brother also composes and plays piano and drums.
Who inspired you to be a part of the music industry?
I always liked music growing up, but when I was 14, I watched John Mayer’s live album “Where the Light is”. The whole time while watching it, I was just thinking “yes. That is what I want to do. Write and record songs and play them for people.” And I’ve been chasing that dream ever since.
How did you learn to sing/write/to play?
I learned my first guitar chords when I was 12 from my Dad, who also plays guitar. We still talk about music theory and guitar knowledge and jam to this day. After that I kept learning more songs and exploring the guitar. When I was in highschool I joined the jazz band and that helped to push me to learn more complex chords and it forced me to get better. I honestly learned how to write songs by just writing a lot of songs. The first songs I wrote were bad but it was just fun to write them. After writing a bunch you get the hang of things.
I learned my first guitar chords when I was 12 from my Dad, who also plays guitar.
What was the first concert that you ever went to and who did you see perform?
My first concert was the Neon Trees. They are from my town of Murrieta and they performed at my highschool.
How could you describe your music?
I would describe it groove driven, very inspired by 70’s and 80’s, with everything from slow grooves to fast rock beats.
Describe your creative process.
For me, a song starts with having a single lyric come to me, I’ll write it down, and then and I’ll come back to it later and write lyrics around that idea. Same goes for a short chord progression or a melody that will come to me. I don’t write a whole song at once. Usually I’ll have a random musical phrase come to me, and then it’s a lot of hard work to write the rest of the song around that single small idea. My brother calls these small ideas “song seeds”.
Did your style evolve since the beginning of your career?
Yes. I feel like my music has evolved to become more like myself. As I’ve gotten better over the years, my art becomes a more accurate representation of me.
Who do you see as your main competitor?
No one. The only one I’m competing with is myself to get better. Everyone’s on their own journey.
What are your interests outside of music?
I like learning about lots of things, I like playing chess, yo-yoing, learning about quantum physics, space, skateboarding, and hanging out with my girlfriend are some things.
If it wasn’t a music career, what would you be doing?
I’d probably try to become and engineer of some sort. Maybe a train driver.
What is the biggest problem you have encountered in the journey of music?
The biggest problem is having constant motivation. Burnout is a real thing. sometimes I’ll try to keep pushing myself because I want to be satisfied with a song even when I’m burned out and need a break. Usually I just have to remember that I can come back to it later and it’ll be fine.
If you could change one thing in the music industry, what would it be?
I wish that so much of the music industry didn’t rely on how much money you had. It’s possible to work as hard as possible but realistically you’re going need to pay for something to get to the next level. I’m not sure what the solution to that is, but it’s just reality currently.
Why did you choose this as the title of this project?
My album coming out in June ‘24 is called “Soft Chain”. The name refers to the impossibly brief gap between the past and the future, and how we live right in the center of it. Each of these tiny events are like a chain of time linking everything together, even though we only ever have one single individual link. So the world is like a soft chain of events that we move along.
What are your plans for the coming months?
I’m looking forward to performing these songs live and spreading my music!
Do you have any artistic collaboration plans
I already do collaborate. My best friend Asher Rowland, from San Diego based band Exotic Fruit Tour, plays bass on the Soft Chain album. He and I are always working on new music. I also had Aaron Sterling record drums for Soft Chain. He’s an amazing drummer who’s established in the music industry, so it was an absolute dream to be able to work with him on the album.
What message would you like to give to your fans?
I would like to say thank you and I love you guys! I appreciate everyone who listens to my music and enjoys it. This music was made for not only me but everyone who likes to listen too. I hope to see and meet everyone at a show sometime soon.
LeonardoDDJ X Iyke Parker Call On 99PHACES For Summer Anthem “Pain And Pleasure”
“Life of the party and I give it my all” is one of the lines that is bound to catch your attention as you listen to Iyke Parker and Leonardoddj’s latest single. Teaming up with Ghanaian collective 99phaces, the duo releases their second single as they build up the release of their joint project later this year.
With verses from Anabel Rose and Freddie Gambini, the house themed song is laced with an infectious chorus and catchy bridge which embodies the groovy feel that comes with the summer. The song encourages listeners to let loose and destress after experiencing the gruesome and tiresome couple of months.
Produced by Iyke Parker, Pain and Pleasure has been dubbed a summer anthem. You can stream the single here
Immersion into MothBreath’s eponymous debut is a dive headfirst into a cosmic whirlpool. Its threads of melody are silk-spun axioms, spiraling infinity in an unending dance that dazzles and consumes like night scattered ablaze with starlight.
Imagine the Cocteau Twins caught amidst an ether frenzy, notes enveloped by Bjork-storms churning ghostlike wails amidst sizzling shards of synth. Dreamy yet disdainful, their music weaves light from shadows; cackling under moonbeams while gnawing on bones of rotting realities.
Let it be known: vocalist Kirsty Dougall is both ethereal songstress and electronic succubus, her avian timbre swooping and swirling around John Libert’s jigsaw guitar work like falcons capering over ruins at dusk. “mothbreath” seductively rips asunder humdrum arenas of shoegaze norms with its spectral caress – evolved for listener flight through psychedelic stratospheres stirred unsettlingly beautiful by desolate whispers below.
MothBreath’s Debut: A Cosmic Whirlpool
Beware—this is not music for languid sunbathing against cloudless horizons but rather murky introspection within labyrinthine eddies beneath storm-gripped seas—an insomniac’s lullaby traced across eleven tracks packing tranquil chaos yearning to erupt ghostfire-breathed intensity upon your shivering soul.
Prepare to become intoxicated—a moth drawn irresistibly to flame—with resonances which curl spectral smoke enfolding you soft as gossamer yet relentless as dread-bitter nightmares midwinter.
In “Pisces Pie,” Odelet weaves a sonic tapestry that shimmers like moonlight on celestial waters, each note a silver thread pulled taut over a bassline abyss. This album is an alchemical cauldron where the spirit of golden-age Hip-Hop melds with the ethereal voices of sirens—beckoning you closer even as they threaten to pull you under.
With tracks born from drum machines and keyboards, yet breathing life into metallic sinews, she summons ghosts of ’90s R&B in technicolor revival. Her vocals crest and crash like wine-dark waves against shores dusted in stardust, evoking Erykah Badu serenading android poets at the edge of time.
Odelet’s “Pisces Pie”: A Celestial Symphony
“Pisces Pie” sings sweetly until its nectar reveals an undertone: bittersweet but complex—a labyrinthine Venus flytrap flecked with dew that glistens deceptively under neon reviews. From the visceral rawness of “Experiment” to the divine soft whispers echoing through “The Angels Album,” Odelet transmutes her stylistic mosaic into something transcendental.
Each song unfurls petals woven together by mysticism and Mechanism; it’s Vantablack velvet soaked in mermaid tears—the profane tangoing dangerously near the sacred shorelines she’s meticulously constructed. In short bursts reminiscent of synesthetic fever dreams fused with haunting reality checks, this album promises schizophrenic ecstasy punctuated by heartbreak’s hollow echoes. An astral beacon for those willing to be consumed whole.
"What is Understanding": BUKVE's Debut Album Takes Indie Pop by Storm!
Like an unwieldy tornado of stars, BUKVE’s debut album “What is Understanding” rips through your world with shattering intent. Veins carved into a pulsing heart of indie pop and alternative rock, his melodies surge like the North Sea—jubilant yet shadowed by soul-piercing melancholy.
Sveinung Fossan Bukve bleeds raw emotional resonance onto spectral canvases of sound, each track creating breathtaking skyscapes colored in sepia tones of intimate confessionals. All songs seem bathed in the ethereal glow from old drawings and paintings provided by his Great Grandmother Alfhild Fossan, adding a tantalizing echo to the serene composition.
Yet sometimes it whimsically veers towards pandemonium; one moment suspended in celestial grandeur then just as swiftly plunging into chasms aflame with unfathomable torment. It’s saccharine sweetness kissed with an acerbic aftertaste; airy whispers morphing into guttural battle cries echoing across time and space—a primal dance between heaven’s serenity and hell’s turbulent euphoria.
“What is Understanding”: BUKVE’s Debut Album Takes Indie Pop by Storm!
Produced under Stamos Koliousis’ deft hand at Black Valley Studios (Oslo), this sonic journey rockets you through constellations that twinkle to Bukve’s personal narrative which collide like comets against rugged landscapes draped in cosmic dust—a synesthetic encounter stringently fabricated for both casual listeners seeking novel experiences or seasoned connoisseurs hunting for obscure ecstasy.
BUKVE’s maiden voyage blazes its trail across our mindscape; gulp down his star-shard symphony poised over reality’s precipice—it won’t be forgotten when dawn arrives to find us drunk on remnants of yesterday’s dreams.
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Shannon Darcy’s latest single “Just Worried Because” is powerful enough to prove that she has advanced a lot as an artist. It’s vibrant and all of a sudden the punk, emo, and pop blend, is built on rock doesn’t sound fake at all, it’s very relatable.
Right at the beginning Shannon’s vocals are buzzing off the start with these nifty guitar riffs and precise instruments. It’s unmistakable – it has a good pop-punk sound, but it still sounds brand new and exciting. She is able to transcend her vocal range, and is at once raw and polished, kind of as Our Lady Peace.
Lyrically, “Just Worried Because” dives very deep into the hardship of working for overcoming anxiety and overthink, a problem familiar to many people at the moment. Shannon barbs out her feelings and is unapologetic for their heartfelt and honest nature. You cannot help but get dragged into her space and see the world through her eyes.
The song design is not complex but is still classic, which contains some sick transitions and a chorus that may linger in your head for days. But a line such as that spoken-word bridge is such a profound and dramatic character articulation, proving Shannon’s versatility as an artist.
To wrap it all up, “Just Worried Because” strikes as a wonderful example of Darcy’s evolution as a musician and a writer. Alright, here is the, definitely, infectious one with its talking to you lyrics right straight to the heart that is gonna have everyone going crazy and waiting to hear what will she do next.
Embracing the Euphoria: Hotel Mira's "Waste Away" Journey
In the echoing chimes of their latest offering, “Waste Away,” Hotel Mira birth tremors of celestial discordance and earthly resonance unto us, straddling dimensions known only to ethereal beings and tortured human souls alike. Grieve’s guitar wails like a cosmic banshee set loose in this mundane realm; simultaneously divine yet decadently profane.
Kerr sings symphonies in whispers – tales of resilience seemingly told from within an iron maiden – addressing domestic abuse with lyrics that bleed raw desperation beaten into uncompromising defiance. It is at once dolorous balladeering interwoven with warrior cries resounding with surreal brilliance against the backdrop of Noble’s bass humming dirges, assuming forms both mortifyingly sorrowful and spellbindingly comforting.
The crash-and-burn rhythm provided by George emulates Poe’s telltale heart but also pops boisterously like champagne corks under neon lights. A seemingly paradoxical dance between dirges for funerals never mourned over and anthems for victory parades never celebrated.
“Waste Away,” enters as an avatar morphing nimbly through garage rock grit, indie pop sparkle and glam swagger – shape-shifting genres until borders blur into obscurity; chaos taming order just to whip it into fervor agitated anew while consuming itself repeatedly like a fever-dream ouroboros intoxicated in delirium sublime!
Embracing the Euphoria: Hotel Mira’s “Waste Away” Journey
Its blooming departure leaves one bereft then invigorated —as if having danced barefoot across shards of emotional wreckage softened by diaphanous veils made out macabre delight— forever stained by celestial auroras etched indelibly on the canvas your very soul: A short-lived euphoria topped up liberally pouring out haunted stardust lingering until oblivion takes its toll.
Hotel Mira at once strip away defenses bare then swaddle you tender into safety found amidst ruins guarded fiercely by feisty songs refusing to waste away into whisperings of silent screams forgotten. It’s a dizzying spree woven unitard out of tragedy, resilience and redemption archived in anthems creating acoustically quilted antidotes for hearts scorched by home-ground battles.
Gianni Bodo’s “Le Silence” springs from the soil of muted incredulities, a force-fed feast of political platitudes surviving on the ghost-breath of heirloom ideologies. It ripples across an arid auditory landscape like tongues of fire licking at forged iron bridges built over waterless waves.
Its notes teeter precariously on precipices and reverberate through catacombs housing forgotten rock ‘n’ roll echoes; tapestries weave threads for every 007 affair yet unfurl in sombre symphony to unravel an untold narrative begging to breach its self-constructed silence. Bodo conjures jagged shards from The Wall behind a Churchillian Iron Curtain, packaging them into precious bonbons—even bitterness drizzled with blistering brilliance tantalises.
The song pirouettes within your psyche—within each french syllable it twirls–like the grainy memories hazy sepia film reels preserve—one part requiem for fallen angels leveling swords against modern windmills, two parts resurrection—an orchestral phoenix birthed amongst ashes. A cold reckoning tempered by warm chords as comforting as English pub hearths yet chilling as Siberian hymns rendering lips numb but hearts aflame!
Unveiling the Enigma: Gianni Bodo’s “Le Silence”
From a roaring river rushing headlong towards destiny’s edge transmutates this lonely snowflake pressing itself onto the numbing glasspane—a spectacle inadequate when unshared! For so is “Le Silence” – a cyclonic waltz climaxing defiantly into…stillness; producing such resonant ‘silence’, that one feels less alone in their disquietude—heavily orchestrated guided meditation within nihilistic corners silent screams claw against with feline desperation.
Bodo spins gold out of dwindling twilight fragments: raw truth spinning about upon latter-day ballrooms deserted save for spectral figures trapped within tarnished mirrors—an image soaked elegy embracing humanity, subtly urging us “to let silence do the talking…” This music shapeshifts, evolves in perception, even as it unravels—an opium-dense dreamscape that fades not with the dawn, but sinks into your marrow—forever echoing!
With “EVE OF 4/20,” Salyse has sculpted an opalescent dreamscape, spinning strands of neo-soul and pop into satin ribbons of sound that tether us to the celestial while bowing in reverence to worldly wisdom. The echoes of Marvin Gaye’s lyrical gospel blend with Chaka Khan’s bold melodies, a colourful cauldron stirred by Erykah Badu’s incensed spirituality under the neon-glow of Kaytranada-infused house rhythm.
Drenched in rhythmic waves crashing against shores etched in disco glamour and soulful grit, Salyse’s voice seems plucked from Aphrodite’s throbbing heart—rich velvet dipped in wild honey that osculates between lilting innocence and scorning prophecy.
“EVE OF 4/20”: Salyse’s Opalescent Dreamscape
Plummeting through this sonic rabbit hole means surviving tempests spun from iridescent synth threads, then surfacing gasping for breath on serenely swaying seas where basslines drift like languid jellyfish. Each verse laps over you: a sigh known only to midnight lovers; each chorus roars: the defiance keening at daybreak.
Brilliant beams converge illuminating dance floors transformed into pandemic refuges writhed around our hearts—heightening senses crippled by forced isolation yet glowing with resiliency’s defiant spark—in this bittersweet ballad preaching joyous surrender amidst ruthless chaos. And so it is: this smoky siren struggles brilliantly against infuriatingly common despair—an existence-affirming coup d’état echoing long past its final spectral note fades gently into our trembling marrow. Raw yet refined, euphoric yet melancholic—it is light within shadows dancing on reality’s blade edge—a psychedelic lullaby hymning life in all its conflicted glory whispered just before dawn on the eve…of 4/20!
Whimsy and Sorrow: Exploring 'GHOSTS & GIRLS' by BD Gottfried
In the riotous symphony that is “GHOSTS & GIRLS” by bd Gottfried, whimsy and sorrow pirouette in a gripping dance of decadence. The beats hemorrhage spirit-stirring alacrity as lingering wisps of ancestral voices whisper through each breath-taken pause. Cultural clashes crash like tidal waves on ancient shores – it’s here we wade into “Two Worlds,” straddling the precipice between golden eras turned ghostly specter and unabashed material lust.
On this head-spinning carousel ride through eons, emotions are no mere footnotes but brazen protagonists wielding Gottfried’s musical narrative like a warrior-poet’s sword. He forges an altar to nostalgia with pixel memories netted from our collective ether: love tangos with despair; curiosity mates with dread; catharsis rebirths us in cascading sound ripples eddying out across time’s echo chamber.
Yet amid this whirlwind lies immaculate serenity as synths sigh under the lush bowers of drumbeat raindrops – ah! This entry gate opens not just onto ‘alternative’ landscapes but soft rock meadows bathed in uncorrupted sunshine, uniquely their own… pockets where Gottfried fathoms deep-sea truths obscured within social media hazes.
Whimsy and Sorrow: Exploring ‘GHOSTS & GIRLS’ by BD Gottfried
“GHOSTS & GIRLS”, spun wholly original yet drenched in communal echoes, blazes bold trails through history thickets fronds trembling from Siegfried Meier’s Midas touch upon eleven vignettes born anew… Flaunting conventional songwriting confines, bd GOTTFRIED plunges us headfirst into swirling depths ablaze with raw emotion…
A feast best devoured amidst quiet contemplation savoring each morsel left behind by songs too stuffed full to hold all their secrets close – an eruption that will haunt your headphones long after silence has swallowed its echoes whole… Unabashed, unfiltered… “GHOSTS & GIRLS” is bd GOTTFRIED’s auditory odyssey soaked in spectral grandeur.
The sonic concoction “Mellotron”, artistically brewed by Virtual Jasper, is a gambol through the ethereal playground of memory and futurism. We plunge headlong into this swirling vortex of sound where rhythms flex like cosmic gymnasts against the shimmering veil of eerily beautiful harmonies. It grooves like primal tribal trance while touching you with lullabies that serenade phosphorescent stars.
A playful sprite in the spectrum-baked wilderness, each throb fuses technicolor notes into jade melodies suspended in mid-air-like electric jellyfish on strings puppeteered by unseen synesthetic sorcerers. Aching nostalgia threads itself around your heart only to morph radically, transforming into scintillating bursts of digital innovation- a startling comet tail silhouette against void’s obsidian cloak.
Immersive is too timid a word for Mellotron, it doesn’t just invite but seduces you onto dance floors made from stardust echoes and synthesizer dreams. You waltz past ghostly choruses entwined with glitch-beat gargoyles until an atmospheric electronic endlessness consumes you – alters your inner rhythm to mirror its own marimba heartbeat.
“Mellotron”: Virtual Jasper’s Ethereal Voyage
In spitefulness I could grouse about how occasionally overpopulated soundscape teeters close to chaos; excess can mutate delight into claustrophobia after all! But this release psychedelic madness feels organic – warts and dimples forming part of an intrinsically woven surreal tapestry…
Virtual Jasper agitates boundaries yet venerates roots creating not passionate homage but intoxicated resurrection — like moonlight dancing on forgotten graveyard stones lighting up spectral inscriptions anew… Thrashing notions and melding incongruities within his fractal beat framework are indeed both mesmerizing ballets – shuffled steps ahead towards evolution inevitably polarize as they enthrall!
“Mellotron” stands firmly grounded between then-and-now phenomenon—like watching dawn erase the stars while night yet drips from the corners of your vision—an entrancing paradox, an anomaly audition. Listen! And resign yourself to aural hallucinations whose whispers bustle in rhythm and revelation’s chimerical innuendo…
TE/MO's "The MOTHER EP": A Celestial Carousel of Sound
TE/MO’s “The MOTHER EP” is the sonic equivalent of licking a luscious psychedelic strawberry, each bite yielding layers within layers of symphonic complexity. Raw in her relatability, TE/MO treads an opalescent spectrum from whimsy to weight; it crescendos like a supernova then hushes into intimate resolutions whispering along your spine.
Her voice—indeed, a falsetto that suspends between celestial siren and vintage vixen—is the fulcrum around which this haunting carousel spirals. It cavorts through lavish gardens grown on profound pains while evoking fountains of optimism carved into cavernous dread.
This EP musical odyssey reaches out from its indie-pop shoreline to canvas fragments from feral folk balladry, glitterpunk rebellion and somber electronica with seraphic abandon. Each threaded together by TE/MO’s infectious courage to confront herself – identity reshaped by trials until she emerges resplendent in acceptance; an everyday Athena shedding her healthcare chrysalis.
TE/MO’s “The MOTHER EP”: A Celestial Carousel of Sound
‘The MOTHER EP’ shatters convention like stained glass hurled against cosmic reality—each shard refracting tales of womanhood chewed raw then spit out as prismatic wisdom—to form a cathedral tapestry echoing with anthem cries for those marginalized voices drowned elsewhere amidst black-hole apathy.
You’ll bleed vulnerability upon contact yet rise armed with anthems roaring triumphant empathy over pervasive societal scorn—a galactic journey scrunched righteously short, leaving you gasping amongst spiritual debris: indeed music being repurposed as soul-healing cauterization.
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The current single from the upcoming artist Sean Kennedy will give you a whole range of emotions. ‘Let It Go’ is simply a rollercoaster of emotions and the song fused with amazing sound and deep lyrics will get you accompany Sean in his trip through love, loss and longing that he must experience.
Through devastating vocals and the picturesque music, “Let It Go” becomes a knitted tapestry of mouthful emotion as Sean tells his story over the track. On the other hand, he ventured out with KRYNE, the great Kazakhstani music producer, to include some slick synth-pop vibes, fusing the sound on a new level in a very thrilling way.
What was more interesting, though, was being able to ask Sean questions to get behind the scenes details as well as how the whole thing came to life. He kept it as real as it could get, working with things that he sees out there or things he think about.
Looking back on earlier days when he wrote songs, then progressing to where he is now, being a rising star, the drive for telling a story behind each word is very evident. He is the guy who has been through rough patches. With all the challenges of her job, he never quits. He is the dude with such a high level of determination.
Even though the difficulties he has faced are real, Sean possesses such an inspiring approach which by using his music expresses the values of connection and hope his fans. He’s dying to drop his next hit in the studio and then letting the listeners be part of his journey.
As for “Let It Go,” let’s get your body moving while the soul stirring sound powers the raw creativity and vulnerability that defines him. He (meaning the artist) places his emotions right in the middle of his chest and asks you to experience it with him. Don’t sleep!
Is there a story behind your stage name? Sean Kennedy is my real name, and I also share it with my Dad. I never really questioned going by anything else. My music is very personal, and I think releasing music under my actual name goes with that.
Where do you find inspiration? I find inspiration in every facet of my life. My music is my emotional outlet, and I find inspiration within all of the emotions I experience.
What was the role of music in the early years of your life? I moved schools at a young age, and right around that time I started writing music. It was there at a time when no one else really was.
Are you from a musical or artistic family? My mom’s such a talented artist but the only other person in my family who has any musical background is my grandma.
Who inspired you to be a part of the music industry? I started recording my music seriously around 2016-2017. I would play tracks for my friends and even complied two demo albums. By the time I got to high school, I just had so much music I was dying to share with a larger audience, so I began releasing it.
How did you learn to sing/write/to play? My elementary school music teacher taught me the basic structure of a song when I was 9. From there, I picked up guitar and piano on my own, and I eventually taught myself how to record, too.
What was the first concert that you ever went to and who did you see perform? My first real concert was Taylor Swift’s Reputation Stadium Tour. I think that set the bar pretty high for me.
How could you describe your music? I would describe it as internal manifestations of past experiences and desires.
Describe your creative process. I typically start out with one line of a song or melody. Then, I’ll sit down with a guitar or at my piano and I’ll try to build it out from there. I use a lot of voice notes when I’m writing. For this song, I wrote it at my piano and then I recorded a really rough demo.
I knew I wanted this song to be very different from anything I’d done before, so I shopped it around to a bunch of producers. I met KRYNE, and the two of us were able to make something that I’m really really proud of.
I knew I wanted this song to be very different from anything I’d done before, so I shopped it around to a bunch of producers.
What is your main inspiration? Each of my albums have had some specific inspirations. My first album was really inspired by Shawn Mendes and early Taylor Swift and my third album’s big influence was Lana Del Rey’s Born to Die. One of my big inspirations on this track was Lorde’s Melodrama. I really wanted those intricate drums that are used within the album.
What musician do you admire most and why? I will always admire Lana Del Rey. Her ability to create a brand new lane of music and the way she ties in aesthetics to music is like no other.
Did your style evolve since the beginning of your career? My early music was crafted around the limited abilities I had. I played guitar and piano, so that’s what I used in my music. As I’ve grown, I’ve been able to craft a sound.
Who do you see as your main competitor? I’m very focused on paving my own way right now. I don’t really see myself as being in competition with others.
What are your interests outside of music? I love to read and play tennis.
If it wasn’t a music career, what would you be doing? I’m in college right now as a psychology major and I want to go to law school.
What is the biggest problem you have encountered in the journey of music? My biggest problem has always been casting a wider net towards an audience. I was given a very rare opportunity with my last single, “Forever Us”. The track has 250,000 views on YouTube in less than a year and it opened up some doors for me that I wouldn’t have had the opportunity to otherwise.
If you could change one thing in the music industry, what would it be? I think artists need to be more fairly compensated for streams. It’s virtually impossible to live off of royalties from songs even if they have millions of streams.
Why did you choose this as the title of this project? My last album felt like it left off on a really unfinished note. I felt like I had to close that chapter of my life before I could start putting out more music.
What are your plans for the coming months? My label and I are releasing some more songs in the coming months that I’m so excited about. I don’t have plans for an album right now, so it’s very exciting to not feel constrained to making a cohesive project.
Do you have any artistic collaboration plans? My best friend Giuliana Calandrucci and I put out her debut EP, Curtain Call, in November. We’re starting to do sessions for her first album, which is super exciting. She’s someone who always creatively inspires me, and working with her is always so amazing.
What message would you like to give to your fans? I hope that my fans can connect to this song and find a piece of themselves within it.
Exploring the Heart of Pine: A Conversation with Steven Bagwell
Greetings, friends! Did you get a chance to listen to the newest release from Athens, Georgia’s, Heart of Pine? This is a jam for sure, a raw blues-rock sound blended with the funkiest voice and soul producing a vibe that just grabs you and pulls you in.
Music wise, “Phetamine & Pearls” from the heart outflows the exceptional abilities from the secret magic of the clavinet up to the amazing horn section. It’s great that they all have their own special sound to give it that fresh feel while the timelessness that brings you back comes through well.
More than that, the band takes inspiration from great bands from the 1960s and 1970s, such as The Allman Brothers Band and The Grateful Dead, putting their unique southern rock-meets-psychedelia crossover into it. It hits you deeply, that rootsy performance, but a completely fresh sound.
As part of the entirety of the interview, I also had the opportunity to indulge in an exhilarating conversation with Steven Bagwell, the band’s gifted vocalist and guitarist. Steven had me covered on everything – from their come-up in the Athens music scene to the chances of a next album as soon as possible.
He wasn’t stingy on his side either. Steven left no stone unturned – he talked about the sources of inspiration, the creative process, the catch-22s of playing and how he envisioned the future. His genuineness and his genuine strong love for the music is something you just feel with every instrument.
Observe the next, which will be a venture into the heart and soul of Heart of Pine. These guys have such a soulful, expressive sound and are expressing their love and passion for their art through every song with such intensity that it leaves the listener speechless. The music is like the lively and exciting landscapes in Ga which birthed it. Don’t sleep on them!
Listen to Heart of Pine below https://open.spotify.com/track/0lNPC5R772UbRDT2OxIZqs
Our name came from a song we wrote off our first album, called Old Soul. The song is about life from the perspective of a bar top made out of pine.
Where do you find inspiration?
Everywhere. From everything. Personal experiences or stories we’ve heard or even items we’ve found in our travels.
What was the role of music in the early years of your life?
Music has always been a focus in my life. It was only recently that I found out some people don’t even care what they’re listening to. That was a strange concept to grasp for me and still is. Ever since I was a little kid, maybe 4 or 5, I knew I wanted to be a singer when I grew up. I used to sing along to Michael Jackson or the Beach Boys in my living room a lot at that age.
Are you from a musical or artistic family?
No. No one in my family plays or sings or does any type of art. I didn’t get to fulfill my desire to learn an instrument until the age of 19, when I bought my first guitar.
Who inspired you to be a part of the music industry?
Without a doubt, Jimmy Page is the reason I began to play guitar. I would watch The Song Remains the Same on repeat and would just be mesmerized by the control he had over the guitar and it looked like fun.
Without a doubt, Jimmy Page is the reason I began to play guitar.
How did you learn to sing/write/to play?
100% self taught up to now. I’ve only begun to take guitar lessons within the last month. I do regret not taking lessons at an earlier age but I also feel that I developed an interesting style of my own by doing so.
What was the first concert that you ever went to and who did you see perform?
The first concert I ever went to, I was 12, and it was Hard Rock Fest 99 at the Atlanta Motor Speedway. It was a pretty big one day festival with Silverchair, Offspring, Buckcherry, Live, and a ton of others. I was hooked on rock n roll concerts after that.
How could you describe your music?
I always struggle with describing our music, but I usually settle with “Southedelic.” It’s kind of like a new form of southern rock in my opinion. I always love to hear how others describe it though and the descriptions vary widely.
Describe your creative process.
Travis Richardson (acoustic guitar) and I write most of the music lyrics together. Our sessions usually start off with a few shots of bourbon, some improvisation jamming and then we dive into a topic. We try to keep our thoughts obscure for the most part. It’s nice to leave a little mystery in your work. It gives it character.
What is your main inspiration?
Life
What musician do you admire most and why?
I don’t have one musician I admire most, but there are several bands that I admire for a number of reasons. The Grateful Dead, The Allman Brothers Band, Little Feat, The Band, and a lot of bluegrass bands currently.
Did your style evolve since the beginning of your career?
Yes! Majorly. If you listen to our first album and then some of our newer stuff it is undeniable.
Who do you see as your main competitor?
Nashville’s pockets
What are your interests outside of music?
I’m a traveler. I love meeting new people and understanding where they come from and why they are who they are. Its exciting to learn to understand the differences between people by learning their culture of where they were raised.
If it wasn’t a music career, what would you be doing?
I currently have a job that keeps me afloat, which is running a roofing company.
What is the biggest problem you have encountered in the journey of music?
Money. The music industry, like all others, is ran by people with money. It’s rare that a musician makes something out of themselves without a lot of it behind them. It’s wild really but it goes back to what I was saying earlier about people not even caring what they listen to. I’ll digress for the moment. Haha
If you could change one thing in the music industry, what would it be?
Festivals should have a few headliners and then do their research for talented local bands.
Why did you choose this as the title of this project?
Phetamine & Pearls is a Bob Dylan reference and it’s the opening line of the tune.
What are your plans for the coming months?
We are playing shows all over Georgia this summer and are getting ready to release our full length album this July. It will feature 9 songs.
In This Light: Illuminating the Path of Principe Valiente
Today we’ll be discussing something truly unique, I am talking about Swedish duo Principe Valiente’s “In This Light” album. They have belonged to their own special sound for the past few years by combining shoegaze effects with this very spacious, captivating music. The band certainly hit it big with their 2022 album, “Barricades,” and now topping that they’re back with “In This Light – their latest offering that continues to explore and push boundaries.
Give me a minute, but let me say that this album just exudes comfort and inviting sensation throughout. Every song will give you the unique pleasure to go on its own path, telling a story where each sound, so dense and real, sinks in your heart. Whether it is the entrancing thrill of “Your Only Enemy” or the late-night introspective mood of “Abandoned Car,” Principe Valiente serves up an incredible melodic soundspan you will love.
To go deeper into the production of “in This Light’ and to discuss how Principe Valiente’s sound has evolved, we are here with the vocalist from the band, Fernando Honorato, sharing his thoughts. From the musical greats such as Bowie, The Cure, which shaped him right from the onset to the inspiration and ambition that drives him even today; Fernando’s creative journey is a testimony of the transformative nature of music
Through this adventure, we’re going to dive into all the stories behind the new tunes, industry dilemmas, our future plans and more. There will be many things that will be revealed, especially upcoming collaborations and how they convey their heartfelt gratitude to their fans. It’s like a window into Swedish music universe peered into by one of their most mysterious and powerfully charismatic forces.
As the “In This Light” chords enter your ears, the lyrics and the views of Principe Valiente himself will completely engulf you. This is a one-of-a-kind interview you would not want to miss!
What is your stage name? Fernando – Howling Ferre.. No, no such things here man..
Where do you find inspiration? Fernando – All through the years it’s always been from life, relationships. Alienation? And music, movies, nature. But nothing I actually reflect that much about. When I begin writing a song, it’s mostly from a blank page and during the process maybe I recognice some of the chords or melodies from other things I’ve heard in my life and then do some changes, make it more personal and play along a little back and forth and see what comes up next. It’s like doing a painting I think?
What was the role of music in the early years of your life? Fernando – Well, long story short, I heard the song “Starman” by Bowie when I was about 5 years old. On a car cassette radio. And I remember it really did an impact on me, don’t know exactly what but something about his voice, on the chorus of that song. And somehow that feeling has followed me through the years.
Are you from a musical or artistic family? Fernando – Actually yes. But it’s nothing I actually think about so often. From my mothers side, both her sister and brother played guitar and sang pretty much when I was a kid. Don’t remember exactly what kind of songs but pretty much Chilean/South American folklore kind of stuff. My younger cousin, also writes music and I find her quite talented, even though we do totally different things. My mother had also an opera singing cousin. So I absolutely think it’s in the blood, the creative vein.
Who inspired you to be a part of the music industry? Fernando – When I was about 16 I joined one of the bands in my high school on bass. I was quite shy back then but the music they played (mostly covers) had a huge inpact on me. So I just had to try that. I think they had only two own songs, the rest were covers by Suede, Radiohead, Rage Against The Machine, Sex Pistols, Tom Petty, and the Swedish 80’s group Ebba Grön.
It was just a beautiful mess. I was a huge Suede and Nirvana fan back then, but I listened to pretty much different things to find like an identity. But just these two bands still follows me by my side.
How did you learn to sing/write/to play? Fernando – Actually before this high school band that I joined. I (only a few times, if my mother reads this) skipped lessons at school and spent that time in the music room playing around with other people.
A mix and an incredible mess going on there of different styles and stuff and quite bad metal things as well. But I learned how to play bass anyway, then a school mate asked me there if I wanted to join his band and told me about their Suede/Nirvana stuff they had going on.. So I did, and I’m still thankful for that moment.
A mix and an incredible mess going on there of different styles and stuff and quite bad metal things as well.
What was the first concert that you ever went to and who did you see perform? Fernando – I saw a lot of bands in high school events at my school back then, and actually quite good musicians, but my first big show was Radiohead, in 94’, 95’ I think? I was under age (17?) but still don’t remember how I got in there.
It was in town here in Stockholm at a quite regular, semi big club venue called Gino. It was after they released the album The Bends. And I was of course blown away.
How could you describe your music? Fernando – The description that has followed us most through the years is actually Dark Pop. And I still think it’s quite appropriate.. And spiced with a little shoegaze, dream-pop vibes and postpunk. Dinner is served!
Describe your creative process. Fernando – Mostly I just sit down with nothing or a simple chord sequence. And then take it from there, you just got to begin somewhere. I’ve realized that the first idea can become a totally different thing in the end. And that journey is quite interesting. And the inspiration comes under that process for me.
I rarely have a clear picture from the beginning of how the song should be or what the lyrics should be about. All that comes during the process, and it’s a quite enjoyable journey.
Sometimes I can also just dream a melody, and as we all know, dreams can be very powerful. But then after just a few minutes after waking up, I forget about it. One time though I tried to remember the melody really hard and picked up the guitar. Then I recorded it on the computer, placed some arrangements around it and after a few hours I had a quite decent demo.
The melody and ground chords itself were pretty basic actually but as the dream had this special vibe, I tried to revive the vibe as best I could. The song though ended up being one of the songs for the solo album I’m working on. But it was an interesting process, and very fast.
What is your main inspiration? Fernando – Other music, in general. But also the vibe from movies. And I’m more open minded regarding from which genres I found inspirational these days.
What musician do you admire most and why? Fernando – Well, Bowie. No explanation needed.
And also The Cure of course, for so many reasons. The albums Disintegration and Faith are two of those reasons. But if we also talk modern artists I can really admire Future Islands and Nation Of Language. PJ Harvey has of course also a special place in my heart.
Did your style evolve since the beginning of your career? Fernando – I think so pretty much, we had the tendencies back then to be pretty much more shoegazy on the first two albums, mostly the debut one. Now I believe we dare to have more air and not 3-4 guitars playing all the time. I’m also more comfortable now having my voice much more in the front in the mix than before.
Who do you see as your main competitor? Fernando – I don’t think we care that much on that matter. Music can never be a competition. It has different impacts on everyone. You can prefer a band or a song more than another but that’s just a personal thing, don’t think a band can be “better” than anything else.
What are your interests outside of music? Fernando – Well, I’ve always loved film. And do some dj sessions around town together with friends. As much as I can. I also jog a bit more than I used to, since I have long-covid (I’m quite alright these days so no worries) since some years, I realized it’s now a good thing for my recovering. It’s damn boring though but after a while now I enjoy the endorfines more and more again. Like in my younger pre-musician days when I was more of a sport kind of guy.
If it wasn’t a music career, what would you be doing? Fernando – Actually before I discovered I could play music I was into sports quite a lot. As mentioned above. For the most football and tennis, but other stuff too from time to time. But tennis player was a bit of a dream back then, besides the football thing. So maybe that? (Even though I’m TOTALLY uninterested in sports nowadays haha).
Otherwise some kind of researcher/scientist? If I was a more patient kind of guy..
What is the biggest problem you have encountered in the journey of music? Fernando – Play bigger tours, it just doesn’t seem to happen. And it’s been quite more difficult after the pandemic, but the most important thing in the end is just write some great songs, and we’ve succeeded with that quite well, in my opinion.
If you could change one thing in the music industry, what would it be? Fernando – Well, the general royalty system for digital streams, in any platform, specially Spotify. It’s a joke, and it kills the chances for smaller bands to get anything for their songs, or semi big bands like us. It’s realy something that has to be changed. And it’s been like this for more than 10 years now?
Why did you choose this as the title of this project? Fernando – Jimmy came with the idea of “In This Light”, due to the sun illustration on the album cover and the first words on the last track “Afraid To Grow”. The lyrics also in my opinion, sums up pretty much my theory where I am in life at the moment. That life is actually a journey and going through it without fear (for the most) is quite interesting in most areas.
The “light” there also refers to the calm I felt while writing those lyrics, as I did actually in front of a candle light at home. Which also reminded me that I actually could feel that calm in my younger age as well.
What are your plans for the coming months? Fernando – The new album is coming out in May so we’ll be doing a show here in Stockholm to celebrate that, then do a few festival shows in Germany. After that, with a bit of luck, confirm some shows for the fall and conitue with the mix of my solo album, which I’ve been working on for about two years now.
Do you have any artistic collaboration plans? Fernando – Actually I collaborated with the German band Girls Under Glass on vocals for a track coming on their next album. I also did a remix for Clan Of Xymox for their upciming single, due to be released at the end of May. Pretty exciting stuff to do, both of them.
We are also waiting for a bunch of remixes from bands for the released singles. It’s going to be fun to hear the different interpretations there.
What message would you like to give to your fans? Fernando – Well, hope you all enjoy ”In This Light” as much as we do.
Now 'Gender Reveal Atomic Bomb' Ask's 'Who is the Alien'
Gender Reveal Atomic Bomb’ has been recently on a roll with their newest releases. This Belgian punk rock band, led by the twin brother and sister combo of Beau and Blaise Ramsey, is more than just a group which bangs out cool tunes. Their mission is to call out the bullshit in our society.
The new song of theirs “Who is the Alien?” is a concise bombastic grenade, launched at the inflammatory rhetoric of people like Donald Trump, about the immigration. A vicious fusion of prog-punk and unsparing lyrics, the GRAB angrily resigns the dehumanization of hate with no remorse. This song can be described as acoustic-guitar ridden fire for whoever is fighting racism and inequality.
The saga continues with “Generation Atomic Bomb” – an explosive punk rock volcano featuring blasting guitars and pounding drums. It’s a pop-punk/goth/classic punk thriller that proves GRAB’s mastery of the midas touch while not giving af, obviously.
It’s a pop-punk/goth/classic punk thriller that proves GRAB’s mastery of the midas touch while not giving af, obviously.
However, it is crazy how maturely beyond their chronological ages, the Ramsey siblings and their band sound. Their completely-do-it-yourself mentality and audacity to confront uncooperative topics make them different from the rest of the population by far. Year after year, Gender Reveal Atomic Bomb proves that the most powerful and unstoppable band is the one that is never content with just the status quo.
On “Who is the Alien ?” and “Generation Atomic Bomb”, this band is not only doling out catchy tunes, but’s also making a huge impact on a global scale. With all the doors they keep nocking and the flames they are setting, they are indeed the literal embodiment of the ancient saying, “punk is not just a music genre, but actually a cultural shockwave for Change with a capital C”.
Che Arthur Cements Their Legacy With 'For That Which Now Lies Fallow'
Guys, have you heard the latest from Chicago’s own Che Arthur? His new solo album “For That Which Now Lies Fallow” is an absolute banger!
For those not in the know, Che is the mastermind behind post-hardcore groups like Pink Avalanche and Atombombpocketknife. But with this fourth solo effort, he’s really baring his soul.
The whole album is Che pouring out his guts about the tough stuff he’s been through – health issues, loneliness, heartbreak, feeling like an outsider. It’s raw and real, but not just him wallowing. These songs are like his weapons against all that darkness, giving strength to him and everyone listening.
From the opening punch of “This Lost Champion” to the haunting vibes of “Cold Blood Run Dry”, Che takes you on one hell of an emotional ride. His vocals have so much intensity and the instrumentals are on point. Tracks like “In The Gray” and “The Garment” are little masterpieces of storytelling that’ll stick with you long after.
What’s dope about “For That Which Now Lies Fallow” is how it all flows together so smoothly while mixing it up with different sounds. Che’s voice is always front and center, but he’s incorporating all these genres – ripping guitar riffs, beautiful melodies. It’s a whole experience for your ears.
Standouts like “No Harbor” and “Cold Blood Run Dry” show how Che’s evolved as an artist while keeping that gritty authenticity he’s known for. After this album, dude has cemented himself as one of the realest voices in alt-rock today. I’m already fiending for what he does next.
Bottom line – “For That Which Now Lies Fallow” is Che Arthur bleeding all over the mic and creating something powerful AF. The raw feelings, the skilled musicianship, the captivating storytelling…it’s going to stick with fans for a long time. Che’s a legend in the making.
Lately I have started to listen more and more to Neoclassical pianists as Riopy and Nils Frahm,
Today, it’s time to explore the universe of Swedish pianist and composer Carl Liungman and his amazing debut solo piano album, “Born.”
This great album was recorded in the legendary studio of ABBA’s Benny Andersson in Stockholm, and, my God, it’s terrific. Liungman’s music is a mixture of neoromantic, neoclassical and minimalist styles which culminates in his ornate melodies and harmonies that just get to your heart strings.
From the peaceful calmness of ‘Walking the Shores” to the exciting energy of “Son”, every track on “Born” is taking you through an emotional trip. It feels as if Liungman is offering some of his soul when he gives each note he plays.
Now, you must be curious about who is the mastermind sitting behind the keys. Carl Liungman comes from a family that appreciates literary arts, but he discovered his true passion for music, listening to Keith Jarrett, Glenn Gould and Hans Zimmer who are all musical maestros. The creative process for Liungman is all about exploring, discovering, and keeping to himself at all times.
Here we are, then, about to make a plunge into the head of a genius. Here, we’ll find out the truths behind his artistic development, his dreams and even his ambitions. Carl Liungman is a maestro, storyteller, and he’s an obvious source of inspiration for all of us. Show him some hospitality!
Is there a story behind your stage name? No, just being myself with my real name as a pianist and artist.
Where do you find inspiration? Hard to say. Just by expressing my inner self freely by the piano.
What was the role of music in the early years of your life? I started in my childhood to listen to The Beatles and Mozart. Later on I have got a lot of influences from Swedish Jazz pianists Jan Johansson and Esbjörn Svensson that blended folklore melodies and Jazz a lot.
I was also very amazed by the American Jazz pianist Keith Jarrett and his improvised Köln Piano Concert in a Neoclassical style, and of course I have been inspired by piano legends as Bill Evans. You see, all of those that inspired me in my early years was Jazz pianists. I have also been very much inspired by Glenn Gould’s Bach piano playing and more complex Classical piano sonatas for example by the Russian composer Scriabin.
Lately I have started to listen more and more to Neoclassical pianists as Riopy and Nils Frahm, and also have been very influenced by Hans Zimmer’s soundtracks. Must mention Coldplay – a great way of song writing and wonderful sound inspiring for me as a pianist.
Carl Liungman Talks About Life, Music And ‘Born’ His Latest Album
Are you from a musical or artistic family? Not very much music, but a family of literature and writing and book publishing. My father is an author and translator.
Who inspired you to be a part of the music industry? Am I a part of the music industry? Didn’t know that. I play the piano and let people hear it. The music industry of today is something else.
How did you learn to sing/write/to play? I started playing the piano at home as a kid. I took both Classical and Jazz piano lessons. Later on I studied music history at the university and courses in classical composition as well as music production. I started working as a bar pianist. This job gave me both improvisational and formal note training and experience I now value very much.
What was the first concert that you ever went to and who did you see perform? I don’t remember. Have not been much into concerts at all.
How could you describe your music? Cinematic, neoclassical, impressionistic, expressionistic and minimalistic.
Describe your creative process. Examining the piano keyboard and new combinations of chords and harmonic patterns and rhythms. I can find a melody and start working around it with minimalistic patterns and flow.
What is your main inspiration? Don’t have a main inspiration. Just listen inwards.
What musician do you admire most and why? Impossible to mention only one.
Did your style evolve since the beginning of your career? Of course it did. Hard to point out in what way.
Who do you see as your main competitor? Nobody.
What are your interests outside of music? Film history, architechture, design, media
If it wasn’t a music career, what would you be doing? Journalist
What is the biggest problem you have encountered in the journey of music? How the music industry is ruled by the major companies and that the concept of art is of no interest in the business.
If you could change one thing in the music industry, what would it be? Making the industry democratic and equal and focused on creativity and art more than on solely on the money.
Why did you choose this as the title of this project? ”Born” was my debut album. It felt like a birth to me. And the album is about a person’s life from the birth to the end.
What are your plans for the coming months? Starting to wrap up my fourth piano album ”Change”, after ”Born”, ”Shine” and ”Affection & Absence”. Change is in the air. We all feel it. Big change as well as change in our close relations and inside ourself.
Do you have any artistic collaboration plans No. But hit me. Anyone. 🙂
What message would you like to give to your fans? Observe. And think for yourself.
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Good news, folks, Helena May is releasing a brand new funky song you won’t stop moving to!The UK singer/songwriter present to the world “Puzzle Pieces” which is a super vibe.
The “Pure Funk-Soul Bliss” tune can be the best description for this track. In a way Helena takes the old school 90s/00s acid jazz and soul music and applies a new twist into it. You can hear some similarities to Jamiroquai or Brand New Heavies, but May is building on those elements to find her own mark.
‘Puzzle Pieces’ was a collaboration with Fabian Wollner and was mastered by the prestigious Sheep Hill Studios based in Vienna. The moment the music hits you, you’re there, high on her vocals soaring over the thick bass lines coupled with the dirty guitar riffs. The song is a folk earworm melody with so much soul and energy compressed into an irresistibly funky package.
Helena isn’t all about making you dance, however. She also has a message to communicate. Her lyrics are all about being true to oneself, being positive, and unity. “Puzzle Pieces” urges you to love yourself and appreciate your individuality in all its aspects.
Through her joint songwriting process, Helena puts her heart into telling relatable heartwarming stories. Her desire is to have her music being vivid and inspiring which makes you to feel unstoppable.
“Puzzle Pieces” is becoming a massive hit among the fans and a brilliant tour will soon follow. Helen’s sound is the soul of funk and needs your attention. Don’t even try to remain undiscovered by the uncontrolled sway that this tune has on you!
Helena is glad that the fans have come together with her to spread more light through music on this trip. Bust that collar, grab somebody on the floor together with Helena and have this song as your favorite puzzle piece.
What is your stage name and is there a story behind your stage name? Helena May – it’s my first and middle name 🙂
Where do you find inspiration? I find inspiration from London, UK’s Acid-Jazz/Funk scene in the 90s/00s – the beginning times of Jamiroquai, Brand New Heavies and Incognito. My hope is to create a new female, generational sound, inspired by that time.
Are you from a musical or artistic family? Growing up, my Dad played Bass in a band. I loved watching him and his band members practice at the house and play gigs. I also listened a lot to my Mum’s music collection – The Kinks, Santana, The Rolling Stones, Led Zeppelin are some of her favourites. I little later on (when I was twelve) – I pressed ‘play’ on Jamiroquai’s ‘A Funk Odyssey’ album and my whole world changed! Right there and then, I knew I wanted to be a Funk-Soul singer.
What musician do you admire most and why? It has to be Jason Kay (JK) from Jamiroquai.
How did you learn to sing/write/to play? I’ve learned a lot from how JK writes music – creating songs by singing vocal and instrument melodies. I’ve always thought that’s amazing and hugely inspiring. I’ve always listening to a lot of different music genres and songs – tuning into each singer and instrument.
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What was the first concert that you ever went to and who did you see perform?
Robert Plant & Eric Clapton at Wembley in the 90s!
How could you describe your music? A kaleidoscopic Funky-Soulful “pick me up”.
Describe your creative process. I love writing as a team! Bouncing off ideas is the best thing for me, when creating new work. A new song idea usually comes from a vocal melody or poem I’ve written and then I’ll piece it together with Fabian (Producer – Sheep Hill Records) in his studio.
Did your style evolve since the beginning of your career? My work has definitely evolved over the years. I’ve worked with different producers and artists, each with their own style, creating what was fitting musically in that moment. For sure, personal-artistic growth has played a huge part into what I write now and what sound I want to create as ‘Helena May’.
Who do you see as your main competitor? I try not to compare but be inspired by other female artists – Joss Stone, Raye, Nikka Costa, Chaka Khan.
What are your interests outside of music? Finding new coffee shops.
If it wasn’t a music career, what would you be doing? I’d probably have a farm and rescue animals.
If you could change one thing in the music industry, what would it be?
That the industry continues to celebrate Women In Music.
Why did you choose this as the title of this project? “Puzzle Pieces” – I was actually doing a jigsaw puzzle! Observing the act of turning each puzzle piece into their specific place, over time creating the full image – that’s where the idea came from.
What are your plans for the coming months? Lots of exciting live shows are lined up – I’ve just sung at Royal Albert Hall with Kokomo and Average White Band. What a night! I’m about to support Matt Johnson from Jamiroquai at Scala, London – I dream (since I was twelve) to sing my own music in front of Jamiroquai players! At the end of May, I’m performing some new ‘Helena May’ work at Ronnie’s Scott’s with W3 Funk and there are some really nice Summer Festival shows lined up. Oh, and new single releases! It’s all go and I wouldn’t change it for the world! I’m thankful for the adventure.
Do you have any artistic collaboration plans. I’m embracing a continued collaborative approach following from my debut album “Funkalicious”, working alongside acclaimed British and European music-makers – some who have played with Jamiroquai and Incognito.
What message would you like to give to your fans? Thank you for being on this journey with me. BIG LOVE xx
Bask in the seductive time warp as The Castros unspool their intoxicatingly nostalgic dirge, “The 90’s”. Like a phoenix kindled from the discarded VHS tapes of an FCC paddock sale, they flit with kinetic ease through sun-dappled memory lanes, leaving one yearning for Trapper Keepers and AOL instant messenger.
Recalling past acts like Smashing Pumpkins sprinkling stardust on Neutral Milk Hotel’s grave, they straddle epochs, indie pop swagger whispering lullabies to grungy rock’s raw lament. Winner of Upcoming Bands’ Mag Track of the Year 2023, their latest music video is a piscine dive into collective reminiscences masterfully shot by Josue Rodriguez.
Credit: Josue Rodriguez
A frothy brew of poignant memories writhes beneath this sonic Pop Tart center—a haunting tableau featuring a middle-aged man drowning himself in quicksilver moments whilst swilling Surge around his Chronos-tortured tongue. Cameos paying lip service to Clintons creeping within our sepia dreamscape incongruously take root next to slap bracelets squealing out revolution sonnets.
Suspend your logic while The Castro’s blend rapturous nostalgia and biting modernity blends into an effervescent cocktail that overflows its chalice with ambrosial recklessness—where dopamine and melancholy dance in heady embraces.
With curious fervor masking snarling scorn at today’s empty digital musings—theirs is a fever dream stoking embers within seasoned hearts yet beguiling fledglings eyeing our well-worn path through misty eyes—it demands reverence not just for its audacious curvature but also for resuscitating hibernated sentiments locked deep within crust-coated closets. Allow it to consume you—for it lasts meager minutes but leaves lifetime imprints that linger…long after the screens go dark.
In “Drag Me,” Avalon Stone, the voracious siren of alt-rock’s tempestuous sea, casts her spellbinding voice into the maelstrom of our souls—crashing waves against craggy despair with the ferocity of Poseidon in a fury. The track emerges from the shadows like a phoenix wrought from grunge’s ash and alt-rock’s flame; it sears its indelible mark onto our quivering psyche with Caleb Bourgeois’ guitar wails that pierce veils between reality and abyss.
With every strum, pluck, and howl within this anthem to resilience—a diorama illustrating battles fought in silence—the curtain rises on an opera penned by demons confronted under spotlight’s merciless scrutiny. Herein lies not merely a song but an odyssey that traverses through hellfire caverns of mental torment only to emerge baptized in cathartic reverberation. Wes Bartram’s drums thunder like heartbeats ensnared in Dante’s inferno while Donovan McKinley’s bass lines weave sorrows into tapestries lush and intricate.
Avalon herself—goddess cloaked in mortal vestige—rends nights asunder with vocals both celestial choir and banshee’s lament; her lyrics a call to arms amidst sinewy chords of entrapment. Kevin Dietz orchestrates behind curtains unseen, yet his alchemy transmutes suffering into soundscapes raw and unflinching.
Credit: Lucky Seven Photography / copyright Avalon Stone Music
“Drag Me” isn’t just heard; it’s experienced—an electric shock therapy jolting numb hearts back to life’s chaotic dance floor. It spirals unforgivingly toward crescendos high before plunging listeners into introspections deep as oceanic trenches where light fears tread.
Amidst stocks overflowing with musical banalities dressed as profundity—”Drag Me” stands defiant: a monolith carved from anguish real bearing testament to beauty birthed through pain rending air itself pregnant with possibilities anew.
In anticipation we percolate for “Chained”, naught but salivating acolytes at Avalon Stone’s altar waiting for sermons woven out of darkness destined be dawned upon ears unworthy. In essence: To devour “Drag Me” is to stare down one’s own reflection besmirched by tears yet undeterred—a euphoria laced indictment echoing long after silence has reclaimed its throne.
From Bars to Melodies: The Evolution of Devon Fouch's Style
I promise you’ll be entertained today by the most sizzling MC from the Chi-town firmly on the hip-hop scene. I’m talking right here about no one else but Devon Fouch who is a great rapper and comes with a new album ‘Devotion On The Rocks’ and it’s simply.
Listening to this song, you would most definitely want to hear the distinct voice of Cubanis, a feature artist that has left everyone talking. Teaming up magic as ever, Devon’s authentic, lyrical flow wandering these sharp beats against Cubanis’ insane and amazing vocals. It’s one of the most up-to-date treasures in how music served as the storytelling device.
When the music of “Existential” fills the air, you’ll float away, and a moment later you’ll be back at the place. The tunes are so lush and mesmerizing, they feel like a cinematic experience, and Devon uses adjectives to paint such rich pictures into the words, which is like a theatre scene. Besides, the fusion of Cubanis’s raw passion with such kind of sound allows you to get music that affects you from the bottom of your heart. And all of a sudden, one is hit right from the heart – the love, the loyalty, the dedication, all the nines in one package.
Yet here I am, utilizing so many words to speak!He’s as lucky as anyone to have been there and he will tell it to you as it was. I’ve just met up with Devon Fouch here to get their inside scoop. We’re into everything – the subject of the musical influences and his journey in the music world, the creative process behind the album, and what is coming in next, you name it. This is the VIP tour that every Devon Fouch devotee should attend.
What is your stage name? My stage name is Devon Fouch
Is there a story behind your stage name? Really my stage name was built off inspiration, for example Kendrick Lamar middle name is Lamar. Drake is Aubrey’s middle name. So I went with the more authentic approach and not hide behind a character.
Where do you find inspiration? I find inspiration from anything great. Also impact. impact plays a huge role in things that inspire me personally.
What was the role of music in the early years of your life? The role for music in the early years of my life was more like coping. It also allowed me to get my thoughts out because I never really was the social butterfly so writing was just the best way for me to communicate my reasoning. It just came more natural.
Are you from a musical or artistic family? Yes I have a lot of talent in my family. I’m not the first for sure.
Who inspired you to be a part of the music industry?
I would say Michael Jackson in my early years. Also Kanye West. Nas. There’s so many layers of that inspiration.
How did you learn to sing/write/to play? Just practice. Studying people who were already good at it. I also just had a curiosity that kind of kept me digging deeper and deeper into the craft. But mainly practice and constantly learning.
What was the first concert that you ever went to and who did you see perform? I believe my first concert was Fabolous. That was dope seeing someone I listened to lyrically do what he does best in person.
How could you describe your music? I describe my music as timestamp E.Ps. One moment it would sound like one thing because that’s what I’m inspired to make in the moment. The other moment it could be a whole total one off from what I made the previous release so yeah, I would describe it as a timestamp. It’s my urge to always want to be different than staying in a box.
I describe my music as timestamp E.Ps.
Describe your creative process. It’s not a set in stone process because again it allows me to think and create outside a certain routine but the most consistent thing I can say is a certain level of freestyle being implemented in my craft. It’s gets my creativity going in a way.
What is your main inspiration? Main inspiration is impact. I would give it to inspiration and family for sure. I want to impact the culture and also take care of the people that I love.
What musician do you admire most and why? I definitely admire Michael Jackson. He left such a great legacy. I remember when he passed away it didn’t feel real to me. I didn’t think he could die. Plus he had such a dope balance with social impact while keeping it entertaining. Very gifted.
Did your style evolve since the beginning of your career?
Yes, when I first started I was more of a bars only lyricist type of person. Then I evolved more into hooks, notes. I have more of this zoomed out or full court kind of awareness rather than just the bars and metaphors alone.
Who do you see as your main competitor? Myself for sure.
What are your interests outside of music? Family and books. I love to learn.
If it wasn’t a music career, what would you be doing? I would definitely say I love human nature and how much alike yet different we are from one another. Anything that’s hard to predict but has a sort methodical aspect to really.
What is the biggest problem you have encountered in the journey of music? The balance between stepping up to the plate digitally while keeping the integrity of the music intake. I want to maintain the quality of my outputs while making sure it’s received.
If you could change one thing in the music industry, what would it be? I would say the monopoly that the Big 3 have on streaming platforms as far as editorial playlists. I believe they need a mandatory amount of independent unsigned artist like a percentage of these artist should be able to get on editorial playlist consistently. That’s just my opinion.
Why did you choose this as the title of this project? Devotion On The Rocks is my collaborative project. It’s about love and it’s a tropical vacation on a project. It has a chill vibe but it’s love so yeah. It’s dope imagery.
Existential is a single off that project and it’s inspired by the concept which is I can’t exist without the woman of my life. It’s just raw and it’s truth.
What are your plans for the coming months? My plan is to focus on the marketing rollout within a set budget so the project is received well in its respected market.
Do you have any artistic collaboration plans? I’m currently in constant Collaboration with Cubanis. A phenomenal Dance Hall master within his craft. That’s just where I’m at currently. Shout out to That New JT, also phenomenal.
What message would you like to give to your fans? I want them to know how much I appreciate them and I value their support. They keep me going. I’m hoping my music is causing some kind of impact on their lives. That’s really what I want to do for them, because other artists have done that for me so, yeah I love them.
Are ready for a behind-the-scene tour of one of the hottest acts on the music scene?And when it comes to Cris Cap, the unbelievably talented singer-songwriter and producer from Düsseldorf who’s been spreading his soulful pop vibes all over the place?
“Don’t You Cry” his latest single with the wonderful Tyla Raé is absolutely a fire song. People are loving that there’s this cool genre-blending vibe that molds soul, funk and pop together into something new and interesting. It’s only the moment that the groove starts that you just can’t avoid your head from nodding and your legs from tapping. On top of this we also get Cris’s smooth vocals and Tyla’s killer pipes. The great thing about this is that the melodies will definitely get stuck in your head for days.
On the other hand, let us go back a little and talk about the man behind the tunes. A young Cris was all about the music game since he was a little pianist playing around. It’s been an intense journey of pure passion, the hustle and genuine creativity; positioning him as one of the hottest and respected artists and producers at the moment.
Here is your unique chance to listen to Cris’s undisclosed tribulations directly from him. In this episode, we will explore what ignites his spark, how he harnesses his creative brilliance, who his oldest heroes are, and what he has on the package for the future. Hold your horses, as you are about to embark on an exciting journey into the psychological world and mindset of Cris Cap.
In the music I love to hear, esp on my headphones walking the city. Watching videos with my musical heroes. Concerts. Also in foolin’ round on the piano.
What was the role of music in the early years of your life?
When I was little, we had always music playing at home. Besides classical music, there was also a lot of pop and soul. My mother loved the Carpenters and Tom Jones. My parents had a piano teacher for me and I started playing with seven. I also joined the children’s choir of our little town, I spent several years there. Today I can see that this early practice and experience is so helpful; harmonizing, finding melodies and structures comes natural and easy.
Are you from a musical or artistic family?
Not really, they are music lovers. Anyway my mom played the piano in her spare time and my grandfather was also a piano player. In his last years we even played some four handed duets on the piano, waltzes by Johann Strauss were his favourite music.
Who inspired you to be a part of the music industry?
All the L.A. session players of the 70s and 80s for the most part. The guys that played for Steely Dan and the Toto crew for instance. When I was 14 I fell in love with their art and it was always my dream to be part of this game. Larry Carlton. Brecker Brothers. Stevie Wonder.
How did you learn to sing/write/to play?
Piano lessons, choir. Then classes in high school. Started playing with Pop, Funk and Fusion bands when I was 17. Later preparing for music college, studying music theory, classical piano and ear training. I was accepted at the Robert Schumann Hochschule in Düsseldorf/Germany.
Started playing with Pop, Funk and Fusion bands when I was 17.
What was the first concert that you ever went to and who did you see perform?
I think the first real big show I went to was the Queen 1981 tour in Frankfurt/Germany.
How could you describe your music?
Soulful sounding pop / RnB with strong influences from Jazz and Funk.
Describe your creative process.
The moment I realize motivation, I try to work out that idea. If it is a lyric idea, i take notes if it’s musical, I fix it on a voice recorder or in my studio. I always work out lyrics because I need them to start the composition. Then the fun part starts: I sit, playing the piano and start singing some of my prepared lyrics. If I have a good day I would start recording sth right away. I have days when I more or less make a song in one day. The work to arrange it and record it takes several more days of course.
What is your main inspiration?
Listening to music!
What musician do you admire most and why?
Donald Fagen. One of my heroes, as part of the Steely Dan duet he developped a unique musical style so interesting and soothing at once.
Did your style evolve since the beginning of your career?
Oh yes, always. It’s an ever continuing process…
What are your interests outside of music?
Nature and movies.
If it wasn’t a music career, what would you be doing?
My second choice would be Physician.
What is the biggest problem you have encountered in the journey of music?
The marketing of music is the biggest challenge and I still don’t have a clue….
If you could change one thing in the music industry, what would it be?
Listeners should be asked to pay their fav artists better.
What are your plans for the coming months?
In June 2024 I will release a six song EP with also my latest singles on it. Next year my first album will come out, I am already working out the songs.
Do you have any artistic collaboration plans?
I am really open and looking for all kind of collabs, esp with singers! Write!
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Hey there, fam!I am thrilled to have all of you in this extraordinary behind-the-curtain meeting with the one and only Vinnie-Dangerous. This guy isn’t just fresh outta Fayetteville, North Carolina, but he’s also multi-talented; he’s not just a rapper and a producer, but he’s a revolutionary superstar that has the Music Industry by its balls. As Vinnie manages to get out from the old moldy mold and create his own fresh styles that are all distinctive to himself, he’s been able to carve a niche among the rap scene and emerge as a one-of-a-kind visionary.
Genuinely guys, Vinnie-Boy, there is no such thing as diplomacy. He is the one who is fearlessly living by his own experiences and those songs touch you in depth with the emotions and the authentic story-telling.
His current album, “Dream ‘Til it’s Over”, is the closure of a trilogy that he has worked on for years, and it is dedicated to those concepts most responsible for our dreams: dreams, aspirations, and personal growth.
Here, we are going to unlock the world behind him and talk about his creative process, his influences, and the reasons why he writes the music he compose. Go on a journey with us as we explore the master artist’s soul and mind and unravel the mystery behind his most recent work in progress. Therefore, shall we get started with Vinnie’s world and explore how music has made it so pretty?
Is there a story behind your stage name? – When I was in middle school, I performed at a school talent show and afterwards the host said “I like him but he sounded anger. He sounds Dangerous” and it stuck. Vinnie is the nickname of my grandfather that passed away that many in my family who knew him said I remind them of him.
Where do you find inspiration? – I find inspiration from my life experiences and my interpretation of the world. I like to view my albums like journey entries and people listening to my albums can listen to it and follow along with my journey.
What was the role of music in the early years of your life? – I was very shy growing up and music helped me find my voice.
Are you from a musical or artistic family? – My father was a rapper and my mother is a poet and published author. My grandfather was also a guitarist
Who inspired you to be a part of the music industry? – I was inspired by 2pac’s Me Against The World album and other artists like Outkast, Kendrick Lamar, Nas, Jay-Z, Joe Budden and Tyler, The Creator
How did you learn to sing/write/to play? – I studied song structure by listening closely to the radio and CD’s my mom had and taught myself how to write songs and count bars.
What was the first concert that you ever went to and who did you see perform? – The 1st concert I went to was in Dallas TX and the underrated rap ground Tanya Morgan was performing. I was 14 so I don’t remember much more than that but I remember they were super dope.
How could you describe your music? – I describe my music as vulnerable, aggressive, and artistic hip-hop. My songs are very introspective, unfiltered and lyrical music trying to push the artform as far as I can.
In the Spotlight: Vinnie-Dangerous and His Musical Universe
Describe your creative process. – It really just comes to me. I’m a big fan of music, not just an artist, so I’m always thinking of new ideas and listening to those who inspire me. I could be reading a news article, listening to a song in a different genre or running arrands then an idea comes to me and I go from there.
What is your main inspiration? – Right now, its my family. Since becoming a father, I’m amazed watching my son as he grows and develop. I see the world a lot differently now seeing the world through the lens of being a parent and I care about the future of it. That will be reflected in my new album and music moving forward.
What musician do you admire most and why? – I admire 2pac for being so unfiltered with the truth, passionate and multifaceted. The way his music and words connect with people all over the world is something I strive to do. He is my biggest inspiration.
Did your style evolve since the beginning of your career? – Yes, I’m always trying to grow and develop. I’m forever a student of the game so I’m always learning new skills and techniques to add as a producer, songwriter, performer or engineer. One thing fans can look forward to with every release is that no two albums are the same.
Who do you see as your main competitor? – My main competitor is myself and self-doubt. Of course, as a rapper I want to be the best and want to rap at the highest level but I’m also an artist and I feel like community is more important than competition. There’s room for everyone in this game.
What are your interests outside of music? – I’m a big wrestling fan. My wife and I really love watching AEW and WWE specifically but I also love watching NJPW on occasion. I’m also big into movies and cinema. I really love abstract, thought provoking and creative movies. Some of my favorite directors are Stanley Kubrick, Christopher Nolan, Spike Lee and David Lynch.
If it wasn’t a music career, what would you be doing? – I’d probably be either an aspiring actor or a writer. I just want to create.
What is the biggest problem you have encountered in the journey of music? – Trying to balance business and music & trying to find the right people to have on my side/ my team. Its been hard balancing my creative ambitions with a business mindset and having people that understand you is so important in that as well.
If you could change one thing in the music industry, what would it be? – I would leave the suits out of it honestly. The businessmen and women know how to make money and handle admin, but they shouldn’t have the final say on the creative process. Most of the time you are dealing with people who have never made a chord telling you how to do something you’ve done all your life.
Why did you choose this as the title of this project? – Originally the title was going to be Dream Deferred naming it after the famous Langston Hughes because it was going to be my last album but during the process of creating this album I fell in love with music all over again. So I changed it to Dream ‘Til It’s Over because I
What are your plans for the coming months?
– The album will be released April 30th and I have an online listening event on Bandcamp on April 28th. Other than that I have a lot of content and showing coming in the next few months.
Do you have any artistic collaboration plans – Now that I have completed this album, I plan to do more collaborations both in and out of music. A lot of great artists and personalities I want to work with.
What message would you like to give to your fans? – This is an album I poured my heart and soul into for 2 years. This is something I feel like you will be able to connect with on so many levels. The message I want everyone to take away from this album is that nothing is impossible, no dream is unachievable. It’s not over until it’s over.
“Let’s Go!” by Michael V. Doane, begins like an idle summer reverie, the warm strumming of guitars unfurling a flickering field of sun-bleached memories. Each chord is a champagne-gilded splinter from Americana’s twinkling mosaic, treading on the very echoes lingering in the halls where Elvis once gyrated and Janis Joplin wailed.
Doane’s voice – his honey-drunk timbre is raw denim sewn with liquid gold – embarks on this audacious escapade. It swells to fill every measure with sweet melancholy and wild ecstasy; an elegy for youth shimmying rhythmically into a rock-and-roll jaunt against oblivion.
“Let’s Go!” by Michael V. Doane: A Rock Odyssey
Suddenly, we are plunged into tumultuous torrents of electrifying riffs that collide tempestuously with hard-honed country soul. The journey lurches between lamentation and jubilance-a tragicomic ballet tracing life’s chiaroscuro contours—a raucous seduction back-flipping onto comforting whispers nestled in twilight serenity—all punctuated by fleeting reminiscences flashing like distant fireflies against a star-swathed August sky.
The music video roots this churning carnival within aging bardolators locked inside their buoyant dance til death do them part- A sublime allegory evoking Romeo & Juliet set amidst Woodstock graffiti or perhaps Ullyses’ last voyage now bathed dazzling neon lights trouncing Vegas’ gaudy glitter.
In brevity then, “Let’s Go!” bellies its epic range: Fearlessly revealing time’s savage ravages yet exulting ceaseless striving adventures shimmering past despair’s desolate shoal—not unlike tuning from Burial at Sea dirges unto Sgt Pepper ‘s Beatlemania dreamscape—An exquisite chiaroscuro evoking Infinity shedding painful metamorphosis, finally emerging resplendent phoenix dancing flamboyantly across a storm-kissed dusk, proclaiming joyous defiance strumming alongside mortality’s mournful melody.
Exploring the Depths of Myah's "Everything": A Sonic Journey
In a tryst with the ineffable, Myah’s “Everything” shimmers in our ears like the receding footprints of an epiphany. It is as if nostalgia got drunk on melancholy and gave birth to this tender pop ballad that echoes through time, from forgotten ’90s indie rock barrooms to Future Islands synthpop dreamscapes.
Myah’s voice croons enchantingly over heartbroken harmonies; her soft lullabies wrapping around us like zephyr-kissed chiffon, brushed by whispers of uncertainty and garment-torn yearnings. The notes crumble then ascend breathtakingly in poetic cascades—sonic chiaroscuro spun into gossamer threads of hope against love’s sad entropy.
Exploring the Depths of Myah’s “Everything”: A Sonic Journey
It explodes boldly across genres—lingering at times in raw echo chambers where Talking Heads met Modest Mouse once upon a twilight. Yet it buttons itself demurely with the intimate vulnerability inherent to Taylor Swift’s’ anthems.
The music video unfurls as a visual haiku under Florida sunsets—the spectral light casting shadows against memories etched sharply onto celluloid regrets. It treads softly yet insistently on cavernous hearts willing them echo back its hollow pulse: I thought you were everything—a mantra beneath every breath-like beat solar-plexus deep.
Myah has crafted not so much a song but an elegy for innocence lost—an imploring sigh that rattles age-old questions dressed in modern soundwaves echoing themselves into infinity. This isn’t simply listening—it’s marination, full immersion baptism alpha omega summoned forth from quill-dipped marrow surely as moon pulls tide.
