In the ever-evolving landscape of music, where genres blend and boundaries blur, it’s a rare moment when an artist not only revisits the roots of sacred music but also breathes new life into its timeless ethos. Enter Domine Clemons, whose rendition of William Gomez’s “Ave Maria” is nothing short of a celestial journey bound to uplift the spirit to an ethereal realm.
Dubbed as the “Enya of Sacred Music,” Clemons has carved a niche that straddles both divine inspiration and earthly passion. Having transitioned from the corporate alleys into the sanctuaries of song, she brings with her a unique perspective that shines through in this cover single released in September 2023—translating not just notes but conveying messages steeped in themes of renewal and sacred journeying.
The music carries with it centuries-old legacies strewn across cultures worldwide. Yet, under Clemons’ careful stewardship, there’s no sense of time-worn tradition weighing down; rather, there’s rebirth and rejuvenation coursing throughout her rendition. It speaks volumes about her ability to tread softly yet significantly on revered grounds without losing sight of her modern sensibilities.
Clemon’s vocal brilliance is impossible to overlook or understate. Her voice weaves through Gregorian chants’ solemnity and classical opera’s dramatic flourishes effortlessly—a testament both to her vocal agility and deep comprehension of this multifaceted piece. Listening to Domine perform “Ave Maria” by Gomez is akin to witnessing stars illuminating night skies; magical yet comforting in their familiar twinkle amidst immense darkness—a symbolism perhaps reflective both internally for Domine stepping boldly into uncharted musical terrains after a life-altering career shift—and externally for listeners finding solace amid contemporary chaos.
What makes this rendition epic isn’t merely its flawless execution or angelic vocals but how it manages—all at once—to be deeply personal while universally resonant; inviting us on an uplifting voyage beyond mere mortal concerns towards something genuinely transcendent. With strings that tug at heartstrings complemented by keys unlocking gates towards higher reflections—it’s hard not so much listen as be transported upon every note carried forth by Clemons’ magical voice.
By infusing ‘sacred’ within each vibrato and crescendo encountered during this auditory pilgrimage, one can detect echoes from yesteryears’ hymnal corners cross-whispering with today’s search for meaning beyond material fetters—the sort Enya might have elicited had she too found sanctuary within such spiritual sonorities.
Domine Clemons offers more than just soundscapes; she delivers experiences wrapped delicately around ‘Ave Maria’, transforming what could have easily been another cover into a humbling touchstone for anyone willing enough to embark alongside on such pure-hearted escalations toward sublime realizations—in Naples Florida or anywhere hearts may seek refuge.
In the world of music, tributes often tread a fine line between heartfelt homage and saccharine sentimentality. The album “UBU” by UBU not only walks this tightrope with grace but also leaps into an exploration of diverse styles and profound messages that transcend mere words. Released on April 28, 2023, “UBU” is both a memorial and celebration of Marco Trinchillo’s life—a co-founder whose sudden departure at 41 added layers of poignancy to the concluding stages of the album’s production.
Over two years in Forli, Italy’s ‘L’Amor Mio Non Muore’ studio, this collective endeavor emerged under the stewardship of UBU alongside Franco Naddei. What sets “UBU” apart is its embrace of multiplicity—each song reflects a confluence of emotions swathed in distinct musical genres ranging from pop to easy listening and euphoric highs that defy categorization.
With eleven tracks acting as canvases for expression, “UBU” introduces us to an ensemble cast including Hannah Saunders, FRNQ, Nicola Biondi, Pieralberto Valli, Hellis, Cleats, Luca Parma, Emma Perrot, Enzo Moretto, Francesca Amati, and Mattia Mercuriali (co-founder, Amycanbe), each bringing their unique touch influenced by Trinchillo’s expansive creativity. His legacy—a testament to self-taught brilliance spanning drumming to photography (captured in esteemed outlets like The Guardian)—echoes throughout the album.
UBU: A Diverse Sonic Tapestry of Memories
The tribute extends beyond rehashed nostalgia; it invites listeners into an immersive experience where melodies carry stories versatile enough to appeal across the spectrum—from seasoned aficionados seeking depth and innovative soundscapes to casual listeners cherishing moments captured through tunes. Trinchillo’s spirit looms large—guiding these artists as they weave together influences capturing his essence without chaining themselves solely unto grief.
UBU: A Diverse Sonic Tapestry of Memories
Tracks oscillate between introspection and unbridled joy—the kind we imagine Marco would have insisted upon. Listeners are guided through an evocative journey marked by super edgy artistic choices that challenge yet comfort simultaneously: A sonic rollercoaster reflecting life itself with all its inherent contradictions.
Ultimately, “UBU” is not just another entry into music archives—it holds up a mirror showing us resilience borne out of love lost too soon yet celebrated eternally through artistry emerging triumphant against despair’s shadow.“UBU” accomplishes what few tributes can: It ensures Marco Trinchillo vibrates forever heartbeats aligned amidst rhythms birthed from collective memories cherished always—an undying testimony celebrating influence transcending mortal confines onto divine mélange melody whispers witnessed worldwide.*(An ethereal rhapsody inscribed indelibly upon souls stirred evermore).*
Playful Satire in Synth: Dylan Galvin's “How to Write a Pop Song”
Diving into Dylan Galvin’s latest single, “How to Write a Pop Song,” is like stepping through a neon-lit portal directly into the heart of the 1980s synth-pop era, with just enough modern sass and satire to keep us grounded in the present. Galvin, alongside producers Austin Morehead and Harper James have polished this gem in Los Angeles and Nashville before giving it that final sparkle in New York City—an impressive tri-city collaboration that breathes authenticity into its retro vibe.
The song is cheeky; there’s no denying it. With lines such as “If you think too hard, you will get it wrong; you’ve got to stay nice and stupid if you wana write a pop song,” Galvin doesn’t just toe the line between mockery and admiration—he dances on it. The lyrics are cleverly penned, capturing an essence of playful critique about the mainstream music industry’s thirst for hits over substance. It takes guts to bite the hand that feeds many musicians’ careers while simultaneously extending an olive branch through catchy melodies.
Musically speaking, “How to Write a Pop Song” is as much of a homage as it is lampoonery. Its genre roots — planted firmly within 80s synth-pop soil — are nurtured by influences from iconic films of both the 80s and 90s letting nostalgia bloom like wildflowers throughout every note and beat. Yet beneath this flowery exterior lies an undeniable edge—a kind of discontent with formulaic creations merely aimed at chart domination rather than authentic expression.
Playful Satire in Synth: Dylan Galvin’s “How to Write a Pop Song”
Galvin’s male vocals gently weave narratives between harmonies akin to riding waves—smooth but powerful enough to carry one momentarily away from reality into introspection about our attitudes towards popular culture’s musical offerings.
The awaited music video set for release on February 2nd promises another layer of immersive experience. Given what can be gleaned from the audio-sonic facets alone, expectations pivot around innovative visual storytelling that captures both satire and genuine affection for pop sensibilities.
Playful Satire in Synth: Dylan Galvin’s “How to Write a Pop Song”
In drawing connections across different eras—akin perhaps only distantly related cousins—one might find echoes ranging from Pet Shop Boys’ witty lyrical delivery down alleys walked by Talking Heads with their off-beat approach up through whispers reminding young fans today why bands like MGMT found love in straddling commercial appeal versus indie embrace openly yet cautiously.
Through “How To Write A Pop Song,” Dylan Galvin offers not just entertainment but commentary wrapped up neatly in synthesizer-drenched ribbons accented by basslines meant for head nodding or full-bodied dancing depending on where your comfort zone or irony happens to lie when listening.
"everyone is from somewhere and also nowhere" By And Y Et
In the labyrinth of modern music, where genres often blur at the edges and mutate into forms as elusive as morning fog, “everyone is from somewhere and also nowhere” by And Y Et carves out a unique auditory experience that tantalizes and challenges in equal measure. At the helm of this intrepid voyage are Nic Jenkins and Kelsey Mines, whose synergy oscillates between haunting beauty and deliberate cacophony, scripting an album replete with multifarious narratives.
The album unfurls like an intricate tapestry threaded with themes both urgent and introspective: mutual-aid sings a harmony to meditation while climate change’s discordant undertone questions over commitment. It’s a reflection not merely on our external crises but also on our innermost caverns of solitude juxtaposed against the warmth of friendship—a poignant reminder perhaps best encapsulated in these pandemic times.
Musically, “everyone is from somewhere and also nowhere” refuses to be pigeonholed. The experimental pop foundation provides fertile ground for lo-fi textures to intertwine seamlessly with electro-acoustic embellishments. Herein lies its charm; it’s collage-form composition bearing witness to genre-defying audacity which mirrors the chaotic yet harmonious existence we navigate daily.
“everyone is from somewhere and also nowhere” By And Y Et
Jenkins’ male vocals interweave gracefully with Mines’ female timbres across ten tracks that feel less like songs and more like movements within a grander symphony—one penned remotely in isolation yet profoundly intimate. Their voices act not just as narrators but as instruments themselves, blending improvisation with structured part-writing that cultivates an atmospheric spaciousness brimming with possibility.
Listeners will find echoes of Brian Eno’s ambient innovations beside Björk’s avant-pop spirit in this project. Yet it resists straightforward comparisons; akin to staring at clouds or interpreting dreams—each moment holds myriad shapes dependent solely upon one’s perspective at any given time.
“everyone is from somewhere and also nowhere” By And Y Et
Drawing deeper into their sonic landscape exposes listeners to unconventional song forms animated by a harmonic language intent on exploration rather than resolution—akin to navigating bewilderingly beautiful terrain without a map or compass but led instead by sheer curiosity.
Despite—or perhaps because of—the isolation-fuelled birthing process bolstered by remote collaboration during unprecedented global conditions, there emerges from “everyone is from somewhere and also nowhere” an essential truth about creation itself: art thrives amidst constraints. With every note played or sung, Jenkins and Mines articulate not just soundscapes but sanctuaries built from adversity wherein reflection meets connection.
And Y Et crafts something both comforting in its familiarity yet joltingly fresh—a timely testament framed against somber realities yet imbued throughout with hopeful strands awaiting discovery amid its layers.
Oceanless Takes Alt-Rock to New Depths with "This Feeling"
Within the crowded landscape of alternative rock, it takes a certain je ne sais quoi to truly stand out—a unique blend of raw emotion, compelling narratives, and distinctive soundscapes. “This Feeling,” the latest offering from Oceanless, a single in a self-titled EP does not only meet but exceeds these criteria. The duo comprising Will McGarrie (singer and guitarist) and George Sheasby (drummer) might trace their origins back to an early friendship in the schoolyards near Birmingham, yet their music carries a world-worn wisdom far beyond those initial forays into songcraft.
Recorded at The Motor Museum in Liverpool—an iconic studio that has birthed albums from acts as varied as Arctic Monkeys to Oasis—”This Feeling” is a testament to Oceanless’s resilience and creative spirit despite the trying times of its 2021 lockdown genesis. With limited access to recording facilities, one could forgive them for producing work that felt constrained or rushed; instead, they crafted a track that revels in emotional depth and sonic expansiveness.
What sets “This Feeling” apart is its deft handling of heavy themes—complex relationships, the quest for authenticity, and the painful realization when independence beckons through personal growth. These aren’t just lyrics set to melody; they’re confessions wrought from experience—the kind that resonates universally with anyone who’s ever found themselves entangled in life’s relentless ebb and flow.
Musically speaking, McGarrie’s vocal delivery harnesses both vulnerability and strength—evoking shades of Jeff Buckley’s emotive tenor woven with Eddie Vedder’s gutsy resonance. Meanwhile, Sheasby on drums punctuates this emotional narrative with rhythms that alternate between understated accompaniment during introspective moments to forceful declarations as each wave of realization crashes down upon listener shores.
Oceanless Takes Alt-Rock to New Depths with “This Feeling”
Stylistically hovering somewhere between Radiohead’s introspection and Foo Fighters’ energy-driven performances—but without losing sight of their own distinct identity—Oceanless explores multiple dimensions within “This Feeling”. There are moments suffused with simmering calmness abruptly skirted by squalls echoing garage rock ferocity—an atmospheric shift representative not merely of alt-rock dexterity but also symbolic of relationship tumults charted throughout.
“This Feeling” soars beyond mere performance; it unfurls like achingly raw poetry wrapped around chords—one painted stark against Liverpool’s industrial backdrop yet feeling wholly universal. It asks tough questions about freedom’s nature versus comfort’s chains while respecting listeners enough not simply propose easy answers.
In essence: if songs were voyages across seas plagued by tempests born from human emotions,—then consider “This Feeling” your invitation aboard Oceanless’ ship—not merely as passengers seeking escape but rather souls yearning for navigation through heartache towards personal liberation.
"Just A Summer Romance" by Allie Argent: A Tender Indie Bloom
In the luminous world of indie music, where every artist fiercely grasps for originality and a slice of eternity, Allie Argent’s debut single “Just A Summer Romance” emerges like a tender bloom in early spring. This track is not just another addition to the swelling ocean of songs; it’s an intimate confession set to music, evoking images as delicate as watercolor paintings.
Recorded in the comfort of her own bedroom and produced by father.honeybee, there’s something profoundly authentic about this release; it carries the warmth and intimacy only found in spaces that brim with personal history. The DIY ethos isn’t merely aesthetic—it resonates deeply with the song’s overarching themes of nostalgia and ephemeral summer love.
Drawing on influences from indie-pop connoisseur Girl In Red, folk-rock poet Phoebe Bridgers, to Lady Hawke’s indie rock/synth-pop vigor – “Just A Summer Romance” brilliantly weaves these threads into its fabric without losing its distinct voice. The contrasting male and female vocals add layers upon layers to this narrative-rich composition – at times echoing each other’s longing for what was once so palpable but inevitably fleeting.
“Just A Summer Romance” by Allie Argent: A Tender Indie Bloom – credit to @Vivienne Cross
The genre itself—a heartwarming mix of Indie, Folk, and Acoustic—lends “Just A Summer Romance” an earthy sensibility reminiscent of sunlit afternoons by lakesides from days gone by. There are no abrupt crescendos or jarring breaks here; instead, Argent opts for gentle melodies that glide effortlessly amid softly strummed guitars enticing listeners into a state akin to blissful inertia.
Lyrically potent yet unburdened by convolution—”Just A Summer Romance,” captures universal emotions conjured up by short-lived connections that leave indelible marks upon our hearts. It strikes a poignant balance between joyous affinity felt during summer flings against the backdrop of knowing discomfort—that certain sentiments will fade as leaves begin their autumn descent.
“Just A Summer Romance” by Allie Argent: A Tender Indie Bloom – credit to @Vivienne Cross
For those ensnared within their bustling daily orbits or seeking solace amidst chaotic times,” Just A Summer Romance” offers respite—a musical interlude imbued with both sweetness and melancholy reflective not only applicable for summers past but also fittingly encapsulates life’s transient beauty.
Allie Argent has indeed charted an audacious course through familiar territory—her execution replete with soulfulness makes this voyage utterly delightful. As much as “Just A Summer Romance” serenades us about summertime dalliances slipping through fingers like grains of sand—it simultaneously entrenches itself deep within our libraries (and perhaps even our hearts) promising revisits long after seasonal romances have ebbed away.
Nathasha Rumbos Unleashes Luxury in "Sugadaddi": A Glamorous Joyride
Nathasha Rumbos’ single “Sugadaddi” is a bold, glittering entrance into the music scene that cleverly navigates the nuances of sugar baby experiences with an infectious rhythm and undeniably catchy lyrics. Drawing from her observations of Miami’s extravagant lifestyle, Rumbos offers listeners a lighthearted yet engrossing narrative set against a backdrop of dembow beats—a genre that marries Latin rhythms with urban and reggaeton vibes to perfection.
“Sugadaddi” dives into the life of luxury and indulgence afforded by sugar daddy relationships with both poise and humor. It’s like wandering through a vivid daydream or watching an episode of reality TV where every detail is meticulously adorned—fancy cars, stacks of cash, endless parties—in scenes so vibrant they jump out at you. There’s a sense in which Rumbos plays tour guide through this lush landscape, her voice delivering each line with precision whilst emanating confidence and charm.
Nathasha Rumbos Unleashes Luxury in “Sugadaddi”: A Glamorous Joyride
Rumbos’ ability to blend traditional Latin sounds with modern reggaeton elements brings freshness to the track that feels both authentic and innovative. Her female vocals glide effortlessly over pulsating beats, creating moments that are as ripe for dance floors as they are for intimate headphone listens. The inclusion on Spotify’s Novedades Dembow playlist also signifies her burgeoning influence within the music sphere—an impressive feat spotlighting “Sugadaddi”‘s magnetic allure.
What sets “Sugadaddi” apart isn’t just its exploration of affluent living through unconventional means; it’s also how it manages to evoke mixed emotions—from exhilaration to wistfulness—akin to what one might feel when riding down Miami coastlines as dusk turns them golden. The song beckons listeners into Nathasha Rumbos’ world not simply as spectators but participants eager for escapism infused with self-awareness and wit.
The accompanying music video amplifies these themes wonderfully, marrying visual opulence with narrative flair—the essence of ‘show don’t tell’. Through plush visuals featuring high-end cars drifting across screen space bathed in neon lights or shots capturing carefree decadence amidst sumptuous settings—it reinforces “Sugadaddi”’s compelling storytelling without ever veering towards oversaturation.
With “Sugadaddi,” Nathasha Rumbos has crafted more than just an earworm; she delivers a multi-sensory experience replete with poignant reflections on desires for luxury balanced by sardonic takes on materialism—all while keeping your hips swaying uncontrollably. This music promises great potential from an artist clearly capable of blending cultural depth with chart-topping appeal—a thrilling prospect for future releases.
Rapper, singer, and songwriter Haeven is set to return from her recording artiste hiatus with a new single that marks a renewed drive born from her resilience. The new song is scheduled to be released on Thursday, February 2nd.
On this vulnerable alternative R&B track she’s aptly titled ERA, the young performance dynamite bares her soul and embraces a new chapter of her life. Produced by 2shuus with additional production from Insvne Auggie, ERA carries a dark tone that embodies all that Haeven has been through in the past few years.
This song marks Haeven’s start to letting some weight of her shoulders. ERA seems like the start of something quite beautiful we are all about to experience from the rising star.
Richbhad's "Blame Us" Marks A Testament To Growth and Dedication
Rising Ghanaian musician Richbhad has recently released his latest afrobeats single titled “Blame Us.” Born and raised in Kugri Natinga, Ghana, Richbhad’s musical journey began at a young age, fueled by his natural talent and passion for music. Growing up in a creative household, with his father working as a DJ, Richbhad was immersed in diverse genres and musical influences, which significantly shaped his artistic path.
“Blame Us” marks Richbhad’s first single of the year, following his previous releases such as “A Lot,” “Pain,” and “Request.” His entry into the music scene in 2022 with his debut single “My Life,” featuring rising musician Kwame Nkansah, garnered attention and set the stage for his promising career.
Richbhad’s music reflects his unique blend of afrobeats and Ghanaian musical influences, showcasing his ability to craft captivating and soulful compositions. “Blame Us” serves as a testament to his growth as an artist and his dedication to creating music that resonates with audiences.
With his compelling storytelling and infectious melodies, Richbhad continues to make a significant impact in the Ghanaian music scene. His ability to draw from personal experiences and cultural influences sets him apart as a rising talent to watch.
Listen to “Blame Us” and Follow RichBhad on Instagram and Spotify
What really makes this song stand out is its honesty
“Hand In My Pocket” by Down South Pepper Band (DSP Band) is something different from the ordinary, diving deep into the everyday struggles we face with money and trust. Picture yourself in the Norwegian village of Kvalsund, where the DSP Band brews up their unique blend of blues, rockabilly, and alt-country.
From the get-go, you’re hit with Rune Nyby’s soulful vocals leading the charge, backed by Per Øyvind Mathisen’s bass and electric guitar, Lars Rune Rebbestad’s acoustic lead guitar, and Eivind Kløverød’s drums. It’s a full-on musical experience that grabs your attention and doesn’t let go.
The lyrics of “Hand In My Pocket” is about the paranoia and tension that money can bring into relationships. Rune Nyby’s vocals lay it all bare, while the instruments add layers of emotion and intensity to the mix.
What really makes this song stand out is its honesty
What really makes this song stand out is its honesty. There’s no fancy tricks or auto-tuning here, just raw emotion laid out for everyone to hear. It’s refreshing to hear a band that’s not afraid to keep it real.
But beyond the music, “Hand In My Pocket” is a reflection of our own struggles with money and trust. It’s a reminder that even in the closest relationships, there can be tension and doubt lurking beneath the surface.
It’s about the highs and lows, the doubts and fears, and ultimately, the hope that things will work out in the end. So next time you’re feeling the weight of the world on your shoulders, give this song a listen—it just might help you make sense of it all.
Gianfranco GFN’s “Sunshine” Is The Warmth You Need
Gianfranco GFN’s “Sunshine” is similar to a warm hug on an icy day. It’s the kind of melody that you can sing along to all day without even knowing it. This song is not merely focused on catchy tunes; it’s about hope and determination, enduring difficult circumstances with a smile and an idea.
As soon as you hit the play button, Gianfranco GFN welcomes you with an atmospheric soulful guitar that introduces you to a trip of reflection and positivity. With the bass and drums starting, it is impossible not to tap along with them. The music in Vladimir Crabone accompanies the song as his vocals shoot above it with lyrics that get to you.
Life has its fair share of challenges and “Sunshine” does not shy away from confronting this fact. It is about such dark times when the sun seems like it will never rise again. Amidst these hardships, however there is a ray of light—a thought that better days are here. It is an incentive that even in the most grim period, there remains a reason to keep dreaming.
The uniqueness of this song is the combination of positive tunes and deep lyrics. It is like a new life—an inspiration to keep going despite what fate brings. And thanks to Gianfranco GFN’s masterful production, every note is perfect pitched as the song becomes an irresistible symphony.
Therefore, if you are feeling down and out or even just need something nice to brighten your day, “Sunshine” is a worthwhile listen. If you believe that on the gloomiest days there is always a ray of light in it, then this song is your perfect soundtrack.
So, let us discuss The Forever Now that originated from Copenhagen of Denmark. They have just released their new single “Grounded Satellites” featuring Raene. The song is a good blend of indie rock feel and catchy synth pop sound having me wish to play the same again upon hitting replay.
You hit play, and bam! A welcome gust of fresh air hits you as this wonderful synth riff plays. You feel like they have trapped all that is European about pop and doused their indie rock foundation. The chorus? Oh boy, what a banger! You will be singing along without even knowing it.
Thank you, Aaron Short from The Naked and Famous for the mix. The magic touch he brings to it makes the song sparkle all over. The lyrics and the production of “Grounded Satellites” are exceptional.
The song itself centers on city life, the transience of time and quest.
The song itself centers on city life, the transience of time and quest. The Forever Now put everything that they had in them into this track, and it is obvious.
Having been inspired by bands such as MGMT and M83, The Forever Now has created a sound that is uniquely their own. With ‘Grounded Satellites’, they are all set to conquer the world of indie rock.
In this regard, if you seek a song that will make sway on the dance floor and keep your feet tapping look no further than “Grounded Satellites” by The Forever . Trust me, you will not regret it.
Meet Minno, The Man Who's Making Music from the Heart
Prepare for a journey into the world of Minno, an electronic music genius whose new single “Through The Day, Through The Night” has caught people’s attention. Working with different singers, his latest album represents the ups and down we go through in life; from high moments to low points represented by day vs night dichotomy.
Although Minno did not receive proper training, music has always been his passion. Throughout his childhood, he would fiddle with the piano fueled by an underlying passion for melodies. He cited that his family was creative but because they did not develop it, Minno altered the situation when he happened across music production in a technology class.
His creative process is dynamic in that it begins with a chord progression upon which he builds his piece. Minno’s music evokes the spirit of indie rock, electro-pop and EDM but is also in its own category by being catchy and melodic.
Apart from music, Minno’s hobbies include reading, staying active and working as a Mechanical Engineer. Although the process of marketing introduces some problems, Minno intends to share his music honestly with fans.
Is there a story behind your stage name? Originally I was just going by my real name (Chris Minatti) and then once I felt my music was good enough I changed it up and created a stage name. Minno was kind of just randomly derived from the first three letters of my last name and I though it sounded cool.
Where do you find inspiration? Inspiration can come from many things. Usually it is other songs or albums but it can also just be beautiful things in the world like mountains, paintings, cathedrals etc. Music-wise I listen to a lot of Indie Rock, Alt-Electro-Pop, and EDM and I think my music comes out as a blend of all that.
What was the role of music in the early years of your life? I always loved music as a kid. I’d listen non-stop and would always try to learn to play songs on the piano without being able to read music or knowing how to properly play. Music has helped me through hard times and brought greater joy to the good times.
Are you from a musical or artistic family? I think my family was always very artistic but was suppressed in a way. They never really pursued their creative talents. My Father for example, started painting at 60 years old and is actually really good, but he never had a creative outlet when he was younger.
Who inspired you to be a part of the music industry? I just enjoy making music. Even if I were to never post any of my songs publically and I was the only one to ever hear them, I’d still make music.
I just enjoy making music.
How did you learn to sing/write/to play? I briefly played the Clarinet in 5th/6th grade. I was good at it but thought it was kind of lame. In 7th/8th grade I got put in a Music Tech class for all the slacker kids that quit band. A few of the weeks of that class we went over music production and learned how to use a DAW. I immediately was hooked and downloaded my own at home and started learning how to make music.
What was the first concert that you ever went to and who did you see perform? It honestly might have been Avicii. Can’t remember if there were any before that.
How could you describe your music? Electronic-EDM-Alt-Indie-Pop? I never know how to describe it. Hope that works.
Describe your creative process. I generally start with a chord progression I like and then go from there. Usually I’ll add in synths and melodies and then do drums after I have basic foundation. Sometimes I’ll sit on a half done idea for years then finish it.
Other times like my song Glory I’ll produce, mix, and master it in 4 days and release it 7 days after starting it.
What musician do you admire most and why? Kanye might have the most impressive discography of any musician in my lifetime. I certainly admire his music and his ability to continuously make incredible albums. Danger Mouse is also one of my favorite producers. Every Album he touches is gold.
Did your style evolve since the beginning of your career? I think starting out I felt strong pressure to make “EDM” or songs that you can DJ live and people will dance. Now I don’t really care about that and make whatever I want. I think I’ve gotten a lot better as the years have gone by. Hopefully my Album shows that.
What are your interests outside of music? I like to read a lot and learn about random topics. I’m also very into working out and playing sports.
If it wasn’t a music career, what would you be doing? I’m a Mechanical Engineer and that is still my primary source of income. So, probably that.
What is the biggest problem you have encountered in the journey of music? Marketing is really tough. It is such a competitive landscape. I know so many talented artists that have hardly any plays. As a musician you just want to make music but if you want people to hear it you need to spend a good amount of time on marketing and social media which is really boring.
If you could change one thing in the music industry, what would it be? There are a lot of scammers. Less scammers would be nice.
Why did you choose this as the title of this project? Through The Day, Through The Night just felt like the right name. The songs convey a wide range of styles and emotions. I think it captures the feeling of all the highs and lows in life. And no matter what life brings us whether its day or night, light or darkness, we keep pushing on through.
What are your plans for the coming months? Promote my album and start experimenting with new music J
Do you have any artistic collaboration plans Yes I do. Stay tuned.
What message would you like to give to your fans? Thank you to everyone that listens to my music. I hope you enjoy my Album. It has been quite the ride and your support means the world.
Join us as we have a chat with Jaxyn Lethe an upcoming star from Baltimore, making a buzz with her catchy electro-pop style. The latest hit single from her was “Techno Beats” which is the preview of upcoming EP ‘I am I don’t know’, to be released on February 4th.
OK, what’s cool about Jaxyn is that she isn’t just a regular musician. As a girl in her family where your father and aunt are practicing music, music is definately there inside the veins. It is therefore no surprise that she has found her calling in the industry.
With Jaxyn’s music she combines everything she likes, think new wave, shoegaze and a lot of feelings. Every track is filled with her soul, combining catchy tunes and reflective words that strike right in the heart.
And get this: She is not all about the music. Jaxyn is all about networking and teamwork. She is preparing for a few live shows in Boston and has some great collabs coming up.
Thus, if you are after soul-moving tracks, then Jaxyn Lethe has you sorted. Watch out for her EP and gear up yourselves to shake legs with some vibes that are marvelous.
Is there a story behind your stage name? Nope! My given birth name.
Where do you find inspiration? I write and produce music at the same time, so often times I’ll sit down wanting to try a new production technique, and I’ll write a song about whatever I’m thinking about in that moment. A lot of emotional fuel for me though comes from different relationships I have in my life.
What was the role of music in the early years of your life? My dad’s a musician, and I’ve been playing piano since I can remember. Having a very vast musical background has given me a lot of tools to be able to express myself in a more precise way.
Are you from a musical or artistic family? Yes! My dad is a Jazz pianist and Church music director, and my aunt fully sustains herself on her band the Billies.
Who inspired you to be a part of the music industry? I don’t think a specific person ever inspired me to want to do what I do, but rather being surrounded by people in different areas of the music industry made me feel like it was super accessible.
I also never had a moment where I was like “aha now I’m going to be a musician” because I’ve always played, composed, or produced music in a large capacity. It made the most sense for me to continue doing so as an adult after High School because I’d never done anything else.
How did you learn to sing/write/to play? My dad taught me how to play piano, and then I started piano lessons at 4. I never have had formal training in singing, and when I first started writing I wanted someone else to sing my songs. It wasn’t until they never sent me the audio files that I begrugingly tracked the vocals myself.
My dad taught me how to play piano, and then I started piano lessons at 4
Then I realized how much easier that was, so I just started doing it regularly. My first writing experience was in blues music, I was taking lessons with Erwin Helfer and he had me write lyrics to a 12 bar blues.
What was the first concert that you ever went to and who did you see perform? I don’t remember at all. Apparentlly I saw the Beastie Boys when I was 2, my parents took me to a lot of concerts as a kid.
How could you describe your music? I always say Electronic Indie Pop. I’m heavily inspired by new wave, shoegaze, the Japanese House, STRFKR, and Phantogram. I take a lot of inspiration from varying places so I find it hard to place a genre.
Describe your creative process. Sometimes I’ll have a melody in mind, and I’ll create a backing track to it, and then I’ll think of lyrics. Those songs are usually pretty catchy. Sometimes I’ll make a beat and then lyrics will come after. I’m very technically motivated, so new gear and production techniques really makes me feel creative the most.
What is your main inspiration? I don’t know.
What musician do you admire most and why? I admire LCD Soundsystem, because he knew exactly what he wanted and he went for it. Despite being older, despite having people tell him that he shouldn’t, he released something totally unique and it blew peoples’ minds.
Did your style evolve since the beginning of your career? Yes. I used to be less creative with my synth sounds and drum parts, since getting more experience producing and learning more in school, I feel like my music keeps getting more developed and complex.
It’s like I started off making good songs, like a grilled cheese and tomato soup. But the more I do it the more I can develop the idea to have more “flavors”, like now I can make some michelin star meal with crazy depths of flavor.
Who do you see as your main competitor? I don’t have any. Honestly, I compete against my former self to release better stuff. Anyone that I’d feel intimidated by I like to push myself to work with them so we can join forces. I don’t believe in rivalries when working together can yeild better results.
What are your interests outside of music? I love cooking and taking walks.
If it wasn’t a music career, what would you be doing? Probably dying or going to horticulture school.
What is the biggest problem you have encountered in the journey of music? I don’t like networking that much, and I feel pretty shy in really social settings. I have to force myself to put myself out there and get fans.
If you could change one thing in the music industry, what would it be? I would end the correlation between label backing and tik tok followers.
Why did you choose this as the title of this project? Honestly, when I made the song I started with a beat, and ‘Techno Beats’ was the trash name I made for the project file folder. When the song developed, the tag line got pretty complicated, and the one repeated line is “swallow us.” I couldn’t think of an alternate name to “Swallow Us,” and I figured that would be a disaster, so I kept the file name.
What are your plans for the coming months? Playing shows around Boston, and my EP release on Feb 2.
Do you have any artistic collaboration plans I do, but nothing super solid yet.
What message would you like to give to your fans? I love you!
Dive into Marr Not Meeger's World: The Story of 'Yellow Car
Meet Marr Not Meeger, the wonderful songwriter and singer who made her refreshing debut single “Yellow Car” available on all streaming platforms. Marr Not Meeger, whose name is Rowan Meagher and an Irishman but who spent his childhood in Geneva Switzerland presently lives Paris France. In her latest song ‘Yellow Car’ she addresses the challenges within relationships with brilliant lyrics among catchy tunes.
This track was recorded at Studio Montmartre in Paris, where Marr Not Meeger thanks Andreas Lecter for this marvelous job of recording and mastering the song. “The Boy in The Tree”, a seven-song EP which is scheduled for release midway through 2024, ‘Yellow Car’ serves as its lead single. With a mishmash of influences from Nina Simone to Phoebe Bridgers in tow, Marr Not Meeger has wound her way through the music scene.
At the end of her musician journey, Marr Not Meeger shares with us some words about how she finds inspiration to write. More than his music, Marr Not Meeger has a passion for swimming; likes to learn other languages apart from English and keep digging in with sports especially soccer. In case she does not choose music, Astoria would like to become a professional in some intellectually stimulating branches of astrophysics or economics.
In an industry filled with challenges, Marr Not Meeger gives profile to the issue of gender equality and aims at redefining traditional views. Having the intention of releasing her second single ‘Pizza For Breakfast’ in April, and a debut EP in September this year, Marr Not Meeger can wait for establishing contact with her audience through emotional performances alongside other joint projects.
Marr Not Meeger to her fans expresses deep gratitude with a heart-warming hug as she welcomes them on an inspiring adventure full of hit songs and life meaning.
It comes from having to explain the pronunciation of my Irish surname, Meagher, to non-irish people, who always pronounce it wrong.
Where do you find inspiration?
most things, however most often it’s other works of art. Be it music, painting, or literature. I find a lot of inspiration in tv and film, as the combination of text or dialogue and visuals is a large pool to draw from.
What was the role of music in the early years of your life?
The earliest memories i have that tie to music are, like most little girls and boys, disney songs. My parents also had a huge cd collection, that I would regularly reorganize for fun. When I was seven, my father made me a mixtape that hugely influenced me. It opened with Sheryl Crow singing ‘sweet child o mine’ and also featured some great covers, like Eva Cassidy singing ‘Time after Time’, and the Dubliners singing ‘black velvet band’.
It also featured Joan Armatrading, Kíla, Crowded House, Sony Condell, and many others that I can’t remember. The best day of my life was when my parents bought me an ipod.
Are you from a musical or artistic family?
Not at all. My parents were both highly academic, and my father used to tell me that he got kicked out of music class in school for being so untalented.
Who inspired you to be a part of the music industry?
Two people. The first is Lorraine Dinkel, who was my first ever singing teacher. She taught me to conquer my stage fright and learn musical improvisation. She convinced me to start writing songs. The second is Ralph Kerr, who was the director of the choir I was in in highschool. Being in that choir was really the only time I enjoyed highschool, and it’s where I started gaining confidence and where I realized I could pursue this as a career.
How did you learn to sing/write/to play?
I started taking singing lessons, and writing in my bedroom with my grandmothers old guitar that she left me when she died.
What was the first concert that you ever went to and who did you see perform?
In 2018 I saw Rex Orange County play in Paris at Le Trabendo. That concert was incredible. I think subconsciously it made me want to move to Paris, and now that concert hall is one of my dream venues.
How could you describe your music?
I would describe it as Dad Rock for the new generation.
Describe your creative process.
I find that my best work comes out of improvisation, where i go into some sort of songwriting trance and start blurting out my feelings over some random chords until something cool happens.
I find that my best work comes out of improvisation, where i go into some sort of songwriting trance
What is your main inspiration?
life experiences, and works of fiction.
What musician do you admire most and why?
I love Hozier, for our shared nationality and for his incredible songwriting and guitar playing. Nina Simone’s voice. Phil Lynnot’s bass playing. Finneas’s production skills. Ella Fitzgerald’s vocal presicion.
Did your style evolve since the beginning of your career?
I’m just starting out, so ask me again in five years. Though one of my goals in music is to try a bit of everything.
Who do you see as your main competitor?
I think that the music industry is already way more competitive than it should be, so I try not to think of other musicians as my competitors. I would probably therefore have to say myself. I get in my own way a lot.
What are your interests outside of music?
I love to swim, dance, learn new languages, and watch football.
If it wasn’t a music career, what would you be doing?
When I was younger I wanted to be a spy for interpol, but then I quickly realized that if I was a badass international super spy, I wouldn’t be able to keep it to myself. As I was a competitive swimmer for 11 years, i thought about going pro for a while, but it was just too hard on my body.
I would probably be doing something intellectually challenging, like astrophysics or economics.
What is the biggest problem you have encountered in the journey of music?
So far, finding time to rehearse with the band, as we all work different jobs and are all quite busy. Also finding an audience.
If you could change one thing in the music industry, what would it be?
probably the double standard when
it comes to gender, and misogyny. However, I think that I would change that about every industry.
Why did you choose this as the title of this project?
The title of Yellowcar was the first thing I came up with in the song. I thought it was a cool image. The title of my upcoming EP ‘The Boy In The Tree’ was inspired by a photo of my friend Elliott climbing a tree, which will be the cover art.
What are your plans for the coming months?
In April I plan to release my second single ‘Pizza For Breakfast’, and my debut EP The Boy In The Tree in September. In the meantime I plan to keep building up my experience performing live.
Do you have any artistic collaboration plans
I’ve started playing in a band, but for the moment i’m just looking to collaborate with musicians who can play on my records. I would love to do some collabs though!
What message would you like to give to your fans?
Whoever you are, thank you for listening, and I want to give you a big ol hug.
From Math to Music: The Golden Mean Project's Inspirational Journey
Today, we turn to the world of Sarah Marie Nicolosi and her band golden mean project. She along with her lifelong friends Charles, Jonathan, Charlie and Michael sets up a harmony among varied sounds that appeal to the senses in unison.
Their debut album titled “Meden Agan” is a great epitome of their endless creativity. In fact, The Golden Mean Project harmonizes all the instruments from synths to percussion devices including even a wooden frog. Inspired by mathematics, nature and philosophy their music is situated far outside of mainstream genres blending electronica with hypnotic appeal yet it creates a stimulating intellect.
Named after the Fibonacci spiral and influenced by Greek adage “Nothing To Excess,” golden mean project’s compositions journey listeners through soundscapes emotional realms. Their melodies take the audience from mystic to mysterious heights in terms of musical revelations.
In this interview, we learn about Sarah Marie’s musical background, creative methods of writing music and the progression that brought with it her unique brand. She also is a professional musician with high respect to philosophy, poetry and art of music which makes her songs effective.
Sarah Marie in an invitation to join The Golden Mean Project should they wish to experience the adventures of ‘sonicbrinkmanship.’ Therefore, take a seat and unwind as The Golden Mean Project captivates you with the magical sonic allurement.
What is your stage name I perform as Sarah Marie Nicolosi, my given name; our band is called The Golden Mean Project.
Is there a story behind your stage name? The Golden Mean Project is a reference to both the Fibonacci spiral and the Greek Delphic maxim, “Nothing to excess,” which also translates as “everything in balance.”
Where do you find inspiration?
Mathematics, art, science, film, philosophy, nature, and the enduring power of the human spirit. Michael is a tremendously gifted individual and our marriage revolves around music and a shared love of music, film, art, and time spent outdoors in our garden.
What was the role of music in the early years of your life?
Several of us in the Golden Mean Project have been musicians since we were young children. Personally, as a neurodivergent artist, music, along with writing and visual art, provides me with a balancing and stabilizing force in my life.
Are you from a musical or artistic family?
Yes, several of us are, including me. My father plays the coronet, my brother and my niece play the piano, and my nephew plays the piano, guitar, and cello.
Who inspired you to be a part of the music industry?
I suppose I did, speaking for myself. I think all of us have basically resigned ourselves to being part of the music industry, although the Golden Mean Project got its start through a grant from the Minnesota State Arts Board. We believe in music for a higher cause.
How did you learn to sing/write/to play?
I started piano lessons at the age of five. I was composing original songs on the piano by age thirteen. Nothing finished. though; I just sat at the piano when I was the only person in the house and just improvised for hours and hours.
I started piano lessons at the age of five. I was composing original songs on the piano by age thirteen
What was the first concert that you ever went to and who did you see perform?
I think it must have been a chamber orchestra, when I was seven or eight. I also saw musical theater and ballet — The Nutcracker in particular, which interestingly enough is a favorite of both mine and Michael’s.
How could you describe your music?
This album was composed in the seven Greek modes. It’s otherworldly, mysterioius, all-consuming.
Describe your creative process. Composing and recording this album took everything I had to give and more. I was totally transported and transformed by the work — I don’t think I’ll ever be the same again as a musician.
What is your main inspiration? Philosophy, poetry, love, the arts, and nature.
What musician do you admire most and why? Kate Bush is my favorite artist. She is unlimited, a maximalist, and maximalism is how I’d describe not only myself, but my husband, who recorded and engineered the album. He’s a huge inspiration to me as well.
Did your style evolve since the beginning of your career? Definitely. I don’t exactly know where I’m heading, but it’s definitely evolving. I started out playing synth in an indie rock band, was the front woman of an ethereal goth band, but now I’m a multi-instrumentalists. I have the Minnesota State Arts Board to thank for that — my grant gave me the chance to branch out into percussion and other keyed instruments (like the melodica).
I spent a lot of the past year learning to play the drums, the bell kit, hand percussion and other instruments. I’m hoping for more opportunities to play and explore composition on the instruments I learned to play over the past year.
Who do you see as your main competitor? Nobody, really. I don’t believe in competition in the arts.
What are your interests outside of music? Home stuff. I’m a homebody. I love gardening, cooking, making things, painting and drawing and writing.
If it wasn’t a music career, what would you be doing? I’d probably work in a shoe store.
What is the biggest problem you have encountered in the journey of music? Competition. A obsession with money, power, and fame. I think the arts should be above all that.
If you could change one thing in the music industry, what would it be? More collaboration that’s genuine and high-minded. We’re all in this together.
Why did you choose this as the title of this project? It’s a mantra of mine, being that I’m neurodivergent. “Everything in balance.” “Nothing to excess.” I have to remind myself of these things every day because I’m so hyperactive and I want to take on the world all at once. But that’s impossible, so I have to try and be reasonable rather than firing on all cylinders at once.
What are your plans for the coming months? Keep expanding on the work of The Golden Mean Project and work on another album in the works, called “The Burned Child’s Book of Shadows.” Funny thing is: I started working on that album first, then started getting into the Greek modes.
I decided to divide the work into two separate albums: “Meden Agan” (the one we just released) and “The Burned Child’s Book of Shadows,” which I envision as a completely different sort of project than The Golden Mean Project. I think it’s going to be metal.
Do you have any artistic collaboration plans? As many as I can manage.
What message would you like to give to your fans? Discover your world for yourself. Use all your senses, use empiricism and creativity. Think for yourself.
Tag Along As We Get To Know The Man Behind 'Nobody, But Me'
Today our featured artist this time round is Belle Vex, the talented pop singer-songwriter who keeps it real. Because in a world where celebrities seem to live only for parties and awards, Belle Vex gives us something to think about. Born and raised in New Bedford, MA, he once played the cello, tried his hand at acting in LA before finding music.
The latest single of the songwriter titled “Nobody, But Me” is all about maintaining one’s identity while in an industry that strives to change you. In addition, his stage name also speaks volumes of his past struggles with medication as well as his escape from it. He draws inspiration from movies as well as day-to-day life.
During this conversation, Belle gets candid on the creative process employed by him, his family’s musical background and the ways he learned about the business aspect of music. He never got into any kind of competition – his sole concentration is being himself and crafting music that touches people’s hearts.
Let’s dive into the world of Belle Vex where honesty reigns supreme and positive vibes are represented and he acknowledges each fan who has ever cheered him on. Let’s go!
Is there a story behind your stage name? The name I originally chose was L-Vex. I was on a ton of prescription pain meds at the time I shifted to music. It would’ve represented how cursed I felt with the pills I had to take. However, I couldn’t part with the letter B and just sounded them out together making Belle Vex, which makes Beautiful Curse and that’s kind of what it was. Plus the B looks like that unlucky number 13 and everything just fell into place.
Where do you find inspiration?
A lot of my inspiration comes from movies, believe it or not. I often leave the theater with a new idea. Other times, it’s real life situations, but since I’ve removed myself from toxic ones… it’s mostly entertainment and worldly ire.
What was the role of music in the early years of your life? I was excited when I first started playing the cello, then I hated it. I was forced into it like one of those child musicians you see. In school classes, out of school classes, private classes, etc. I then kind of treated it as a joke for a while until after college when I leaned on music heavily.
Are you from a musical or artistic family? Yeah, basically. My siblings and I all are all trained string instrument players. The women can sing much better than me and the men all played in bands. It goes back generations on the paternal side. That said, I’m the one who has the drawing skills. My first college acceptance for that.
My siblings and I all are all trained string instrument players.
Who inspired you to be a part of the music industry?
I did it, because I had to. I was pursing the dream of being an actor and was injured in a couple of car accidents. It was a terrible time. I would just be numb listening to the radio and it was really, really bad. So I started making it myself and it helped me vent, heal, dream again.
How did you learn to sing/write/to play? Trial and error. I learned everything by failing at it intensely. Then, over time, it just gets better.
What was the first concert that you ever went to and who did you see perform? I went to a lot of basement shows and hip hop showcases long before I went to an actual concerts. When I finally did go, it was My Chemical Romance with Alkaline Trio, then MCR and Yellowcard the next day. Childish Gambino some time later. That’s it. Just 3 mainstream. Tons of local. To this day, I may go to a dive bar or two to see a band play.
How could you describe your music?
At the very least, they’re catchy. They’re mostly upbeat, even the low key ones, and they’re arguably rebellious. I never give full autonomy. I think my attitude never changes in that if I could go back and change things, I wouldn’t.
Describe your creative process. It’s simple and complex. I have this idea. Whether it’s a lyric, a chorus, a full song, or just some chords. I lay that down and I go with it for a while. There’s no guarantee that song gets produced, but if it does, I make the music. That music is usually sent to a hired producer who I’ll work with to get a sound that’s “mine”.
When I get that back, I might commit the cardinal sun of combining it with my own. I haven’t done that in a while though. Then re-track the vocals and off to mastering it goes. That’s the simple part. The complex part is that I don’t write anything down. If I can’t remember it, it’s not worth making.
What is your main inspiration? When I started, I had so much to say. These days, I’ve already said so much. I’m a musical artists, though. It’s what I do and I do it because that’s who I am so when I do have something to say, or a story to tell, that’s when inspiration hits. Again, I feel it mostly after watching a film or going through an ire.
What musician do you admire most and why? There’s no one. I don’t keep up with other musicians. I don’t know what’s going on with others and that’s sort of my way of respecting them.
Did your style evolve since the beginning of your career? Yes. I look back at the first project and amateur doesn’t even begin to cut it. I think it’s much better now.
Who do you see as your main competitor? I don’t know. I’m just doing my thing. There’s people I know that view me as competition, but that’s pointless. There’s plenty of room for everyone. Probably best to not try to push me into action, though.
What are your interests outside of music? Movies. TV. Anime is my step dad. Superhero media. Acting and everything involved with that. Overall, maintaining good health. I’m interested a ton of stuff in general.
If it wasn’t a music career, what would you be doing? Acting. I would pursue that. Probably on my own terms. I want to do that stuff any way as that’s the dream. Music is what I do.
What is the biggest problem you have encountered in the journey of music? Social media. I hate it. I love meeting people, but social media has devolved into this place where people flood my inbox attempting to sell something. Fake A&Rs, Fake press, Fake writers, digital marketing experts, etc… They all have the same message. I hate opening the apps, but I make sure to repost and share content I’m mentioned in.
If you could change one thing in the music industry, what would it be? I think it’s too late for change.
Why did you choose this as the title of this project?
“Nobody, but Me” was the original title before the song was even written completely. I meant to change it, but it just stuck.
What are your plans for the coming months?
I’m in the middle of shooting some music video related things and I have a couple songs loaded. Please look forward to them.
Do you have any artistic collaboration plans?
Nope.
What message would you like to give to your fans? Just a thank you for listening and watching the stuff I put out.
A Walk Through The Life Of 'Schuz' And His Latest Single 'Jealous'
Today we are going to talk about Schuz, the man who debut’s with his single “Jealous”. He hails from Boise, ID, Schuz, stage name cleverly echoes his surname, Schumacher. He was introduced to the piano during the early stages of his life and this played a major role in is life, shaping his artistic hearings.
“Jealous” is a profound journey of personal growth, tracing the his evolution from envy to enlightenment. Schuz’s creative process often begins with intricate drum beats or captivating synth loops, sparking inspiration for his introspective lyrics.
Finding inspiration in nature and everyday encounters, Schuz’s music resonates with authenticity, reflecting genuine experiences. His commitment to consistency is evident in his monthly releases and performances at local festivals.
As he continues to evolve, Schuz remains grounded in his passion for music and connection with his audience. His journey underscores the transformative power of music and the pursuit of artistic excellence.
To his fans, Schuz offers a message of authenticity and self-discovery, urging fellow artists to embrace their unique paths. With his unwavering dedication and distinctive sound, Schuz is poised to leave a lasting impression on the music scene.
This is a play on my last name Schumacher and was called “Schu” in highschool.
Where do you find inspiration?
I find inspiration from listening to other people’s music, spending time in the outdoors and specific sounds that I hear throughout the day.
What was the role of music in the early years of your life?
I grew up playing piano from lessons that my Mom taught me early on in life. I fell out of music for awhile during my younger years than dove in head first and took music classes right after college. This helped my realign and get back into the scene.
Are you from a musical or artistic family?
I would say my family is musicially artistic.
Who inspired you to be a part of the music industry?
Friends who were in the scene managing artists. Going to local shows and being part of the scene was definitely a draw.
How did you learn to sing/write/to play?
This was through the lessons my mom taught me when I was younger for more of the playing aspect of piano. I ended up taking classes from PointBlank music school and also part of the ill.gates ProducerDojo
What was the first concert that you ever went to and who did you see perform?
The first EDM festival that I went to was Beyond Wonderland in Seattle. I saw LMFAO, David Guetta, and a few other artists that made me fall in love even more with music.
How could you describe your music?
My music takes listeners on a journey through space and time. Whether is slow wobbling bass, fast drum and bass beats, or trap-infused elements. I like to produce in mult-genre styles to keep my producer skills sharp and engage my fan base.
Describe your creative process.
My creative process generally starts with creating some drum beats as inspiration or finding a really cool synth loop that I can use as an idea. Usually, one of these techniques allows me focus on a hook and write a song.
What is your main inspiration?
My main inspiration in making music is that I am treating this as a business and want to be able to step away from the day to day job in the future. In my experience I’ve found that if I keep showing up everyday to do at least an hour towards my my music career I will get one step further.
My main inspiration in making music is that I am treating this as a business and want to be able to step away from the day to day job in the future.
What musician do you admire most and why?
ill.gates is probably one of the most saught after teachers and leaders in the industry. I look up to him becuase he is a genuine person and his program helped me get where I am today.
Did your style evolve since the beginning of your career?
Yes, I started out making house music under a different moniker and transitioned into more bass music because that is where my passion lies.
What are your interests outside of music?
Outside of music, I am a dog dad, husband, snowboarding, gym rat, and normal everyday person.
What is the biggest problem you have encountered in the journey of music?
The biggest problem I’ve encountered in the journey of music is staying consistent and not making excuses.
If you could change one thing in the music industry, what would it be?
Spotify and other streaming services providing more payments for the amount of streams.
Why did you choose this as the title of this project?
This song describes the feeling of jealousy and learning to move on to become a better version of yourself. I wanted this song to be an inspiration for those looking to move on from their past jealous desires.
What are your plans for the coming months?
Planning to release music every month this year and play at a few festivals in the Boise, ID area.
Do you have any artistic collaboration plans?
Yes, stay tuned!
What message would you like to give to your fans?
Make music because you enjoy sharing your art with the world. Everyone has their own journey and there isn’t one linear path to what “you” define as success. I am still on my journey and wouldn’t change a thing in the world with where I am at and where my goals are helping me get towards.
"In Your Armor" by Star Persona – A Sanctuary of Strings and Soul
With the intimate plucking of strings that feel like a whisper against the skin, Claude Malette’s Star Persona returns with, “In Your Armor,” an acoustic rock serenade that layers emotional fortitude over delicate vulnerability. The sonic tapestry woven here is one where friends contribute their mastery—like brushstrokes from different artists on a shared canvas—with percussion and solos adding depth to Malette’s heartfelt compositions.
The track unfurls as both confessional and anthem—a duality reflected in lyrics pocked with battle scars yet brimming with resolution. It’s as if the song itself is housed within these diverse armaments; sometimes it snugs close, offering warmth, while at others it guards fiercely against intruding elements.
Therein lies contrast: between soothing female vocals by Lisa Thompson that drip like honey through morning air and guitar work reflecting poignant resolve which stirs memories of Michelle Branch collaborating with vintage Fleetwood Mac. Best described as relaxing yet rousing soft rock—a paradox found perhaps only in love’s battleground—the piece conjures up spaces for easy listening while clutching tightly to complexity just beneath the surface.
“In Your Armor” by Star Persona – A Sanctuary of Strings and Soul
“In Your Armor” doesn’t demand attention but earns it subtly through its contemplative melody; listeners will find themselves caught in its gentle grasp nearly without realizing—the mark of an alluring siren or a foggy lullaby. Its energy remains consistently mellow throughout—not quite simmering—yet maintaining enough traction to journey elegantly towards a satisfyingly cathartic finale.
This isn’t mere music; this is therapy wrapped in six strings and harmony, tailored exquisitely for those who have donned their own forms of armor but might consider peeking out—even if fleetingly—to find resonance and healing.
As tracks go, “In Your Armor” stands less as an opus to be dissected than experienced—a masterstroke best appreciated outside analysis’ cold glare more so under affectionate reflection’s warm embrace. In conclusion, Malette has delivered not just notes bound by tempo but emotion rendered audible: sentimental without being saccharine—it’s the kind of tune you’d play when thinking about loves past or fostering hope for ones yet embraced.
Beyond Boundaries: Exploring the Unique Fusion in KRISTRÚN's "Covet"
In an industry often saturated with sugarcoated sentiments, KRISTRÚN’s latest EP “Covet” delves deep into the shadowy crevices of human emotion with unflinching honesty. The six-track sonic odyssey is a visceral depiction of heartbreak, jealousy, and loneliness; it navigates through the darkest chambers of envy – a sentiment as corrosive as it is intensely human.
Escaping easy classification, “Covet” sears itself onto your consciousness through experimental electronic foundations tinged with elements harking back to 90s trip-hop reconciled with industrial roughness. It’s this brazen mingling that sculpts KRISTRÚN’s soundscape into something arrestingly unique—to draw parallels would be akin to finding similarities between icebergs: superficially alike yet each inscrutable in its complexity.
KRISTRÚN crafts her own realm reflective not only of her Icelandic roots but also her cosmopolitan influences. Her voice swells and retreats like the auroras above her homeland skies—haunting just like Beth Gibbons’, robust as Trent Reznor’s gritty whispers, embodying the other-worldliness reminiscent of FKA twigs’. This tension frames every song on “Covet,” blending ethereal vocal deliveries against backgrounds that sometimes border on cataclysmic—a chiaroscuro canvas where melodic luminescence pierces through aggressive audial textures.
From the opener to its brooding finale, there’s an intrepid spirit navigating these tracks. Listeners will find themselves within tumultuous reveries induced by eruptive synths and liquefying beats seemingly striving for salvation or succumbing to inner demons—one cannot tell decisively but can most certainly relate.
Beyond Boundaries: Exploring the Unique Fusion in KRISTRÚN’s “Covet”
The EP doesn’t aspire for commercial hooks; rather strives unabashedly for emotional resonance—an artistic daredevil act in stark contrast to much mainstream production aimed at calculated viral contagion. Yet therein lies its brilliance: “Covet” won’t appeal universally but intends instead thrills those craving music drenched in raw genuineness.
“Covet,” ultimately, is more than just heritage-infused electronic oeuvre—it morphs listening into visceral experience provoking examination both external and inward-facing introspection about humankind’s green-eyed monsters lurking beneath veneers we courageously don.
For fans weaving through Nine Inch Nails’ discography hunting traces ancestral before spiraling downwards upon Portishead bridges thereafter praying at altars twisted ala FKA twigs—KRISTRÚN has ignited flares signaling refuge within her unsettling congruence between celestial voicing and terrestrial discordance across six haunting chapters known collectively as “Covet.”
My Glass World's “Assorted Marvels” – A Wondrous Emporium of Sound
In the ever-expanding universe of musical experimentation, My Glass World has crafted a cosmos all their own with “Assorted Marvels.” The album title, inviting us to envisage a Victorian curiosity shop in Kennington, London sets the stage for an auditory escapade through eleven tracks each holding its unique allure.
The mastermind Jamie Telford, already known for his contemplative work on “Tree.Shadow.Piano,” now ventures further into the experimental terrain alongside Sean Read whose sax and woodwind contributions embroider this tapestry with jazzy flourishes. Together they oscillate between roles of composers and sonic alchemists, blending alt-rock pop foundations with fragments of soulful introspection and effervescent wit.
“Assorted Marvels” is akin to turning the dial on an old radio only to find that every station is playing another color from My Glass World’s palette. There’s sax-driven stomp pulsing through tracks like lifelines; soulful slants casting melodic spells over heartfelt lyrics; claustrophobic plaintive bumps suggesting intimate tales shared amid minimalist landscapes.
In moments such as these where philosophy meets humor meets melancholy—a recipe seemingly chaotic yet executed with finesse—the duo encapsulates themes ranging from epic (almost Homeric) explorations into personal ruminations wrapped in serendipitous wordplay.
Each song plays out not merely as sound but storytelling; it’s easy to imagine oneself navigating misty cobblestone streets or peering into dusky antique mirrors—peeling back layers upon layers reflective of life’s quotidian paradoxes and eccentricities.
My Glass World’s “Assorted Marvels” – A Wondrous Emporium of Sound
Comparatively speaking, there’s a vibe evocative of latter-day David Bowie merged seamlessly with Belle & Sebastian-esque literary craftmanship while retaining absolute originality—an engrossing dialogue across time stamped emphatically by modern clarity thanks to Read’s meticulous production touch.
It would be impossible not address standout cut—choosing one feels akin to scavenging one gem among many—but by virtue perhaps dictated by fate or mere resonance within me at this hour I’ll point toward “Before We Were Here” Here we’re met with what seems a cathartic outcry mingled delicately between anthemic symphonies supporting confessions whispered under breath—a juxtaposition stunningly representative of assorted marvels housed within this treasure trove.
While some albums rush past you leaving impressions shallow enough for swift forgetting, “Assorted Marvels” invites reflection much like artifacts collected and cherished over time carry stories embedded deep within their essence waiting patiently fo discovery. Take your time delving through My Glass World—it promises encounters both ineffable yet vibrantly alive in memory long after final notes fade away.
My verdict? Not just any assortment: A collection curated meticulously for ears craving lyrical depth intertwined elegantly amidst sonic wonderment surefire spark conversation whether during solitary musing or vibrant dinner party debate. Isn’t that precisely what music demanded attention might strive towards? In any case—I remain audibly enchanted!
"New Nashville": Teagan Stewart's Resonant Ode to Music City's Metamorphosis
In the melodic tide of “New Nashville,” Teagan Stewart strikes a profound chord, weaving nostalgia with grit as she chronicles the metamorphosis of Music City. Joined by co-songwriter Zach Cornell, Stewart’s tribute is less an ode to the past than it is a bittersweet eulogy to authenticity lost in relentless modernity.
Teagan Stewart’s voice sways like southern vines – there’s strength in its tenacity and warmth amid its raspy edges. Each note spills over dobro twangs and steel guitar cries with palpable yearning, harkening back to traditional country rootwork while grafting on modern finesse. There’s something hauntingly familiar here—echoes perhaps of Dolly Parton or Loretta Lynn—and yet, unmistakably unique: a sonorous reflection for our times.
The shuffling rhythm guides listeners through vanished doorways into honky-tonks now silenced by soaring rents—a lament that tangible heritage has been pawned for profit’s empty gleam. Yet between strokes of lyrical mourning lies resistance; this isn’t simply an elegy but also a refusal to forget or concede defeat.
“New Nashville”: Teagan Stewart’s Resonant Ode to Music City’s Metamorphosis
It’s ironic how the rise in PBR prices becomes intertwined with cultural disruption, each can tab popped open releasing not only effervescence but layers of commentary on gentrification’s bubbling effect over local spirit and tradition.
“New Nashville” stands as both witness and testimony from within ruins wrought by development storms—a ballad from the rubble reaching out beyond genre confines. Country purists will find solace in tradition’s steadfast pulse through old shuffle beats, while contemporary ears are courted via streamlined production clarity—Teagan Stewart proves herself maestra at filling spaces once crowded with Taylor guitars now stand vacant lots awaiting their chrome-clad facades.
For those who pine for country authentically drenched—not merely dipped—in lived experience; “New Nashville” crafts meaning with every twined melody instructing us that music can still wrestle against towering cranes’ shadows toward daylight anew. Herein lies raw beauty which demands more than passive listening—it beckons earnest heeding echoing off smoky bar walls long demolished yet forever enshrined within Teagan Stewart’s resonant refrain.
Sunburn's Reflections: Unveiling "Bring Me The Sky"
In their latest offering, “Bring Me The Sky,” Dublin-based quartet Sunburn dives into the deep waters of introspection and emerges with a poignant indie ballad that casts a long shadow over the heart. As one presses play, they’re met with the gentle thrumming of an acoustic guitar, a prelude to the soul-searching journey ahead.
The song’s essence is somber yet electric; its moody strums cradle listeners in a melancholic embrace as it explores themes starkly relevant to our collective human experience. Aging, self-reflection, and personal growth are not typically headline material for your run-of-the-mill alternative rock band—but then again—Sunburn is anything but ordinary.
Vocalist’s echoes reverberate through verses draped in longing—a seeking voice beneath skies vast and oceans deep. There’s an inherent rawness here reminiscent of Eddie Vedder’s earnest narratives entwined with Thom Yorke’s mesmerizing existential lilt.
One cannot ignore how “Bring Me The Sky” plays out like battle hymns against time itself. Through every undulating tone and resonant hum lies acceptance: growing old isn’t just about decay within; there’s wisdom too among these ‘walls’ and ‘rivers of gold.’ Yet while contemplating mortality, we find our protagonist torn—between accepting life’s inexorable march forward or yearning for emancipation from what binds them—the freedom represented by those open plains and unbounded horizons beckons irresistibly throughout verses rich with poetry.
Sunburn’s Reflections: Unveiling “Bring Me The Sky”
It would be remiss not to mention how meticulously Sunburn fuels this slow-burning track with skillful restraint; guitars weave textures as if they themselves have stories to share while drums pulse softly like distant thunder promising rain on dry earth—it all layers impeccably adding weight without dragging down momentum each member supplements without overcrowding sonic space demonstrating cooperative craftsmanship at its finest.
As “Bring Me The Sky” crescendos towards its reflective denouement, one finds solace not only in music but also within shared human vulnerabilities through gospels intoned by tender strings meditating on greater truths contained above us—in skies expansive or perhaps inward amongst inner constellations untouched by age or sorrow where guidance flickers patient waiting discovery even as days wane.
For those who’ve walked life-strewn paths lined with ponderance—or simply ones enchanted by alchemy born when beautiful lyrics marry melodic prowess—Sunburn bestows upon you “Bring Me The Sky.” This grounded anthem speaks both softly and grandly making clear why this quartet from Dublin continues to shine brightly amidst alternative rock’s constellation. It’s much more than another indie ballad; it dares listeners to confront their own reflections ensuring that once heard—it stays lingering long after last chords fade echoing beyond walls constraining neither sound nor spirit alike.
Hana Wolf's "Fall": An Emotive Experience Etched into Melody
In the earnest single “Fall,” Hana Wolf artfully captures the essence of seasonal metamorphosis, not only in nature but within the human spirit. Amidst a contemporary soundscape—vaguely reminiscent of Florence Welch’s haunting vibrato merged with Sufjan Stevens’ acute tenderness—Wolf’s musical endeavor is a beacon that guides through the year’s darker days and nights.
“Fall” isn’t just a song; it’s an emotive experience etched into melody. Her voice, tender yet robust like autumn leaves clinging before their eventual descent, draws out everything we’ve bundled under layers of pretense. With every note sung, Wolf invokes raw emotion as if to mirror nature’s own undressed vulnerability prepping for winter solace.
The alt-indie-folk-pop cadence cultivates a field where genres intertwine like intertwined tree branches overhead in October twilight—a genre defying any boxed label with its organic progression from gentle acoustic serenades to escalating pop anthems reverberating strength and resolve. What starts as an intimate session by the hearth swells into cinematic harmonies filling vast spaces much like one’s breadth across life’s variegated experiences.
As she trails through grief and loss toward rage and anger—not shunning but rather cradling them warmly—the musician normalizes what society often labels as flaws or weaknesses especially among women. The music video serves as both narrative companion and exclamation point to this sonic essay on embracing our full emotional spectrum unapologetically.
Hana Wolf’s “Fall”: An Emotive Experience Etched into Melody
Perhaps most entrancing about “Fall,” beyond its lush arrangement that stirs relaxation even amidst stirring subject matter, is its encapsulation of hope—like rays permeating indigo hour skies signaling daybreak anew regardless of yesterday’s stormfields drawn long by shadows.
Awaiting her debut album eagerly, listeners are laced with anticipation imagining how further depth will be channeled through Wolf’s evident craftsmanship witnessed here: emotive storytelling woven through relaxing blooms of sound against cinematically stark backdrops—a paradox akin to spring flowers erupting unbidden from snow-blanketed earth.
In all aspects rhythmical, lyrical, visual—”Fall” assures us: even when leaves must yield from their heights, there emerges space for new light—and so too shall we rise after seasons spent grounded in shadowed soil.
I Panic Unleashes Whimsical Rebellion in "Never Be My Wife"
In a world saturated with two-dimensional love songs, I Panic serves up a delectable twist of fate with their latest single “Never Be My Wife”. Imagine if you will, the rich nostalgia of classic rock married to the brooding soul of 80’s post-punk—this is where our journey into nuanced commitment begins.
As Marcel’s voice threads through the opening chords with a playful yet earnest timbre, we’re escorted into a narrative that challenges conventional romantic quests. Picture The Cure’s Robert Smith swapping his morose cloak for an impish grin while wielding poignant lyricism; here lies the theatrical charm that propels “Never Be My Wife” beyond its musical kinfolk.
It’s not hard to envision this track nestled among dimly lit pubs and vibrant dance floors alike—where guitar riffs play tug-of-war with heartstrings and synthesizer pads cradle us in nostalgic warmth. All this set upon the relentless heartbeat of driving bass lines evoking immortality reminiscent of Joy Division at their most rebellious peak.
Yet what sets I Panic apart is not solely found within melodic echoes or genre crossovers—it lies in how effortlessly they navigate complex emotional landscapes. There’s audacious satire as they sing about societal shackles on romance with one hand, whilst carving out infinite possibilities for affectionate bonds with another.
I Panic Unleashes Whimsical Rebellion in “Never Be My Wife”
The song itself stands as an intriguing precursor to their upcoming EP “Growing Up In Public.” If these tunes are siblings, then ‘Marry You,’ presumably sired by Valentine’s sentimentality shares DNA but certainly not spirit—with ‘Never Be My Wife’. It prompts one to wonder just how these reimagined tracks alongside fresh sounds will continue shaping I Panic’s artistic identity.
Crafting music that bears autonomy from start-to-finish—songwriting through production mastered expertly by Headroom Mastering—I Panic reminds us why artist ownership resonates so deeply within indie culture: authenticity untainted by commercial fingers yields art both relatable and revolutionary.
Splashed across our auditory palettes like Jackson Pollock wielding his brushstrokes against silence itself, “Never Be My Wife” captures cheeky rebellion without losing sight of tenderness—a harmonious paradox promising robust fervor in upcoming creations due at month’s end. Await “Growing Up In Public” not merely listeners but seasoned travellers keen on taking defiant leaps into realms where love needn’t adhere to ancient scripts. Embrace I Panic – chaos never sounded so divinely structured.
Yuxi's "Rainy Days (Live)": Melodic Odyssey in London's Heart
In the ever-pulsating heart of London’s soundscape, there echoes a melody as refreshing as the first rain on parched pavement—this is Yuxi’s “Rainy Days (Live in Studio).” With her flute cradled in practiced hands, Yuxi charts an audial odyssey through the grey-lit wonder of England’s famed metropolis.
“Rainy Days,” which could serenade ancient spirits just as readily as it captivates modern minds, captures more than mere droplets refracting sunlight—it encapsulates longing wrapped in mist. Intimate and live from the studio, each breath blown into her instrument paints staccato vignettes against a canvas of solitude. The theme thrums with life itself—a heartbeat steadying amidst change.
Bridging East to West both thematically and sonically, her music stands firmly within experimental realms while fondly glancing toward indie-pop horizons. Imagine Johann Sebastian Bach penning symphonies over a siren call from giants like Björk or Sufjan Stevens; herein lies Yuxi’s stylistic lineage—an unravelling yarn that weaves wistful flutters atop layered textures unconventional yet utterly entrancing.
Yuxi’s “Rainy Days (Live in Studio)”: Melodic Odyssey in London’s Heart
Yuxi situates herself uniquely—an Asian voice resonating along the spectrum where classical ferments with avant-garde intricacies. Through such blending emerges her tale: one conjured by those tumbling notes witching their way down cobblestone paths and kissing rain-slick umbrellas swaying to new beginnings braced beneath steely skies.
The “Live in Studio” appendage promises—and delivers—authenticity; no polish mars this gem’s clarity, allowing for every weighted pause to be felt deeply. One senses not just presence but also participation alongside Yuxi—as if gazing across Trafalgar Square together under shared hoods against mizzling whispers.
For listeners seeking refuge or rejoicing in contemplation alike “Rainy Days (Live in Studio)” offers not only comfort but clarity—a soundtrack for self-reflection or embarking upon personal journeys wrapped warmly in woolen melodies crafted by meticulous artistry.
Let your own rainy days find solace here—in nuanced beauty buoyant enough to lift even after clouds depart.
This is not merely music; it’s an experience… one that reminds us that every drop of rain has its place within life’s concert hall.
Behind the Beats: Unveiling the Stories of Underdog's 'Trans Global Amnesia'
Ok, let’s discuss about Underdog’s latest album, “Trans Global Amnesia”. These guys from Boston are flying us on a journey through their music. Picture this: So you start with the song ‘You Told Me’ which is full of sheer energy and rocking tunes. It’s got those stabs and the punk vibe – it gets at you right from the start.
They fire on you with “Helsinki Airport Blues” – the catchy vocals, sharp guitar solos – it would be impossible not to tap your feet. “Summer Song” mellows things out a little bit with the melodic riffs and jazzy percussion that just sound great.
Now, the fun begins – with “New World Raga.” The incorporate of Eastern elements and gets good. It is like a rock went around the world. “Rocket Baby” returns that feel-good rock ‘n’ roll and “Louie & Marie” slows down the genre but that funky beat is still there to stay.
In a chat with Scott, he spills the beans on why they’re called Underdog (hint: Love for the underdogs and a dog named Suzy. They describe what influences their music – everyday things and also random happenings that trigger the imagination. Scott also relates to life outside the studio – art, vintage cars and his love of travel.
They do not candycoat the many hurdles that are associated with the music business. Airplay and exposure? Yeah, it’s a really hard one to crack with so much competition and the artists hustling.
In the future, Underdog is completely wrapped up in their latest work, “Wonderland,” and they can’t wait to take on a live stage show that should be set somewhere around Boston. Collaborations? Perhaps in the future, but at this point that just need to record their backlog of songs.
Scott sends a big thank you to all his followers. But without you guys, they are only making the sounds.
Underdog is the band name. We don’t have individual stage names, we use our own names, Scott and Bryn. Like any group of close friends we have nicknames, but those are generally just kicked around between us and other close friends. Mine is “Dog”, Bryn’s is “A Major Rock Dude”, hence the AMRD in the studio name and his music publishing company. These go way back to the early 80s, when we first met.
Is there a story behind your stage name?
At the time we started getting together, I was sitting in as a rehearsal guitarist for my wife’s band The Underachievers, who were getting ready to do a reunion show after 30 years, and a couple of the members who now live in Vancouver were only coming into town a few days before the show, so I was helping them out with practices.
I thought it would be cool to somehow incorporate the “Under”part into our name, and “Dog” being my nickname, Underdog obviously presented itself. I figured it was nice and short, easy to remember, and as they say, everyone loves an underdog. Also, we had just gotten Suzie, a Black Lab mix puppy from a local shelter, and as black dogs are often overlooked or the last to be adopted, I felt like she was also an underdog. Suzie is the band mascot, and our avatar image on social media and other sites.
The fact that we are also a bit on the older side, and not the most likely of “pop stars”, having to hold down days jobs, and doing all the recording on our own at home, seemed to echo the idea nicely. It feels like we’ve got a lot going against us, without much going for us.
Beyond that, I also remember seeing a German documentary around the same time about dogs that were being raised by prisoners called “Underdogs”, which added another relay ref meaning. Obviously there’s the old Underdog cartoon, which I loved growing up, but really was not on my mind when I came up with the name. Still with names like Sweet Polly Purebred for a heroine, and Simon Bar Sinister as a villain, you can’t go wrong.
Scott
Where do you find inspiration? From anywhere really, but usually from either what’s going on in our lives, or things that are happening around us, stuff we see or read can also inspire songs. It’s a pretty wide variety of things, but usually I try to find some way of making it personal, so that I actually have an access point into the song, but at the same time making it accessible to anyone who’s listening to it.
What was the role of music in the early years of your life? I started playing piano around the the age of five, and studied with my Aunt Dolly for a number of years. When I was around nine years old I switched over to trumpet, which I continued with into college. I first picked up the guitar in my early teens, and there was a steady migration towards that over the years. I really started more as a bass player in my first couple of bands and moved over to guitar and singing from there.
Bryn also started music at a fairly young age, both drums and guitar, and has continued to develop his guitar skills over the time I have known him. When we first met he was playing drums, but was interested is starting a band where he was playing guitar and singing his own songs, which is how the Hackmasters came about in the mid-80s.
Are you from a musical or artistic family? Not really, although both my parents played piano, and later on my mom studied flute and and my dad recorder. I have an older brother and sister that don’t play anything, but my younger brother, Stuart, was also a guitar player. He had a folk music career around Boston for a number of years, but sadly he passed away in early 2020 from a long term illness. Although my parents always encouraged art and music, they always said that they were tough fields to make a living in, so of course I went to college first for music and then later on for art. Hahaha!
Bryn’s older sister was an accomplished artist, who lived in Venice, Italy. She did a lot of drawing and printmaking, I believe, but sadly she also passed away a number of years ago. I remember Bryn brought her to visit my painting studio in Dorchester in the late 90s or early 00s and we had a nice time talking about our work. I don’t think either of his parents played music or made art, that I know of.
Who inspired you to be a part of the music industry? I suppose for me the simple answer is the Beatles, I grew up with them in the 60s and it sure looked like a good time. But there are plenty of other artists that have helped to keep the dream alive over the years. I guess music has always been a part of my life, so it seems like a very natural, and comfortable place for me to be.
How did you learn to sing/write/to play? Although I took lessons for piano and trumpet, I’m basically a self taught guitarist. I did take some music theory classes in high school and at college, but that was all focused on Classical music and four part hamony, so the songs that I’ve written over the years just pretty much come from within. My singing is not my strength, but I was able to face that shortcoming a bit easier in the 90s when a less polished vocal style became more acceptable in mainstream music.
Bryn has studied both drums and guitar, and still is a student of Sam Davis, a very talented musician in the Boston area, that has a career that goes way back. So he is definitely the more accomplished guitarist, and therefore takes most of the leads. He also has a much wider variety of influences, that all blend together to make his own unique style.
What was the first concert that you ever went to and who did you see perform?
Wow, not sure I can even remember exactly, but most likely it was a show at the Rat in Boston, so probably some local bands. I do remember getting in there underage to see the Runaways around 1977, but it was not the first show I went to.
How could you describe your music? It’s hard for me to have a perspective on it, as it’s our stuff. But I would say garage, punk, hard rock, without being metal, although there are touches of that occasionally. I would not call it pop, especially by today’s standards, but I think it’s fairly melodic, and hopefully the tunes are catchy to the listener’s ear. It’s definitely guitar driven, with the vocals being just another instrument in the band, rather than the focus. We like using the term Supersonic because it sort of defies any sort of specific categorization. I’m sure a lot of people find it unpleasant and abrasive.
Describe your creative process. Sometimes it starts with a single line, or thought that becomes the foundation of the song. I usually come up with the music first and flush out the lyrics afterwards, but occasionally the words spill out first. When that happens it’s usually a very quick thing, and the melody line is right there in my head at the moment.
I’ve had ideas come to me in dreams or right on the edge of sleep too, and I try to keep paper and pen nearby to be able to get it down before it’s lost. I keep a pocket recorder handy also, so I can capture words or ideas quickly as they come up, especially if I’m practicing guitar and something magical happens, it’s nice to be able to capture it in its pure essence.
What is your main inspiration?
My bride, Priscilla and my dog, Suzie for the most part. Songs like “Suzie My Dear” and “Everything I Can” off the our first album, “Ether Dome,” were inspired by both of them, as are many of the songs I’ve written. But sometimes it’s a random thing I’ve come across. Both “Munchausen By Proxy” and “Mallus Maleficarum” are good examples of that sort of thing happening.
What musician do you admire most and why? Too many to list here, but one is Louise Post. She has really shown me that an independent artist can have a presence, especially if they are willing to persevere. In the last year or so she has released three vastly different records, that are also a complete departure from her work with Veruca Salt.
Paul McCartney is also someone who I think embodies what an artist is. As much as I love the Beatles, and some of his solo work is amazing, the fact that he was into the avant-garde music and art scene ahead of the others, and has a successful painting career, as well, says a lot about him being a well rounded artist. I’ve always felt that if you are involved in the arts in any way you probably do more than one of them well. It’s just the nature of creative beings.
Did your style evolve since the beginning of your career? Absolutely. I think that’s the case for any creative person. The alternative is just stagnation, which would probably lead to boredom and then finding something else to do. Not to say that there aren’t artists out there who have made a living off of doing the same thing over and over again, but I don’t think I would find that very rewarding.
I know that anytime I encounter new music, or a different style that attracts me to it, I can see traces of it in the new songs I write. Sometimes consciously and other times completely unconsciously.
Bryn
Who do you see as your main competitor? Everyone and no one, hahaha!
Seriously though, there are so many artists out there vying for exposure, and your ear, that it can be overwhelming, and hard to feel like you’re making any sort of impression or impact.
I remember thinking in the 90s when my band fin-de-siècle was first coming onto the Boston music scene how much different it was from the 80s when I was in World of Distortion. There was more of a sense of comaradrie among the bands rather than a competitive vibe. I think that has carried on till now. There are so many talented bands here in Boston, but I feel like we are off doing our own thing, so there isn’t a Beatles vs. Stones things going on either.
What are your interests outside of music? Spending time with my girl and my dog. I also enjoy oil painting, photography and love movies and reading a good book. I’ve always loved vintage cars from the 50s, 60s and early 70s too. Traveling is another thing I really enjoy, but it’s an expensive hobby for sure. Trying to find some time for meditation in recent years has also been very helpful and relaxing.
I know that Bryn shares an interest in cars and travel, and he loves animals too. A lot of what he does revolves around music, including playing drums in a friend’s band that does children’s music. I’ve been to some of their shows, and when a mosh pit of 5-10 year olds gets going it’s not much different from a lot of clubs I’ve been in. The lines between child and adult entertainment really start to blur at moment like that.
If it wasn’t a music career, what would you be doing? Hopefully some sort of artistic pursuit. I work as a graphic designer, but would love to be in my painting studio as a full time thing, or finding some way of traveling more, perhaps as a photographer.
What is the biggest problem you have encountered in the journey of music? Trying to get airplay and high level exposure. Again, I think this is just a by product of there being so many artists out there now trying to get their voices heard. The fact that anyone can promote themselves has multiplied the amount of people out there doing it.
If you could change one thing in the music industry, what would it be? Creating more opportunities for up and coming acts. As someone once said,” The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free and good men die like dogs. There’s also a negative side.” I don’t think much has changed much since then, and probably even gotten worse in some ways.
Why did you choose this as the title of this project? A friend of mine had a sister that woke up in a hotel room in Maine on a business trip and had no idea where she was, or why she was there. When she was checked out at a local hospital they told her she had “Transient Global Amnesia”, which like any good game of telephone morphed into Trans Global Amnesia by the time I heard about it. I thought it sounded too cool to pass up, and even told my friend I was going to use it for an album title.
What are your plans for the coming months? Working on our next album, “Wonderland” is a top priority at the moment. Also looking to get some live shows booked, but the club scene in Boston isn’t thriving the way it used to, so those opportunities are harder to come by these days.
Do you have any artistic collaboration plans?
Not at the moment, We get a lot of offers from people who want to collaborate, but I feel that usually it’s a singer looking for an established group to work with, or wanting to dose sort of re-mix, which is not our thing really.. We have so many songs backlogged at the moment that we are really trying to focus on getting them all recorded, especially with new ones coming along all the time.
What message would you like to give to your fans? A very big thank you for their continued support over the years, and let them know that them being there for us means the world to us. Realistically, without them we are nothing.
Thanks for taking the time to talk with us Mister Styx, and we hope to speak with you again in the future
Songs come from a variety of places, either someone coming in with an idea or something coming out of us messing about when we’re rehearsing.
ne.” Their latest comeback single ‘Dead for you’ from last year was a huge success and here they go already enchancing our senses once more.
In “Endless June” the band represents its signature shoegaze-inspired style in a sound richness and euphoric listening. With glistening textures, ethereal soundscapes, and interwoven vocals the track features Linea Aperta’s ability to create anthem-worthy sonic landscapes.
Despite a more calmer Sunstinger than the norm for these past months, ‘Endless June’ shows that this band are brimming with alot of new and intriguing ideas. The song is then concerned with the concept of finding solace in one’s own misery rather than accepting someone else’s definition for happiness, Taylor Wright narrates elsewhere.
Originally from Dunfermline, Scotland, Sunstinger has made a mark for itself through its distinctive post-shoegaze sound that produces stunning singles and the band’s debut EP titled “Beyond the Frame” in 2021. With the beginning of 2024, with “Endless June”, which serves as a layer to their new EP titled “Worthless”, Sunstinger is set to charm its listeners again, however under his own unique take on guitar-driven music. So, keep watching for an intriguing journey into the world of the Sunstinger’s celestial soundscape.
Is there a story behind your stage name? Theres no exciting story behind the band name unfortunately. Taylor (lead vocal/guitar) suggested it at one of our first rehearsals and it’s been with us ever since.
Where do you find inspiration? As a band, we’re into a massive variety of music and I think that comes through in our songwriting and production. Most recently we’ve found inspiration in a new wave of American post-shoegaze bands.
What was the role of music in the early years of your life? I remember hearing the Beatles when I was really young and being mesmerised by it, it took me another 10 years to pick up an instrument but that feeling of hearing something new for the first time and connecting with it instantly has never gone away.
Are you from a musical or artistic family? Not particularly, none of my immediate family play any instruments or anything like that.
Who inspired you to be a part of the music industry? When I was a teenager it was a desire to avoid getting a real job. Now that I’m a bit older I’ve realised that having some sort of creative output is essential in keeping me happy and sane.
How did you learn to sing/write/to play? Mostly by ear, listening to songs that I found interesting and figuring them out. Sometimes a bit of a slow, painful process but seems to have worked out ok.
What was the first concert that you ever went to and who did you see perform? I think it was Blink-182 in Glasgow when I was about 14. Funnily enough every memeber of Sunstinger is going to see them again this year in the venue next door.
How could you describe your music? Atmospheric, honest, very loud.
Describe your creative process. Songs come from a variety of places, either someone coming in with an idea or something coming out of us messing about when we’re rehearsing. Once the ideas fleshed out and everyone’s happy with it we’ll record a demo and fine tune everything, then on to record it in the studio. We try and demo a few songs a month. Some make it , some don’t.
Songs come from a variety of places, either someone coming in with an idea or something coming out of us messing about when we’re rehearsing.
What musician do you admire most and why? This one’s probably really obvious, but Paul McCartney has to be up there. Amazing songwriter and some of the most perfect bass lines ever written.
Did your style evolve since the beginning of your career? In the early days Sunstinger were heavily influenced by post punk, which progressed into a sound that was a little closer to Shoegaze bands from the 80s and 90s. Our next EP definitely fits into the current Shoegaze revival, but I think some of our earlier influences have carried through everything we’ve released to some extent.
Dave McCulloch baca me a member of Sunstinger just over a year ago. He comes from a hardcore background. He has a certain way of writing that has really influenced the new material. It’s a merge of a few different genres.
Who do you see as your main competitor? I don’t, art isn’t a competition. Everyone has different influences, goals, opportunities and responsibilities, comparing yourself against other people in vaguely similar situations to yourself isn’t healthy. In my mind, this is true in both art and real life.
What are your interests outside of music? Clothes, music… that’s all we’ve got.
If it wasn’t a music career, what would you be doing? As we’re unsigned and fully self funded we’re all in full time careers. I won’t bore you with the details of what we all do outside of music, but we’d all much rather be making music full time.
What is the biggest problem you have encountered in the journey of music? I think in the begging it was pretty difficult not being from one of the big city’s. I reckon if we were from Glasgow things would have been easier for us in the early days. Because we are from a small city we need to work a little bit harder to get our name out there.
If you could change one thing in the music industry, what would it be? Music streaming platforms, they’ve been great for democratising music and helping artists reach audiences they otherwise wouldn’t have, but the amount of money artists make from streams is offensive.
Why did you chose this as the title of your music project? The song was was titled ‘End of June’ as we put the demo down at the end of June last year. It kind of just stuck as the title. Taylor suggested changing it to ‘Endless June’ confident it sounded pretty cool. The lyrics were then written around the title of the song about three days before the actual recording. I’m pretty sure he was still writing them while doing the actual vocal takes. Sometimes it just works out that way…
What are your plans for the coming months? We’ve just released Endless June, the first single from our second EP, which is called Worthless. We’ll be releasing another single from the EP shortly, then the full release of the EP after that.
What message would you like to give to your fans? Thanks for always supporting us, coming to shows, buying merch. It all plays a part in allowing us to continue doing this.
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Chris Carval is a man with many hats – both singing, guitar playing and also producing. His latest song, “Falling” is a funky pop fusion that show cases his musical prowess as both a MC and also producer.
He is Chris Carvel, but behind that there’s also a wink to John Frusciante whose name inspired him on his way into the music. In our talk, he confesses how Jimi Hendrix and also John Frusciante ignited his musical road.
Do you want to know how the magic is created? Chris reveals how his creative process works – from messing around with the guitar to letting the words come out effortlessly. It is a little like putting together the pieces of a musical puzzle.
But wait, there’s more! Chris goes into his musical history – rocking out to Jimi Hendrix as a 15-year old he saves up, quits a day job just so that there was enough time for the music. Well, he’s got a particular style that has developed over the years from rock beats to the alternative pop mood.
And guess what? Chris isn’t just about music. He dishes the dirt on his out-of the studio life – philosophy books, podcasts and so much more including all that personal time.
Therefore, come along as we talk to Chris Carvel. It is not just the beats that he drops but also stories, vibes and a little bit of his own musical space. It is all about real talk, real music and a good time right? Let’s get into it!
Yes, Carvel is the name of a song by John Frusciante, who was the musician who inspired me to become a musician.
Where do you find inspiration?
For me it comes from my unconscious psyche. The music opens a portal and the words seem to come and naturally take form on their own from a jumbled mess, into something that has form and meaning.
I think when you write music you’re doing something really heavy and powerful – beyond just giving someone 3 minutes of entertainment. It’s deeply spiritual and affects the universe in all kinds of ways.
What was the role of music in the early years of your life?
I didn’t really get into music until the age of about 15 when I heard Jimi Hendrix for the first time and really took notice. By that point I was already interested in playing guitar because my friends were interested. First song I remember hearing is Lucy in the Sky with Diamonds, and I still remember the happy euphoria it gave me around the age of 5. So there must have been something going on.
Are you from a musical or artistic family?
My dad played the guitar and was always interested in music. Although he lost most of his guitar interests after having a family, he was able to help me out in the early days.
Who inspired you to be a part of the music industry?
John Fruscinate and Jimi Hendrix would be top two.
How did you learn to sing/write/to play?
I learnt to play guitar from youtube vids. Writing came a lot later after years of playing the guitar, things would just naturally come out while improvising, and I would record them. Singing was something I started doing after my girlfriend left the country for 2 years, and I needed an outlet besides work.
Writing came a lot later after years of playing the guitar, things would just naturally come out while improvising, and I would record them.
So I decided to do some singing lessons, and ended up recording songs for her during our time apart. I think without those initial recordings, I never would’ve taken up being a recording artist.
What was the first concert that you ever went to and who did you see perform?
Amy Shark – I went cause my girlfriend was a fan. She was good. I’m not hugely into going and seeing shows, maybe cause the artists I like never tour in Australia.
How could you describe your music?
It’s music for deep thinkers by a deep thinker, and without a particular goal in mind.
Lyrically it’s quite abstract. Musically I’m still learning how to produce and because of that I do things that go against the norm, and sound very unique. I think that comes through in the songs. That’s as important to me as creating music – finding a unique sound that I can call my own, even if it means making mistakes along the way. I think it’s very tempting these days to just get a producer and follow all the rules, but I think that’s putting the cart before the horse.
Describe your creative process.
Both times I started a musically project, I quit my job and suddenly had more free time than usual. I think that’s an important first step. Usually when I’m practicing guitar, there will be a riff or a phrase or a chord progression that strikes me as interesting, and I’ll record it and build a song from that.
An entire song can easily be written just off a simple guitar riff, because that riff can then be matched with a chord progression, and that chord progression puts you in a certain key and opens up more chord progressions and the whole thing snowballs quickly.
Then I’ll normally just sing into the mic and record random gibberish until a vocal melody comes out. Normally within the gibberish there are words that come out without me thinking and that leads to lyrics being written. It’s quite automatic. Adding drums and bass is usually towards the end.
What is your main inspiration?
Trying to figure out the meaning of life and what the hell the point of all this is. Although I’ve calmed down lately and don’t really care that much anymore. I’m trying to focus on my human pursuits.
What musician do you admire most and why?
John Frusciante – because he gave himself fully to his craft and was always super genuine. His music runs so deep I spent years studying it.
Jimi Hendrix – The most creative musician that I’ve ever heard, and zero separation between himself and his guitar. I think every guitar player aspires to get close to his level.
Did your style evolve since the beginning of your career?
Yes, it has. I started more tilted towards Rock, and for some reason I thought I was writing punk rock even though I wasn’t. And it’s slowly become more alt-pop. But every song on the Conversations album is very different. I think that’s the thing I’m most proud of – that my style has evolved with each song.
Who do you see as your main competitor?
Time and money
What are your interests outside of music?
I like reading philosophy books, listening to podcasts and masturbating.
If it wasn’t a music career, what would you be doing?
I was in sales before I started my music career, but I’m always itching to make a drastic change so I would’ve quit the job anyway and spent my savings on travelling around the world. Who knows – maybe a pornstar.
What is the biggest problem you have encountered in the journey of music?
The struggle to be free and creative whilst also trying to make money. I don’t want to pimp out my music, but if I have no money I can’t spend time on music.
If you could change one thing in the music industry, what would it be?
It would be cool if there was a platform for people to listen to music only by unsigned artists where labels couldn’t get involved or put music up.
Why did you choose this as the title of this project?
The word “Conversations” just popped into my head one day towards the end of the writing process. I was just finishing the song “Thorns” which is going to be out on February 16th. That song is a really heavy internal dialogue between two parts of a personal psyche. And I realised that every song in this project came from a conversation – usually in my own head.
What are your plans for the coming months?
To keep releasing songs. I’ve got 5 more songs to share with the world and I’ll be releasing 1 every 6 weeks.
Do you have any artistic collaboration plans Yes, I recently collaborated with Cate Guirguis. She’s a singer songwriter in Sydney with incredible vocal ability and she was kind enough to duet with me on my single – Torn. That song is out now on Spotify. I’m also working on recording a song with Chris Sockel, who is the guitar player of the band Fathom. We wrote the song together, and that should be out in the next few months.
What message would you like to give to your fans?
When I released my first single “Time Stands Still” I made a little poster and stuck it around the city. It immediately got taken down everywhere I put it. The headline of the poster read “do what you want, you’ll be dead soon”. Then about a year later I saw that Polyphia was releasing an album called “Remember that you will die”. I think they’re essentially the same message. I think its good for people to think about their own death as much as possible, because it keeps you aware of what’s important and what’s just noise.
Rapper Proklaim Has Done it Again; Listen to Vamos
Amapiano and Hiphop? Merhn I have never really believed that very soon we will see the birth of this fusion, but Proklaim has done it again. The latest sonic journey with Proklaim and his thumping new single Vamos is all set to take off; this time coming from the city of Windhoek in Namibia, where he aims at transgressive brand reshaping through real hip hop sound.
Imagine this: Amapiano / Gqom hits from South Africa mixing with hip hop wordplay. Yes, Vamos is that masterpiece that transcends genre and hits you directly in your feels. Proklaim grew up in Uganda and Zambia with a multilayered culture of rhythms that injects an international feel to his lyrics.
Legends like Wu-Tang Clan, Lauryn Hill and Eminem have had an impact on Proklaim’s work who isn’t a typical rapper. He is a storyteller with an agenda engaging social issues and conflicts. And we should not forget his hits 2023 that prepared the ground for even more brilliance in 2014.
“Vamos” is a game-changer. The track begins with hypnotizing guitar sounds, choral vocals and Proklaim’s smooth melodies creating a melody that leads to an animated soundscape. It is unavoidable to move due to the brass shots, deep bass and groovy beats. And Proklaim’s flow? As usual, with some Travis Scott feel.
The blend is just right, showcasing Proklaim’s vocals. The deft touch breathes life into every beat and word. The breakdown at the end? Wrapping this power-heavy single in pure fire.
If you have not gotten on board with Proklaim, then “Vamos” is your pass. It’s not just a song; it’s an audio adventure that transcends limits and leaves you yearning for something bigger. Therefore, press play and dance with the beat of Vamos.
