Off the back of his song “Pull Up” with Demmi, Ghanaian artiste Mullah continues his fine run with his first solo release of the year titled “Body Bad”.
The song is Mullah’s way of appreciating his love interest as he serenades her with words describing how he feels about her and how amazing her physique is. The song is a reassuring message to her that he still cares about her despite their issues and challenges. Despite the song’s sensuality, it is at its core a love song of romance and affirmation.
The song is a mid-tempo Afrobeats jam produced by BeatzAidoo with additional production by Kros. The song is the first of a year of releases for the artiste. “Body Bad” is streaming on all DSPs here
Unveiling 'She's in Parties': Destar Conteh's Story of Escape
Alrighty, so, there’s this new artist, Destar Conteh, who’s just dropped a track called “She’s in Parties.” It’s pretty heavy stuff, talking about people using parties and drugs to escape their problems. The song’s got two different viewpoints – someone who cares and someone who’s just there for the fun.
Destar’s got an interesting backstory. He didn’t have much guidance growing up, so music became his thing. Started with heavy metal, then got into hip hop and R&B. You can hear a bit of The Weeknd’s influence in his style.
His music’s got this sinking feeling to it – kinda dark, you know? He’s juggling music with other stuff in his life, but he’s really into telling stories through his songs. Sounds like he’s got more singles coming and he’s working on an EP too. Definitely one to watch.
What is your stage name? I go by the name Destar Conteh.
Is there a story behind your stage name? I never really liked my full birth name so when I first started making music, me and my best friend came up with the name.
Where do you find inspiration? I find inspiration in the experiences from my past and people I know. I tend to blend the stories together to create the narrative I want to portray.
What was the role of music in the early years of your life? Growing up, I didn’t have much guidance. I had to learn and experience a lot on my own and it made me feel alone. After a while I started to listening to music, mainly heavy metal since that’s what I grew up round because my mom. Then I found hip hop and R&B and I started to kinda put myself into the lives of these artists I was listening to so that I didn’t have to deal with my own life. Music was one of the main things that gave me an escape.
Are you from a musical or artistic family? I’m not
Who inspired you to be a part of the music industry? My friend. He had been making beats for a few years, releasing music and one day we just started talking about making music together since we both wanted to but didn’t have the support on it.
How did you learn to sing/write/to play? I learned to sing in high school I was in choir for half a year and just ran with that. I didn’t learn how to produce my own songs till a few months after I graduated school and that took me about 7 or 8 months to teach myself.
What was the first concert that you ever went to and who did you see perform? First concert I ever went to was a Korn concert it was cool.
How could you describe your music? I’d want to describe my music as sinking. I want the beat in combination with my vocals to give this feeling of dread in a way that reflects the lyrics and tone I want to set
Describe your creative process. I don’t really think I have one. I can go weeks without having any ideas or creativity till it randomly hits me usually late at night.
What is your main inspiration? My main inspiration would be that darkness of some peoples life. The pain and struggles and the vices that help with those pain and struggles
What musician do you admire most and why? A artist I find myself admiring the most would be The Weeknd. unlike other artists where I would put myself into their life, I felt like I was more so sharing experiences with him in a way as if we were noth talking about our pain and what helps.
Did your style evolve since the beginning of your career? I would say my style did evolve and will continue to evolve for as long as I’m making music. I started out on typical hip hop beats not knowing exactly where I was going until I was able to find myself and my style.
Who do you see as your main competitor? I don’t really think about what can be competition at the moment.
What are your interests outside of music? I really like movies. I love watching old horror movies on youtube and like new horror movies on netflix or something.
If it wasn’t a music career, what would you be doing? I’d want a job in education but specifically somewhere in my community. Maybe even start a program for some of the’s kids who’s parents can’t always be around to teach them what they need.
What is the biggest problem you have encountered in the journey of music? My biggest problem I want to say is the balancing of life and music. At this time I still have to focus on jobs and life stuff but that moment when I finally get a leveled head and inspiration is what reminds me that I can’t give up.
If you could change one thing in the music industry, what would it be? Probably the appreciation. A lot of artists I think don’t get enough appreciation when it comes to their accomplishments.
Why did you choose this as the title of this project? I chose the title “She’s in Parties” because I was telling the story of a girl who can’t live without partying.
What are your plans for the coming months?
My plans coming up are to release about four more singles and then start working on my concept EP
Do you have any artistic collaboration plans Right now, my artistic vision for my music is pretty solo right now but plans can change.
What message would you like to give to your fans? I know everyone says this but I appreciate all my fans. Everyone who interacts with me on my social or in general, listens to my music, or even just acknowledges me, nothings too small.
Debut Single 'Carousel' Unveiled: An Interview with Paul Clare
Guys, have you checked out Paul Clare’s new song “Carousel”? It’s his first single and it’s pretty wild. This London guy has managed to mix old-school songwriting with a modern twist, and it really works.
The track is like a rollercoaster – it’s got these killer riffs and huge choruses that’ll stick in your head. Clare’s voice is unique too, kind of intense but in a good way. It fits perfectly with the song’s vibe.
True to its name, “Carousel” keeps spinning through different styles. Just when you think you’ve got it figured out, it changes again. That chorus though – it hits hard and feels so satisfying.
They’ve put out a music video too, which is just as crazy as the song. It’s all quick cuts and flashy visuals that match the energy of the track.
If this is what Paul Clare’s bringing to the table right out of the gate, I’m definitely curious to see what he does next. “Carousel” is a solid start for sure.
We had an interview with the artiste behind this masterpiece and he revealed a lot about himself and whats next for him, join us as we delve deeper into his life.
Where do you find inspiration? It sounds unoriginal, but it sort of finds me. Music and words have flooded into my mind from somewhere since I was 7 years old. I’ve never consciously sat down to write anything. Melodies spring out at completely random moments. I can be out shopping, and suddenly need to find a quiet aisle to sing something into my phone recorder.
What was the role of music in the early years of your life?
My family didn’t listen to music at all, and I had very limited, passive exposure to it. Soundtracks on films, or advert jingles. I didn’t know released music even existed until I started secondary school.
Are you from a musical or artistic family? Not at all, though other branches of the family were. My great aunt was a classical pianist and tutor, and older cousins were packed off for lessons with her – utterly hating it. I saw a piano for the first time when I was 9, and immediately started picking out tunes on the keys, before being told to get off in case I broke it!
How did you learn to sing/write/to play? I’m still learning, and hopefully always will. When I was 18 I bought my first keyboard – an old Korg monosynth. Guitar came later. Nowadays there’s a million youtube tutorials, but back then the only way to learn was from someone who already knew how to, which I didn’t have. So it was very intuitive, just picking out what sounded right.
What was the first concert that you ever went to and who did you see perform? I grew up in a small town where no band would ever play. When I was 17 I went to Blackpool (nearest large town) to see a band called The Icicle Works, who’d had a few hits in the 80s. The energy and connection to the music was transformational! A complete awakening.
I grew up in a small town where no band would ever play. When I was 17 I went to Blackpool (nearest large town) to see a band called The Icicle Works, who’d had a few hits in the 80s
How could you describe your music? Dense. It’s a wall of sound not by being loud, but from many intertwining musical phrases played on different instruments. I can’t stop adding more layers and harmonies. The production phase has a lot of thinning out to create dynamics. I’m trying to work on some quieter things too.
What musician do you admire most and why? It’s hard to single out one person, but I’ll say Kate Bush. While commercially successful, she always stuck to her creative vision, and incorporated more and more experimentalism into her work as she grew. The Ninth Wave, from the Hounds of Love, is one of the most wonderful and inspiring pieces of music ever.
Did your style evolve since the beginning of your career?
I think the music I’m making now is what I’ve always aspired to. Learning DAW software, with infinite channels, has just finally made it possible. If I was in a band, playing each part individually, it would need 20 members!
If it wasn’t a music career, what would you be doing? Unfortunately, a career in music has always been the dream of many and attained by very few. There’s thousands of songwriters and musicians out there who put their music second purely because it’s next to impossible to make a living out of. I work in IT as a ‘day job’.
What is the biggest problem you have encountered in the journey of music? Time!! I have children, and they rightly get my attention first. That and not being a trained or technically great musician. Not reading music, my composition notes would be indecipherable to anyone else.
If you could change one thing in the music industry, what would it be? I think it’s changing in very good ways now. The ability for artists to self-release directly to potential fans has exploded compared to a few years go. Streaming payments are pitiful (and always have been), but they’re great exposure for building a fan base which could support the artist with vinyl releases, etc.
Why did you choose this as the title of this project?
“Carousel” describes the process of going through different relationships in life – romantic or friendships. At the start especially they can be dizzying, like whirling around on a funfair ride, and it’s difficult to see clearly. The more we emotionally invest in a relationship, the bigger the disappointment they can be if we’re not aware of the projections we naturally overlay onto others.
What are your plans for the coming months? There isn’t a firm plan, but I have a second single recorded to release in the Autumn. Hopefully that will see whether there’s enough interest to record an album. I have 14 songs completed & ready to go – if anyone wants to hear them..?
What message would you like to give to your fans? This is probably the best time ever to be a fan of music. Love it, live it, let it consume you. Seek out and embrace new sounds and music will reward you. It is out there, so never settle for what’s unimaginative or been done a million times before
We are thrilled to introduce Lara Tahm, a German music producer and vocalist making waves with her debut single ‘Shine,’ released on June 21st. Recorded at the University of Helsinki Music Research Laboratory, ‘Shine’ is a beaming indie-pop track that emerged from the dark winter days in Helsinki, exuding the energy and light of an early summer morning. With shimmering chimes, heartfelt citar, and ethereal background voices, the song captures an optimistic path towards happiness and liberation.
Lara, who has a profound connection to both Estonia and Finland, derived her stage name ‘Tahm’ from the Estonian word for ‘soot,’ reflecting her inclination to experiment with music and her deep ties to these countries. Currently based in Munich, Lara is not only a talented musician but also a dedicated musicology student. The single ‘Shine’ has been expertly mixed and mastered by José Diogo Neves, with the artwork captured by Finnish photographer Emma Reijonen.
In this exclusive interview, Lara opens up about her inspirations, creative process, and journey in the music industry. From her early years learning the violin to her experiences in the Estonian music scene, Lara’s story is one of passion, resilience, and artistic growth. Join us as we delve into the mind of this emerging artist and discover the magic behind her music.
My stage name is Lara Tahm. Tahm is an Estonian word which means „soot“. The surname brings out a mysterious, smoky essence and reflects my urge to experiment with music. At the same time my deep connection with Estonia is vibrant in this word.
Where do you find inspiration and describe your creative process.
My songs are written quite in the moment. I sit in front of the computer and start writing what comes out of my head without any judgement. Often I start with a synth or loop sound that I particularly like and then go from there. Sometimes there are certain memories which I want to encapsulate into a song.
What was the role of music in the early years of your life?
As a child I learned to play the violin. It is an instrument which accompanied me for the next ten years. Learning this instrument was for me an introduction to classical music. I grew up with the Eurovision Song Contest and artists like Miley Cyrus, Aly & AJ and Lady Gaga.
Who inspired you to be a part of the music industry?
Conversing with a couple of people from the Estonian music scene like I Wear* Experiment (indierock band), Iiris Vesik (front singer of dream-pop band Night Tapes) and Britt Randma (music manager) influenced and encouraged me to go my path as an artist in the industry. I am forever grateful for these conversations because they opened the doors to a world that was before unimaginable to enter for me.
How did you learn to sing/write/to play?
I already had a musical background with playing the violin. My musicology studies encouraged an analytical view on music which has been incredibly helpful for learning music production. In Tallinn I received invaluable singing lessons which enabled me to find my own voice in pop music as an artist.
What was the first concert that you ever went to and who did you see perform?
In 2014 I saw Florence & The Machine at the Olympia Stadium in Munich. It was a gorgeous experience to witness Florence’s love and glory. To me it was special to see her collaborate with female trumpet players.
How would you describe your music?
My music is a blend of indie- and electro-pop. Every song tells a different story and is genre-wise different. But in the end the song has been written with the same ink and belongs to me. I like to use harmonies and loop vocal phases as a background melody. Recently, I also started using more the violin in my songs.
My music is a blend of indie- and electro-pop. Every song tells a different story and is genre-wise different.
What is your main inspiration?
When I work on songs the inspiration I draw from is really different and depends on what the song needs in the moment. Up until today this includes artists like Selah Sue, I Wear* Experiment, Bilderbuch, An-Marlen, Björk and CAIVA.
What musician do you admire most and why?
At most I admire Night Tapes and Kitty Florentine for their work ethic, the boundless courage to perform live on stage. Iiris and Kitty are both bold women who don’t fear to show themselves on stage. Their stage presence is unforgettable and gripping at the same time. Iiris has this beautiful, ethereal voice which is light like a feather. Kitty Florentine has a fairy-like voice that gets right to my heart and touches me every time I see her live.
Did your style evolve since the beginning of your career?
I am very much evolving as a songwriter and producer with every song. My arrangements are getting more complex and playful since I started 6 years ago. I’ve become more detailed and precise in my productions.
Who do you see as your main competitor?
I do not see artist or music itself as a competition. Music is a human expression which should be fully celebrated.
What are your interests outside of music?
Outside of music I like to learn languages. Besides Estonian and Finnish I am currently learning Swedish.
If it wasn’t a music career, what would you be doing?
My musicology studies enable me to work in the culture sector in general. Working in this field as an event manager, PR specialist or curator would be an alternative besides being a music producer.
What is the biggest problem you have encountered in the journey of music?
Recently I had a creators’ bloc where I felt completely stuck with making new music. In these moments I find it best to still create something everyday and be kinder to myself. It takes time to create beauty and sometimes it is better to create slowly and be very patient with yourself.
If you could change one thing in the music industry, what would it be?
Changing the revenue model of streaming platforms to a fair share: Indie artists should get more revenue than they get right now. A Gema study in 2022 came to the result that the share of the membership is 1,60 Euros for music creators. It’s necessary to see that for each membership music creators receive more money and that songwriters are being paid equally than music producers.
Why did you choose this as the title of this project?
‘Shine’ is the most optimistic song I wrote during the winter in Helsinki. I chose this title to encourage listeners to appreciate their imperfections and their beauty.
What are your plans for the coming months?
Currently I am working on a song with Estonian music producer Steven Saagpakk and Estonian rapper Taavi Sink for the upcoming Eesti Laul competition which is the Estonian preselection for the Eurovision Song Contest. Hopefully we’ll get selected as an act. Fingers crossed!
What message would you like to give to your fans?
I am thankful that you all take the time to listen to my songs. I am excited about the journey and can’t wait to share more music!
From Grunge to Glory: Attic Theory’s 'Dare to Dream'
Hey, check out this new song called Dare to Dream by Attic Theory. It is from their album titled What We Fear The Most and trust me; the song is lit!These UK rockers are great at grabbing the attention of the audience right from the onset.
So, the best thing for me about Attic Theory is that they combine different kinds of rock – grunge, hard rock, metal, alt-rock and more…Oh, how they switch from part to part – it keeps one engaged all through the performing time.
This song has this awesome feeling to it which is interesting given that the song was written by the band’s vocalist, Lewis Wright after some heart challenges including a throat surgery. I have a lot of respect for him for turning that into something so strong.
Of course the track packs a punch from the first second of the song– those guitar sounds in the beginning are amazing, and the chorus is just incredible. Man, it makes you want to throw caution to the wind, literally lose your mind.
So if you’re into the kind of thing that would be along the lines of post-grunge – kind of a hard rock – then you’ve got to look into this band. They are showing that they can still make good movies in that movie genre. Honestly, it is worth giving it a listen!
JC & the Tree Light Up 2024 with 'Water to the Flame
Hey, have any of you listened to “Water to the Flame” from JC & the Tree? It has become my recent favorite. This tune is hot – it seems to have that folk-rock feel to it with a hint of country-pop which I like. The vocals are cliché as hell, and that violin? Damn, it hits hard.
Even more interesting is the tale behind their guitars. Jesse, the lead singer, actually built them himself from a tree that fell in a cyclone on a piece of land that he once owned. Wanna know what passion means next to putting your heart into your music?
Jesse, the lead singer, actually built them himself from a tree that fell in a cyclone on a piece of land that he once owned.
They happened to be on this massive Australian tour known as the ‘Big Lap,’ driving through some very isolated areas at the time. If so, don’t miss “Blue,” a hazy piece of indie rock they released back in March.
Okay, but for real, listen to “Water to the Flame”. It’s one of those songs; where something about the song feels different. Oh, and, you know, follow these gentlemen on social media if you wish to track their journey and new material. I promise, it will be worth it.
Interview With Divine Nation On Latest Album 'Enchantment'
Guys let me tell you about this new band, Divine Nation, a duo from Glasgow, this is Paul Connor on the vocals and Jezz Watson on the music and a new element is what they are introducing to the scene and this can be witnessed in their new album “Enchantment”.
These dudes are old school, and their music is proof of that. They’re all about harmonizing music with poems and raw beats that appeal to your emotions in one way or the other. Imagine blending Miles Davis with the feeling that you get from listening to David Bowie music, but it sounds like none of these musicians at the same time.
The new album is called “Enchantment” and it is something else. They completed it in three days, can you imagine that? In essence, it is a journey to the soul through music. Beginning with “Light Never Dies” and going up to the titular track, “Clinical” takes the listener on an exciting rollercoaster of rock and jazz elements.
For Divine Nation it is not only about producing songs but about invoking a certain atmosphere. If you are into musical groups that can get you to think and feel, then you should listen to them. They are undoubtedly potential contenders for future success or growth.
Our name is Divine Nation but we also have songs under the band name Giantslayers.
Is there a story behind your stage name?
Our stage name Divine Nation comes from a song recorded by Giantslayers
That was the final song I did with my ex collaborator Colin Cooper.
Where do you find inspiration?
I find inspiration in life experiences, images, people around me what’s going on the world,
dreams and day dreams
What was the role of music in the early years of your life?
I was surrounded by music in my early life
My Dad was into jazz and big bands, My Mum the Beatles rock n roll and country.
Are you from a musical or artistic family?
My family had a great love of music
The home usually had music on.
They were not themselves creative but that wad a mindset.
Who inspired you to be a part of the music industry?
It was my first collaborator Colin Cooper who gave me the opportunity to write lyrics develop vocal melodies and sing.
So bigs up to Colin for that opportunity.
How did you learn to sing/write/to play?
I’ve always been a creative writer
I’ve had a couple of novels published.
I also wrote poetry and I performed it.
I wrote a piece with a sung part in it about a decade ago, it was well received and I loved performing it.
That planted a seed.
What was the first concert that you ever went to and who did you see perform?
Dr Feelgood were the first live band and John Hall the first artist.
Feelgood were frightening and frighteningly good
John talented but more benign!
How could you describe your music?
My music is eclectic and it strives to have punch and to be inspirational
Describe your creative process.
My creative process is like a flash of lightning comes out of the ether
Most song lyrics I complete within ten minutes
I then hand the lyrics with a vocal melody to my musician Co composer.
A couple of times they have sent me music and I have put lyrics and a vocal to that music. For example, the title track of Enchantment was done that way.
Jez Watson sent me the music and the title Enchantment came to me in a dream!
I woke up from that dream and wrote those lyrics.
Most song lyrics I complete within ten minutes
What is your main inspiration?
My inspiration is the nitty gritty of life seen through a spiritual lens.
Driven by a notion of elevation for both me and the collective too.
What musician do you admire most and why?
I think my singing had massively improved with practice.
Evolution wise I’m looking for diverse influences through collaboration
Did your style evolve since the beginning of your career?
I’ve always loved Bowie from being a boy to the present.
My favourite artist/musician.
I like the music to be fluid I’ve worked with three composers all of them had their own niquestyles and musical backgrounds.
That heavily influenced the style and tone of the music.
Who do you see as your main competitor?I don’t think in terms of competitors
I think a rising tide lifts all boats
I’m always open to collaboration.
What are your interests outside of music?
My interests are different cultural experiences through travel, the beauty of nature, great music, maining creativity encouraging others to do the same.
Being as autonomous as possible is a must.
If it wasn’t a music career, what would you be doing?
If I wasn’t doing music I would still be teaching chi kung.
What is the biggest problem you have encountered in the journey of music?
The biggest problem in and around music has been getting a band together that can work together to play live and, as an independent artist getting the music out to a larger audience.
The industry needs reformation!
If you could change one thing in the music industry, what would it be?
The one thing I would change would be the grip of the major record labels.
Why did you choose this as the title of this project?
Divine Nation was chosen for the name of the project as it is a manifesto for a more elevated future.
Humanity lifted out of the mud.
What are your plans for the coming months?
Next few months will see the release of a Giantslayers album under the Divine Nation banner
More creativity, more fun and perhaps a little travel too.
Do you have any artistic collaboration plans
I’ll be looking for new collaborators for new vventures probably to work on what will be a third album of songs
There’s quite a few in the pipeline!
What message would you like to give to your fans?
I say to everybody pursue your goals and dreams and do not let the opinions of others stop you from doing what you want tovdo in terms of your own creativity.
Don’t let it pass you by.
Big thanks to all who support us.
Nolo Grace Captivates with Ethereal Vocals in ‘Eyes Of The Dragon’
Ever heard of “Nolo Grace”? “Nolo Grace”? Does it sound familiar? What of Grace & Moji? Yes that is a name which is familiar to many of our listeners and on occasions this duo has brought to the people touching lyrics and touching songs.
Nolo Grace has created her unique course with her ambitious, innovative range and persona always appreciated for her performances. Following the buzz that was created by “Wake Up” which featured Sean Kingston, Nolo Grace is back with “Eyes Of The Dragon,” which reaffirms her presence in the industry.
Her latest song I love is called “Eyes Of The Dragon. ”It is all about change and development, right? The kind of stuff that really gets you thinking about your own life. Her voice is like. .. ethereal, I guess? And the production is super cinematic. It is the type of song that you just put on and go into auto pilot.
Nolo really has this thing about how we are all these little elephants, these multi-faceted individuals. She also discusses the need to connect with various aspects within us – the better angel, the dark side, the kid within. Deep stuff, right?
Nolo Grace Captivates with Ethereal Vocals in ‘Eyes Of The Dragon’
Grace explains
“Eyes of the Dragon is inspired by the theme of transformation and the multiplicity of self. I believe that we are interdimensional and infinite beings – we have multiple versions of self that we can tap into, including our higher self, shadow self, our inner child, etc. I wrote this song about the fact that we all have the ability to tap into our higher self and have a more expansive view of ourselves and the world.”
She’s an LA based Korean-American artist and her music can best be described as pop/ R&B/ hip hop/ avant garde. You can see she has been through some things in her life; her songs have this raw feeling to them.
Oh, and guess what? She’s releasing an entire album at the end of this year too called ‘’Eyes Of The Dragon. ’’ Just like this track, it’s going to blow one’s mind.
Nolo Grace is for sure a talent to look out for. It is not just pop music; it gives the intellect something to ponder upon. It will be interesting to see what she does next.
The Death Spell: Blending 70s Rock with Modern Stoner Metal
When you hear The Death Spellwhat do you expect to hear – exactly I can tell you expect an eerie vibe mixed with crazy guitar riffs and explosive drums toppled with heart-wrenching lyrics, and its with so much pleasure and excitement that I present to you the debut self-titled album The Death Spell.
These guys are blowing up the scene with their self-titled debut album. Imagine a mix of old-school hard rock and modern stoner metal – that’s their vibe. Imagine a mix of old-school hard rock and modern stoner metal – that’s their vibe.
The first song on the album says it all, I think that is the best intro befitting an album this good, the moment you press play you are greeted but an eerie atmosphere that ushers you in a world carefully crafted to bring you utmost bliss.
Songs like “Witch’s Coven” and “Nail You Higher Than Before” showcase their unique sound. It’s like they’ve taken the best of 70s rock and injected it with a modern edge.
The album has a total of 8 songs and one thing I love about the album is the seamless blend of songs. we had the chance to have a conversion with the Oz the man who stood on his feet to produce this mesmerizing album.
The frontman, Ozan Turan, is a total beast on guitar and vocals. He even produced the whole album himself. Talk about DIY spirit! Their sound is raw and authentic, with crazy riffs and drums that’ll melt your face off. The Death Spell isn’t just making noise – they’re making waves. They hit #7 on the Doom Charts in December 2023. Critics are loving their blend of gritty vocals, killer riffs, and deep lyrics.
These guys are tearing up stages across New Zealand and already working on album number two. Trust me, The Death Spell is more than just a band – they’re a musical experience you don’t want to miss.
Want to know more? We’ve got an interview with Oz coming up. Get ready to dive into the world of The Death Spell!
Not really. My name is Ozan, which in Turkish means an itinerant poet, poet-singer, or bard.
Where do you find inspiration?
Books, stories, and movies, mostly horror, sci-fi, and occult topics.
What was the role of music in the early years of your life?
I was born into a musically talented family. Music was a daily part of our lives, especially traditional Turkish folk music. I was surrounded by various instruments and players. I started playing piano at age 7, then eventually picked up the guitar and found my true passion.
Music was a daily part of our lives, especially traditional Turkish folk music
Who inspired you to be a part of the music industry?
Many people inspired me, especially growing up in a musical family. However, in my early 30s, I made a decisive shift to pursue audio engineering and music production, leaving my previous career behind. If I had to name one key inspiration, it would be Turgut Berkes, a Turkish rock musician, painter, writer, audio engineer, and producer. We lived together in New Zealand shortly before his passing, which coincided with the start of my studies in audio engineering. He had an inportant influence and insight on that decision.
How did you learn to sing/write/play?
Mostly by ear and observation. I practiced relentlessly for 30 years, playing until my fingers couldn’t take it anymore.
What was the first concert that you ever went to and who did you see perform?
I saw Joan Baez with my parents in Istanbul in 1988.
How would you describe your music?
Retro, proto, raw, rock ‘n’ roll—very honest, clever, and intriguing.
Has your style evolved since the beginning of your career?
Yes, absolutely. My style has shifted from blues rock to more heavy metal and hard rock, although I always maintain my blues roots and you can hear that.
Who do you see as your main competitor?
Music is not a competition for me. You play or you do not. If you are shit, you would find out eventually:)
What are your interests outside of music?
I am an audio engineer. I do mixing, mastering, and work with various bands and artists from my own studio.
What is the biggest problem you have encountered on your musical journey? Finding the right people with the same level of passion and determination to play with.
Why did you choose this as the title of your project? Didn’t really think much about it. I knew what I wanted to say, that fits..
What are your plans for the coming months? We have recorded a bunch of new demos. We’ll be playing more gigs to road test these songs and start working on our second album.
Do you have any artistic collaboration plans? There might be a split 7-inch record with two singles from two different bands, The Death Spell and another band to be announced.
What message would you like to give to your fans? You are all going to die very soon. Do what you love, enjoy the fucking show..
Brad Walrond's Transformative Debut with "Alien Day"
Get ready for a wordless journey with NYC-based artist Brad Walrond with his first album the Alien Day. Recognized for his activism as a spoken word poet and his involvement in the Black Arts Movement in New York, Walrond is set to unite his unique, strong poetic voice with various music genres. Starting from the hard-rocking “Poetry of America” and ending with the self-reflective “Ashes to Ashes”, Alien Day proves Walrond’s skills in the integration of elaborate themes and various genres.
Beyond its function as an album, Alien Day is the manifestation of black history and art fulfilled, of black desire realized. Songs like “Open Cypher” and ‘Dance Make The Body Free” represent black people’s strength and the expressions of black culture amidst the music’s unique beats. The contributions of the musicians such as Mike Ladd and Jessica Care Moore enrich the intensity of Walrond’s authoritative vocals on each of the song, creating strong statements about the invincibility of black love and knowing.
In this interview, Walrond shares details on his sources of inspiration, how his art works are developed and the development of his art style over time. He speaks about how art works, his experience with music business, and his goals in the upcoming years. As he sets foot in the multimedia space, Walrond’s Alien Day remains a forceful proclamation of self and art.
If I did have a stage name it would be EWA which is the initials to my forthcoming collection of poems Every Where Alien (August 2024) published on Moore Black Press Amistad/ HarperCollins.
The single Every Where Alien is who I am if I had to be boiled down to one sonic form.
I like it because EWA represents the maturity of a uber-dimensional body work since I came back to writing and creating about 10 years ago.
I am EWA, wow it kinda has a ring to it
Where do you find inspiration?
First I have drawn from my lived experience inside Underground art and resistance movements in New York City; The New Black Arts Movement, House Dance Music community, Black Rock Coalition, House Ballroom Scene, HIV/AIDS Artivist Community
House Ballroom Scene inspires me because it is an example of the power multiplicity and fluidity of human divinity. We get to witness in real time as people shed tortured oppressive
What was the role of music in the early years of your life?
Writing songs, learning instruments, listening to music for hours. Music is my own experience with my imagination, the ability to manifest worlds and travel where they take you. I think that’s what I do with my work now. Whether its a poem, a book, an album, or a song
Are you from a musical or artistic family?
My Dad has always had the most amazing voice; if he ever wanted to do a cover concert of Nat King Cole songs he’d be remarkable. My was a poet and playwright, she centered that work in her faith community
Who inspired you to be part of the music industry?
My only absolute goal is to make the things I was born to create; industry or no industry there is a seamless creativity linked to my gift of words. I need to be able to leave here knowing I gave my gift all it has given to me.
Why did you choose this as the title of this project?
Alien Day feels like a declaration to me; we are the aliens and we are here right now today to learn anew where we have clearly failed. How to cohabit Earth; to learn how to live out the fullest and truest expressions of love, of our imaginations, and of ourselves.
What are your plans for the coming months?
Welp, I’m releasing this album and looking forward to performing it live everywhere and wherever ; I’m releasing a book Every Where Alien Moore Black Press Amistad/Harper Collins in August and I’m setting up that national tour now.
Do you have any artistic collaboration plans?
I wanna collaborate with Tems; I’ve been calling her name for the last few months to all my peeps. Her poetic gift is a surround sound supernatural force. I went to dinner with a friend in the East Village and Tems and her crew sit down to have dinner at the table immediately next to mine. I had a galley copy of forthcoming book Every Where Alien, and I signed it and gave it to her. I told her I pray she knows how high her poetic gift is. So if I can run into Tems at dinner after she been my creative muse for months, I imagine there must be a collab on play somewhere in the Universe..
What message would you like to give to your fans?
Be Inspired. Run toward the things that excite you, challenge you, move you, heal you, regard you.
Be Inspired. Run toward the things that excite you, challenge you, move you, heal you, regard you.
How did you learn to sing/ write/ to play
My gift is language, the spoken word and arts scene in 90s New York City made me a peer among a slew of galactic voices. We learned the shape and force of our voices in our own audience. They are my creative heroes. Saul Williams, Mike Ladd, jessica Care moore, Jasiri, muMz (rip), Talib Kweli, Yasiin Bey, Sarah Jones, Imani Uzuri, Shariff Simmons, Liza Jesse Peterson, Carl Hancock Rux, Tish Benson
What was the first concert that you ever went to and who did you see perform?
Bebe and CeCe Winans when Whitney Houston was touring with them
How could you describe your music?
Its brand new, it creates its own forms, it makes room for itself, the words the light and messages inside them are magic things; the music enters the word’s world and they discover new ways to talk, touch, and teach each other
Describe your creative process?
I write what I hear; although as a poet and author my poetry is built to stand on its own on a page it lives a dimensional life inside my body. It has a sound, a rhythm, a texture, an unction, a voice. Poems live as four dimensional forms inside me and my multi disciplinary work including my music and this album is the journey to make it live on the outside of me.
What is your main inspiration?
My gift makes me a humble man; I am so honored to be alive, so blessed to be able to create, so amazed I get to work with my outlandishly incredible peers. This album is in every sense a collaboration between composer producer Howard Alper & I. I am humbled how my voice has and continues to find audience. These gifts are beautiful costly things. I do not hold them lightly. My only job is to give these gifts the honor and respect they deserve.
What musician do you admire most and why?
Shelley Nicole, she makes big music, she writes big songs, she is the epitome of the quotidian genius of the New York City music and creative underground, the world should know her name, like how I know her name.
Did your style evolve since the beginning of your career?
I’d say my work evolved and continues to evolve; my style lives with me and shows up for its own sake however wherever I get down
Who do you see as your main competitor?
I don’t have competitors, I have peers. I’d venture that none of us in our peer group ever regard one another as competitors. We aim to live our gifts out loud and pray the world takes all it needs.
What are your interests outside of music?
I am a poet, author, and performer. I am fully alive inside the boundlessness of language and sound.
If it wasn’t a music career, what would you be doing?
My other career as an author—I’m bridging into speculative fiction and I’m damn excited about that..stay tuned.
So let me tell you about Vanda, the indie-pop artist dazzling music lovers from Chicago to LA. After the release of her highly successful ‘Sober In Another Life’ album, she is back with ‘Stranger’ – a great break-up song that has people dancing while crying at the same time.
From a very young age – Vanda has been involved in music and started dancing on stage at the age of three. Talk about starting young!Her love for real songs can be seen or heard in all she does or performs. This is not different from “Stranger”, where she overlays her distinct vocals over energetic instrumentals that you cannot help but sing along to for the next couple of days.
Here, Vanda is revealing what influenced her, how she works, and her development as an artist in our live talk. She goes raw on effects of being an independent artist in the music industry, the artists who influenced her, and what she is looking forward to. For all her tattletaling, though, Vanda’s appealing to fans like nobody’s business. Just watch this one – she’ll be big in 2024!
Is there a story behind your stage name? Vanda is my last name, actually. My full name is Michelle Vanda.
Where do you find inspiration? Depending on what I am writing about, I find inspiration from my own interpersonal relationships. I also get inspired by other’s art, by psychedelics, connecting with universe, sadness, loss, love, the fact that we as humans experience such a range of all of these things in our lifetime. Its beautiful.
What was the role of music in the early years of your life? I started singing at three years old so my parents put me in my first musical the same year and my entire childhood/teen years were spent on stage/in my dad’s recording studio singing and writing.
Are you from a musical or artistic family? Absolutely. Every person in my immediate and extended family play an instrument. My dad is an audio engineer/guitar player, my mom is a singer. Both of my brothers play an instrument. I was the only lunatic to pursue an artist career 🙂
Who inspired you to be a part of the music industry? I don’t think it was a particular person, but rather my obsession with music itself. I never could have imagined being happy doing anything else with my life since I was a little girl.
How did you learn to sing/write/to play? I was in theater since 3 years old, so lots of practice but I taught myself the guitar at 12 and began writing around that time.
What was the first concert that you ever went to and who did you see perform? The Spice Girls – LEGENDS!
How could you describe your music? I would say I am still experimenting and evolving but maybe a cross between Alt r&b hyper-pop. I released a pretty ballad heavy album last year called, Sober In Another Life, so I would say I still am all over the place – depending on what I am going through at that time in my life.
My favorite place to be (and why I think I fell in love with writing so much) is entering that sacred flow space that any artist can relate to – there’s nothing quite like it – it’s quite therapeutic.
Describe your creative process. I like to lock into a sort of concentrated/channeled state when I enter a writing session, whether that be with someone else or myself, I treat the space/time with a lot of respect and ultimately attempt to let go of all of my preconceived notions of what I THINK a song should be and just feel where its taking me. My favorite place to be (and why I think I fell in love with writing so much) is entering that sacred flow space that any artist can relate to – there’s nothing quite like it – it’s quite therapeutic.
What musician do you admire most and why? So many musicians I deeply admire – currently in a choke hold by Chappell Roan – not only her writing, but the way she is bringing true alter ego artistry back into the music industry is so refreshing but with a much more authentic spin on it with her raw lyricism – it’s been such a treat watching her career explode this year.
Did your style evolve since the beginning of your career? Oh yeah, absolutely. With anything, you get better as you go by learning from mistakes and it’s been the same with music. Stylistically, learning what works for my voice and what doesn’t when I’m laying down vocals has been probably the most notable evolution. Working hard to connect and not worry so much about the perfect note – its more about the feeling
Who do you see as your main competitor? Myself, most definitely. We are all capable of succeeding to some degree and there’s room for everyone at the top but overcoming self doubt/imposter syndrome and focusing on creating authentic art without any outside influences/compromises is the ultimate goal for any artist.
What are your interests outside of music? I love discussing/digesting new concepts whether that’s exploring spirituality, mental health, personal growth – I’m really into connecting with humans in general. Into visual media, movies, YouTube, musical theater.
If it wasn’t a music career, what would you be doing? FBI Agent – maybe my next life!
What is the biggest problem you have encountered in the journey of music?
It costs a butt load of money to be an independent artist!!
If you could change one thing in the music industry, what would it be?
That songwriter/artists were paid more fairly.
Why did you choose this as the title of this project? “Stranger” is the title of the song & the main hook – it’s about knowing someone so deeply at one point and now that you’re no longer together, you see a complete stranger. You know them but you don’t and the cognitive dissonance that comes with those complex feelings.
What are your plans for the coming months? I plan on continuing to release a bunch of new music while getting a show together to start playing shows around the LA area.
What message would you like to give to your fans? Just a big thank you to anyone who stuck by my side during my half year hiatus & I’m very excited to start pouring out these new tracks to you one by one forever and forever and forever until I die x
Join The Conversation As 'Me & Melancholy' Talks About New Album
Today we have a special guest – Peter Ehrling, the man behind Me & Melancholy. If you have not heard of him, then sit back, relax and let me introduce you to him. Peter has been active in the electronic pop genre from the year 2022, blending elements from the past with those of the present.
Picture this: Depeche Mode and The Cure were the parents and New Order was the cool uncle, so to speak. That’s kinda what Me & Melancholy sounds like. Peter is from Stockholm and has been dominating Spotify with nearly 10k monthly listeners. The crazy part?Autodidact – everything: producing, mixing, and all of it.
His last released album is “Illusio Veri” and it will really make you think. It has got these profound messages that will make you reflect, all set to electronic music. From cheery songs such as “My Bucket of Things to Do Before I Die” to mellow tunes such as “When the Morning Comes,” Peter has this capacity to share stories through music.
We are going to talk to Peter about the process of creating his songs, what inspires him in this process and what life situations he reflects in his songs. Whether you are an enthusiast of synthpop or just interested in the genre, I believe you would find Peter’s words interesting. Well, sit back, grab your favorite beverage and let me introduce you to the mind behind Me & Melancholy!
Is there a story behind your stage name? The name came up pretty late one nigth. I was all done with the song The price was too high and I was going to distribute it when I got an idea to send the song using a new name. I have always loved music with a melancholic touch and I was thinking about something that could describe that. Me & Melancholy popped up as a tought like ”yes it’s me and that melancholy Guy I always bring with me”. Anyways I thought I sounded good, so I took the desicion there and then to distribute it as Me & Melancholy.
Where do you find inspiration? I most often find inspiration to lyrics from something that have happened in my personal life or something that is happening in the world right now that I get engaged in. For the music I usually just start playing around with some synth or guitar and sometimes it doesn’t result in a whole new song but maybe a chorus to a song or just a cool riff or beat to save for later (I have 100s of such 🙂 Latest months I have got lots of new inspiration by using more hardware synth. You get another feeling when turning actual knobs and buttons.
What was the role of music in the early years of your life? Music have always had a big part in my life and I was feeling the music and always wanted to drum to the beat with my hands or anything that could be used nearby.
Are you from a musical or artistic family? Not a musical family but my father was a magician so I followed along to many of his shows and sometimes was a part of it.
Who inspired you to be a part of the music industry? i am not sure if it was any particular person, but when I started my first band I was listening alot to New Order and wanted to make songs that sounded like them all the time.
How did you learn to sing/write/to play? When I was young I took guitar classes many years but when it comes to writing music it has mostly been a trial and error approach buy my self.
What was the first concert that you ever went to and who did you see perform? I think I was 12 or 13 and I watched Erasure perform and I was a huge fan. I was not old enough to go by myself, but my kind big brother followed me to the concert.
How could you describe your music? It is synth based and I think almost always with a melancholic touch. It has often a focus on the rythm.
Describe your creative process. I described it partly above but I often start a new session after work when I am kind of tired of talking to people all day and just put on the headphones and start playing around with different sounds and rythms. If I get into the flow I could stay in the studio until 02 or even 04 to complete something I really want to complete. But of course some nights you don’t feel inspired at all and just realize you should go to sleep instead 🙂
I described it partly above but I often start a new session after work when I am kind of tired of talking to people all day and just put on the headphones and start playing around with different sounds and rythms.
What is your main inspiration? Currently I can’t say I have any main inspiration and I don’t have so much time to actually listen to that much music, but I have in the past listened alot to New Order, Depeche Mode, Pavement & Radiohead and many more bands. But even though I might not have listened to much synth bands after say 1995, I think I am inspired by how I remembered that sound was in the 80s and 90s and probably mix in inspiration from more indie rock sound from the 90s.
What musician do you admire most and why? If I must say one musician and think about what music has had the most profound effect on myself I would say that is Joakim Berg from the Swedish band Kent. I have listened to all their songs so much and still love almost every song they have released.
Did your style evolve since the beginning of your career? For Me & Melancholy I think the style may not have changed so much. I guess I have learned and evolved since the first song produced, so the sound have probably changed a bit but I think it mainly sounds simular.
Who do you see as your main competitor? I honestly don’t think of fellow musicians as competitors. I am usually a competitive person but when it comes to music I don’t think that way at all.
What are your interests outside of music? I like to watch movies. Love sports, especialy fotball until just a few months ago I still played fotball 2 times per week. I have also worked with system/product development my whole life so I like to develop something just for fun too.
If it wasn’t a music career, what would you be doing? I already have another main career within development but if I could wish i would have liked to play professional football 🙂
What is the biggest problem you have encountered in the journey of music? I think the hardest part, at least as a independant musician, is the promotional part. It takes time to learn and maybe not something I actually enjoy.
If you could change one thing in the music industry, what would it be? I would be nice to get more more paid as an independant musician.
Why did you choose this as the title of this project? The title of the album Illusio Veri, meaning the illusion of truth, came after thinking abount a theme of a new album and a though I had was that there is so much things that are being said by governments and media and we are are often bying everything without a second though. But when you dig into things deeper there might be an alternative truth.
What are your plans for the coming months? The next coming weeks I will probably have just some time off, but since I have had some really productive weeks after being done with this album you never know if there might be something more after this summer.
Do you have any artistic collaboration plans I have done some collaborations before and I have some in the works right now and more planned for later.
What message would you like to give to your fans? Thank you so much for supporting me, love you!
Young Ghanaian artist Riycon after weeks of dropping teasers has released her long-awaited single “Your Bae”.
A strong and emotive song that delves into the intricate dance of love and betrayal in the lives of couples navigating the complexities of romantic relationships.
The Amapiano and Afrobeats mix song explores the fragile balance between loyalty and temptation, shedding light on the profound impact of polygamy on the heart and soul.
With simple lyrics and a catchy chorus, the song has the potential to leave consumers dancing and grooving.
Love being the greatest emotion has never been an overstatement. However, when talking about what it means to love and be loved, we often forget that sometimes the way someone loves us can change. When that happens, we are left with nothing but the memories of how we were loved by that person.
On her first single of the year 2024, Ghanaian singer KiKi Celine continues her beautiful run from 2023 as she pours out her heart and emotions on her new song titled “Old Love.”
The song cements Celine’s position as one of the best vocalists around and puts her songwriting abilities on full display. The song is reminiscent of early 2000s R&B classics we grew up on, with KiKi Celine’s bounce. Produced by Insvne Auggie, the song takes listeners on a journey of love gone wrong, pain, and reliving the few good times spent with a significant other.
If Celine’s writing or vocals were ever in doubt, “Old Love” will clear any doubts there are about the singer’s artistry. With a burgeoning R&B scene in Ghana and West and East Africa, Celine enters the conversation with this record. The melodies, delivery, and overall storytelling are remarkable and are sure to leave listeners in their “feels.” Love teaches us a lot about others and ourselves that we do not know until we experience being loved by them. The song is an appreciation of how it feels to be loved while calling out people who introduce you to an experience they can never keep up with. When all is said and done, we will need more than just flowers and a touch of old love.
R&B music is alive, and KiKi Celine is determined to be one of the names synonymous with the genre whenever conversations about the genre come up. Stream “Old Love” now on all platforms here
In a splash of sunlit serenade, SEPH dips his quill into our veins with “Gold,” painting not just songs but murals across the cavalcities of heartstrings. Here is an auriferous journey engraving love as both currency and alchemy—precious yet peculiarly cool when clasped.
“Gold”—a track that feels like diving headfirst into daydreams—is relished through Luís Raúl Ramírez’s lens; imagine music notes weaving around each other like golden threads lit under moonlight. His voice doesn’t merely echo; it resonates somewhere between passion’s whisper and longing’s cry, bracketed finely within pop sensibilities that brim brightly for mainstream ears yet drip secretively silently in indie alcoves.
SEPH’s ‘Gold’: Sonic Treasures Unearthed
The embryonic narrative plucked out here is laced heavily: hearts pitched together by elixirs distilled from sonic gold mines pour emotions thick and fluid—as tantalizing to taste as cold honey dripping slowly on warm skin—but always retaining the touch alienated by their own shimmering desire’s frosted breath.
Each cord strummed pulls us deeper beneath waves where we encounter the feeling of falling deep into the between, previewing winking glimmers programmed painstakingly for “The Dawn Of A Dream.”
SEPH crafts concise musical expressions, weaving riddles that mesmerize. His music is a delightful blend of tender-hearted curiosity and an icy, enigmatic persona.
Michal Gutman's "Never Coming Home": Ghostly Grooves
In the tangled, brooding soliloquy of Michal Gutman’s debut solo album “Never Coming Home,” there beats a heart marooned in an oceanic swell of contradictions. Here is where discord dances coyly with tune; eight tracks breathe as one tragic being caught between isolation and skeletal embraces.
Gutman reigns over her self-made orchestral kingdom—a witch-doctor weaving spells through bass guitar strums, looping them like haunting echoes on forgotten shores. The touch-pad synthesizer drips notes that flutter about like ghostly butterflies while dual mics amplify not just vocals but visceral cries from soul caverns deep.
The theme—an eerie feeling akin to homesickness corroding the innards of a shipwreck survivor—spirals throughout this musical labyrinth. It paints sonorous portraits tingling with nostalgia for chains they’ve both donned willingly and yet strive fiercely against finding freedom amid captivity’s sweet pain.
Michal Gutman’s “Never Coming Home”: Ghostly Grooves
Wrapped within layers crafted meticulously by rhythms belting out cabaret tempestuousness intertwined soft rock hymns at 80th regiment club beat cores – we find ourselves shackled spectators aboard Michal’s odyssey only ever half-alight amidst phosphorescent alien seas swaying us into tantalizing turmoil: are you truly never coming home?
This auditory tapestry offers intimate discombobulation draped glamorously across every note challenging our notions of what it means to embrace solitary ethereal party halls winking past midnight within oneself – obrigado Gutman!
Step into the dimly lit juke joints of yesteryear with Brother Chunky’s latest collection, “Dig Deeper”. Here lies a hodgepodge, a delightful stew spiced generously with flecks of old blues and dashes of funk-soul seasoning. Within these nine tracks, you’ll find an artist not only peering back through the musical echoes but also dancing cheek-to-cheek with raw energies from days gone by.
Amidst his gritty guitar strums and throaty bellows that remind one of rust on a sun-baked Cadillac, there’s an undeniable pulse beating at the heart of this album: let go. Letting go—not as mere forgetfulness—but as profound emancipation from whatever clankers may chain our spirit. One stand-out tune is “Get Thee Behind Me” which thumps like heartache wrestling itself free from eternal repeat; it swings wide the cellar door inviting shadows to step out into light-flecked dust motes.
Brother Chunky’s Grooves: “Dig Deeper” for Gold
But oh! Perchance to twirl in “The Best Man” where love is not implored but playfully teased and cajoled—like moonlight coaxing waves onto sandy shores, fleetingly capturing their bubbly whispers before they slip away again. And amidst home studio warmth and tender layering orchestrated beneath Orchard Studio’s archaic beams—this album grows roots deep down into soulful soils.
And then suddenly—it ends! A brief flirtation with eternal soundscapes closes softly leaving us stunned by its embrace yet longing for more.
“Dig Deeper”, frolics in its depth—a soundscape crafted lovingly by Brother Chunky et al., yet echoing infinitely within our collective sonic universe—a reminder to drop anvils of regrets and waltz lightly forward towards what’s next.
In the sonic soup that is “Common” by Holy Høly, one can’t help but feel stirrings of a cosmic diner late at night—where notes are served not on plates, but float through air, fusing classical arcs with lo-fi snaps. The effect is both unsettling and enticing as Ewa Baran dances her fingers against piano keys like raindrops tiptoeing across a forbidden metallic roof.
Enter Kafiristan wielding saxophone and drums—not as weapons but as utensils to slice through layers of dense auditory fog. Szymon Nożyński’s lo-fi samples sprinkle over this feast like sage leaves tossed into a simmering autumn stew; each note sizzles in its own right without overshadowing the others.
This ensemble under Italian label Cultural Bridge concocts more than music; they engineer an atmosphere where jazz flirts shamelessly with disruption—the soulful bleats of sax clashing beautifully against synths’ systematic pulses. It’s less of a song, more an experiment in controlled chaos: every sound calculated yet wild, boundaried yet boundless.
Holy Høly’s “Common” Stirs Up Sonic Soup
“Common” isn’t merely named; it’s enacted—a communal table set for disparate genres to commune lavishly amidst steely echoes and velvety verses. With Holy Høly steering the ship towards uncharted musical territories, listeners find themselves voluntary castaways on an island where convention doesn’t tread and normalcy has no voice.
Thus remains “Common,” haunting our playlists long after silence returns—an echo chamber of eclectic tales best absorbed between heartbeats.
Urban Soul Collider: Spacey Vibes in “Drifting Lost in Space”
In the latest celestial dispatch from Urban Soul Collider, “Drifting Lost in Space” rockets into the ether like a comet made of confetti and existential crises. It’s an Electronic Dance Music symphony stitched with pop threads dense enough to tug on your heartstrings as you bounce along through its pulsing bassline cosmos.
Aria’s digital heart beats through every note, synthesizing human emotions with robotic precision as she glides across star-studded dance floors. The galaxy? A metaphorical nightclub veiled in velvety darkness studded with flickering strobe stars—the kind of place where one could tumble forever without ever hitting ground. USC mimics this feeling of unmoored drifting beautifully within swirling synths that act less like instruments and more like gravitational pulls.
Urban Soul Collider: Spacey Vibes in “Drifting Lost in Space”
As fingerprints vanish into foggy club air, Aria sings her yearning for connection—her voice a silk ribbon unraveled across the vast expanse—a haunting echo amidst synthetic euphoria about being expelled for feeling too vigorously. Here lies the brilliance of USC: crafting shadows out of lightwaves, finding homesickness in a vibe designed to incite revelry; juxtaposing isolation against ultimate unity under pulsating lights.
Each beat drop feels almost like coming up for cosmic air while descending further into alien territory—to love is to be lost but gloriously so among strangers bonded momentarily by rhythm rather than reason.
Ultimately, “Drifting Lost in Space” offers not just escape but solace—infinite space compresses around us warmly suggesting that perhaps home was never a planet or person but simply our permission to feel fully wherever we float.
DANDAN whisks us into a smoldering soiree of the soul with “Heaven to Your Hands,” where she stitches together sinews of dark pop enrobed in gossamer threads from across continents. Her cello thrums through this fabric, an undercurrent weaving ancient whispers with modern cries that pleat and pucker at every verse.
With each bow stroke against her sonorous strings within the confined walls of what could be any dreamer’s bedroom turned studio sanctuary, DANDAN serves not just music but alchemy—melding Latin fireballs, Asian delicacies brimming subtle spice, and Egyptian mystique crawling along our spine. It’s as if Tim Burton hijacked your average acoustic session then pirouetted it round Anubis’ ballroom!
Strings of Fate: DANDAN’s “Heaven to Your Hands”
Striking deep are lyrics about love’s gamble—a journey kissed both by Lake Fate’s mystical fogs and enveloped in shrouds weaved out self-identity patches; they echo serpentine paths toward relational crescendos or anti-climaxes swathed inside musical cocoons birthing raw unguarded treaties between beings entrapped yet uplifted by impassioned forces colliding head-on without apologies.
Her double-life as 9-to-5’er turn nocturne melody crafter slaying chords amidst vacant lobby echoes at witch hours injects relatable human hinges to each sound bridge crossed—an inspiration stroking those gripped alike upon rafts adrift their personal existential streams echoing ‘Here sails I.’
DANDAN orchestrates more than songs; they’re sonic voyages pulling Heaven closer unto earthly hands craving such celestial touches.
As rain washes the clamor from cobbled streets, so does Charlie J’s “We’re All Lost” sweep through the gritty realness of life’s miseries and melodies. On this sonic voyage through foggy mindscape harbors, we trip over snaking cables pulsing with electronic heartbeats; a canvas where echoes bounce in hollow chests—this is a release not so much heard but felt.
Seeped deep into the EP’s marrow are beats that lumber slowly like ancient tortoises bearing worlds on their backs—each track a world weighted with smouldering emotions constrained by societal norms. Within “We Get Low,” the EP’s leading track, Charlie J serves a confession, pouring syrup-thick woes into our ears as if drawing poison from a wound, employing both the soft focus serenity of Elina Lee and sharp pen strokes of Mistry to emboss his themes deeper still.
In an age where screens often serve as confessional booths, Charlie opts instead for naked vulnerability wrapped in rhythmic swathes. His lyrics do not shy away; they arch back with balletic grace beneath spotlights casting long shadows across stages paved in introspection and understanding—an invitation whispered under breaths heavy with melancholy.
“We’re All Lost”? Charlie J Guides Us Home
Across seven tracks interlaced by KingKhan’s deft hands, these songs craft area codes on maps unfolded within dimmed bedrooms across Porthcawl—perhaps even sprawled further outwardly towards bustling hubs hungry for solace in lyrical form. The weave of influences—from Loyle Carner’s poetic tangents to Kendrick Lamar’s raw storytelling prowess—is evident yet seamlessly integrated into something singularly ‘Charlie J.’
So as you dive headphone-first into “We’re All Lost,” be ready: you might emerge dripping wet from washing ashore amidst its currents but fundamentally changed—or at least slightly less lost than before.
In the twilight of a music-splattered soul, Jodré spins through “Angel (From Heaven),” a golden thread in the fabric of contemporary R&B. This isn’t just another track floating down from the cosmos; it is a celestial dance between divine femininity and masculinity, wrapped in velvet vibes reminiscent of Daniel Caesar’s emotive simplicity and Michael Jackson’s gliding crescendos.
Jodré constructs cathedrals of sound at No Starz Studios, where echoes swell like the Atlantic during storm tide—forceful yet smoothed by moonlight caresses. Here stands Lucas Quinn, sculptor-turned-producer shaping acoustics that bleed raw vermillion passion painted on brushed steel canvas engineered robustly by NoCap. There’s an alchemy at work within these harmonies: part Giveon’s poignant grooves met with The Weeknd’s twilight mystique.
Jodré’s “Angel” Soars: A Heavenly Dance
Plunge deeper into “Angel,” one finds lyrics like consecrated whispers among wind chimes ringing across ethereal planes—the very chant spoken about reverberates as wisdom from beyond to bond sacred trusts anew. Notice how heavily each syllable weighs upon ears poised for spiritual dousing; for this isn’t merely song but a sermon under guise carrying forth prophecies via melodic spells woven with threads plucked from angels’ lyres.
The solemn procession towards his upcoming EP sees Jodré casting nets wider into our internal oceans stirring up sentiments long resting whispering beneath waves stirred awake by heavenly utterances disguised in tunes promising more unveils cased within ensuing releases—a continuation indeed to await wide-eyed and brimming chested.
Soul Infused: Anton Commissaris' “Don’t Come Around Here”
In the shadow-hued corners of Anton Commissaris’ latest melody garden, “Don’t Come Around Here,” spills like spilled wine on a lover’s letter—a 12/8 minor blues jazz concoction swirling with ghosts of smoke and midnight. This isn’t just music; it’s an excavation site where listeners unearth the cracked foundations of a tumultuous affair with echoes between chords that taste both sweet and bitter.
Anton Commissaris, a maestro at the piano, crafts notes that bend like light through whisky glass—each twirl around soul-infused jazz lines is a narrative arc in itself. Saturated deeply in the muddy waters of blues and whispers of country timbre, he sings as if his heartstrings are being plucked by the fingers of fate herself. Every verse is loaded with poetic candor about bandaging old wounds while prying off emotional shackles.
Through “Don’t Come Around Here,” we glide along Commissaris’ lyrical river, ferried by his rich baritone that conflicts majestically against an addictive femme fatale’s allure in sonic embrace. It stitches together threads from Stevie Wonder’s tapestry with Bloomsbury-esque melancholia—an auditory tale spun round addiction to love’s sharp needles and heartache’s soft cries for escape.
Soul Infused: Anton Commissaris’ “Don’t Come Around Here”
Isn’t there something painfully beautiful about watching daybreak split through dark curtains? That moment parallels Anton echoing freedom from veins laced with poisonous passion—all articulated through rhythmic crescendos which mimic scattered pulses racing towards severed ties.
This track dances—the kind where each step resonates across cobblestones laden not just within foregone paths but those freshly carved towards sunlit avenues too bittersweet to traverse alone yet optimistic enough for tentative smiles tomorrow. Simply said: it liberally seasons one’s palate with intricate tales riding high on vibrations strung deep through layers unseen but ardently felt.
Dive headfirst into the pulsating heart of “Young And Reckless,” where Pretti Emage, a.k.a. Zayah Nicole Riley, conjures a tempest tucked in beats and bars that refuse to bow down or grow old. There’s something almost mythical in her voice—a modern siren song laced with defiance and draped in the sun-soaked bravado of Tampa Bay.
The track itself is an audacious dance on the tightrope of youth; think less walking, more cartwheeling with no net below but only sky above. Pretti doesn’t just flirt with musical blasphemy by merging whiplash-inducing rap flows with hummingbird-delicate melodies—she marries it, unabashedly declaring herself maid-of-honor at every crossover genre’s wedding.
Every syllable spins yarns about untamed freedom—the reckless abandon of running through life’s corridors without knocking on doors or apologizing for cracked floors. Here stands Pretti Emage: part poet, part guerilla musicianship goddess firing arrows dipped in raw euphoria and resilience syrup.
Pretti Emage Out With “Young And Reckless”
To experience “Young And Reckless” is to inhale deep lungfuls of what feels like sonic liberation theory taught by someone who writes hooks that could catch clouds if you sang them high enough. To describe this single as merely music would be akin to saying fireflies are just bugs—they light up small worlds under vast skies! With verses strung delicately across tireless threads spun from endless summers and roller coaster springs explored during zest-drenched youths drying out into autumnal ruminations—not purely nostalgic because every note promises tomorrow even when barreling past midnight’s encore demand.
Let your ears feast then—no reservations needed here—for we’re not at any table long set before us; we’re setting it aflame together at Pretti Emage’s riotous banquet.
In the lush, fertile expanses of her latest single “ISLAND,” Rosalie James stitches together sonorous threads plucked from life’s tempestuous fabric. Her vocal cords seemingly dipped in both shadows and light, paint a spectrum only perceivable with the heart rather than mere eyes. Alongside Storefront Church, she ushers us through a passageway where notes become watercolors blurring into impressions of her inner world—a canvas smeared by mental health’s intricate dance.
“ISLAND” croons and shimmers as gently as an ocean at twilight—each wave mirrors bouts against depression mirrored back by a young mother’s tender but tremulous hands. The chilling sincerity strikes like cold wind on hot skin; it stirs up goosebumps while whispering tales of resilience borne out of tumultuous silences filled with unuttered confessions to self-soothing lullabies.
Delicate yet starkly powerful, her musicality reflects echoes reminiscent of Joni Mitchell’s lyrical prowess woven seamlessly with Kate Bush’s ethereal reach—handcrafting landscapes that Bon Iver might wander upon pensively. Here rests Rosalie—an alchemist turning personal tribulations into audial gold flecked heavily with streaks derived from the palette of an undiagnosed autistic mind finally embraced in its full tumultuous beauty.
“ISLAND” Vibes: Rosalie James’ Soundscape
This sonic voyage transcends traditional narratives; it is less about arriving safely ashore and more about embracing the wild swells during perilous crossings. Through harmonies meticulously choreographed around themes like neurodiversity and domestic upheaval, Rosalie not only sings but advocates fervently beneath every hovering harmony.
Through “ISLAND,” we brush against survival painted starkly against skies heavy with challenges yet buoyant through chords pulsed directly amidst dappled darkness lit briefly by hopeful luminance—all left reverberating softly even when silence looms near once again.
Autorub’s Artistic Evolution: The Miss Mace Mixes (432hz)
Singer-songwriter Michael Corn, also known as the mastermind behind the music project “Autorub” combines indie rock, soul, and pop in a way that is distinctly his own. The musical genius recently released this hypnotizing two-song EP called ‘The Miss Mace Mixes (432hz),’ the mesmerizing, ‘Miss Mace 432Hz,’ and the electrifying, ‘Electronic Dance Mace 432Hz. ’
This, together with fun and groovy melodies that characterize most of the songs, might be the reason why Autorub’s tracks are so different from the vast majority of other tunes. But that is not all – the EP is in 432Hz key, a frequency, which is said to put out more of a natural and harmonious sound when compared to the traditional tuning of 440Hz and it gives Corn’s excellent music even more insane richness.
The man behind the magic Michael Corn has been involved with the bands such as sammy and heydevils and has also incorporated music in famous television productions such as pawn stars and duck dynasty. Considering such a powerful background, it might be explained by autorub’s further evolution as an artist therefore creating an atmosphere of such a unique mix of musical genres.
During the interview, Corn discuss his work, ideas, and experiences of the filmmaking process and obstacles faced throughout his career. He also shares with the reader his vision of how Autorub will look like in the future. Prepare for a marvel of creativity and music with this extraordinary artist.
I don’t really have one. I considered MIC Drop, but then a boy band had a recent hit with that title. MIC are my actual initials so there’s that.
Is there a story behind your stage name?
If I had one, the story would be that I often leave people with a MIC drop moment, as I confront them on their own BS.
Where do you find inspiration?
It could come from anywhere. If we’re talking about writing lyrics, since I generally write about silly politicians, it’s mostly news stories and posts on social media. Musically it’s pretty wide open. An inspiration could come from something I like about another piece of music, or sometimes it’s fueled by just doing something different than the last piece I wrote.
What was the role of music in the early years of your life?
I was definitely drawn to it early – maybe 5ish. As a role, I’d say it mostly served to prepare me to do what I do. So lots and lots of shedding. Far more than the 10,000 hrs I think, but who’s counting?
Are you from a musical or artistic family?
Yes – it was on my mom’s side of the family. She was a great artist who also played some piano and sang a bit, my aunt played lots of piano, and my grandfather played guitar as well.
Who inspired you to be a part of the music industry?
I can’t boil it down to any one person. It was something I was drawn to pursue from very early on. Some things are just meant to be.
How did you learn to sing/write/to play?
It was a combination of taking piano lessons, and self teaching. While I did have some instruction on composition with one of my piano teachers (had a few over the years), the process of writing good songs is mostly trial and error for most composers I believe. I also used to play along with my records – I’ve heard of many musicians who practiced that way.
What was the first concert that you ever went to and who did you see perform?
It was probably Billy Joel. I actually don’t remember too much about the show…although I think he might’ve jumped off the piano and slightly injured his ankle. Didn’t stop the show or anything.
How could you describe your music?
It’s fun, addicting, melodic, mostly rock (but other genres too), polished but still rebellious, and somewhat sarcastic. Since most songs are mini portraits that call out various politicians on their BS, they are also modern day protest songs.
Describe your creative process.
As to the music, it’s pretty much as simple as pick up any instrument and just play something. See what comes out, and if it’s anything I like at all, then I’ll record it quick onto the phone to save it. Used to be a boombox years ago. For lyrics for Autorub, I will generally research the politician’s online bio, social media posts etc, kind of doing a little book report on them in order to write about them. I look for hypocrisy, and it’s not hard to find.
As to the music, it’s pretty much as simple as pick up any instrument and just play something.
What is your main inspiration?
Just to keep doing fresh things. When one song is finished, I’m ready to do something different. It’s every artist’s journey to keep discovering and reinventing themselves – or else they’re not on it.
What musician do you admire most and why?
Hmm…this takes some thinking because there’s many and I don’t tend to idolize. I’m gonna go with Paul McCartney – or Sir Paul I should say. His catalog is filled with many iconic songs that are all quite melodic, if there’s one common thread. So many generations, including mine, have grown up with his music and it’s set a standard of excellence in songwriting, including his Beatle bandmates. He showed us growth and experimentation as a songwriter in going from “Love Me Do” to say…”Helter Skelter” in a few short years. He also set good examples in how he raised his children – without allowing them to be spoiled by the means he’d gained. And he sums up the message of the Beatles as spreading love, which is an important vibe for the whole planet – especially right now.
Did your style evolve since the beginning of your career?
Yes definitely. As I mentioned earlier, you have to keep reinventing. Tastes and preferences also change naturally over time. I’ve been composing in multiple genres for a long time. It’s once of the things I enjoy most about composing for film/TV – I’ll be asked to do something I haven’t done before, and wouldn’t necessarily try in my solo career. And then maybe it rubs off into my solo material anyway.
Who do you see as your main competitor?
I’m not competing against anyone. I don’t view the arts that way, though many will call the music business competitive. I just do what I do and don’t worry about anyone else. If you want competition try sports or corporate America.
If it wasn’t a music career, what would you be doing?
In college, I studied Psychology as a back up career. But it was never my main passion so that wasn’t meant to be in that way. However, the instinct to help others does play out in writing music, as it is an outlet for expression and healing for everyone. Now that I’m releasing music in 432hz, a known healing frequency, this really all comes together. I’m trying to lead the charge on other artists switching back to this frequency of 432hz for mainstream music, as this will raise the planetary vibe immensely.
What is the biggest problem you have encountered in the journey of music?
I will answer this from a career perspective, in terms of achieving success. The business is generally cut out for the artist to fail at – so this obstacle is experienced by everyone. Major label deals have never been fair for the artist. Royalty rates have historically been low. We hear a lot about this now with streaming services, but it’s existed way before they did. The royalty rates for film/TV usage of music have always been poor. I’ve even had publishers that have requested to take a portion of the WRITER’S share of royalties – incredibly unethical. The entire system, like so many systems, just needs revamping. And it will happen.
Why did you choose this as the title of this project?
I liked the alliteration of Miss Mace Mixes.
What are your plans for the coming months?
More new songs, live performances, and epic new projects that I can’t say more about now!
Do you have any artistic collaboration plans
I plan on working with the best the industry has to offer. Why aim lower?
What message would you like to give to your fans?
I’m grateful for those who are discovering and enjoying my music. I hope it raises their vibes and keeps them excited for more. I also hope it inspires them to follow their passions and be perserverant. As my biggest successes have come in this later chapter, it’s proof positive of not giving up, staying authentic and having faith.
Threads of Truth: Unraveling Diana Omar’s “Plagiarize My Life”
Diana Omar’s “Plagiarize My Life” is a confessional scribble on the bathroom stall of society’s unspoken truth. Here, beneath the haunting whispers of minimalist indie pop—where soft vocals glide over vintage drums like ice skaters lost in fog—you find Omar bewitched by the spectre of her own echo.
Seized by impostor syndrome, each chord twitches like a marionette’s limb in this uneasy lullaby. It unfolds not unlike a diary whose ink bleeds into itself; pervasive lines such as “they bullied the curious girl into the shadows,” spiral repetitively, revealing scars under neon lights and shadows cast from childhood to womanhood.
Threads of Truth: Unraveling Diana Omar’s “Plagiarize My Life”
This track grieves for each masked face we’ve forced upon ourselves. Sessions, where our spirit’s outfit was too audacious for monochrome cubicles or vanilla forums, are chronicled here alongside internal warfare—a battle Diana illustrates masterfully using nothing more than tone shifts between verse and refrain that feel akin to breathing through mirrored corridors.
Ultimately, “Plagiarize My Life” strips bare with musical threads pulled tight around listeners’ chests until you gasp along at its raw intensity. The revelation? We all are stitched together fabrics borrowed—or stolen—from another’s wardrobe yet distinctly ours when worn threadbare with honesty.
In essence, Diana clinches radical self-acceptance—one painfully strummed string at a time.
Balancing Dreams and Reality: Trak's Insightful "Cheddar & Groupies
“Cheddar & Groupies” is the new single from Toronto-based rapper Trak, and this one is raw and straightforward, reflecting on the complexity of fame, money, and meaningless relationships while still wanted love and a simple life.
Born in Egypt, trained in Qatar and currently based in Japan, Trak’s music is undoubtedly colourful. His unique rapping style and rap lyrics’ raw honesty have garnered him some recognition and took him to perform on such events like Yasalam F1 and opened for Sean Paul and Hoobastank.
This track, ‘Cheddar & Groupies’, is one of the tracks produced by Trak that effectively combine different genres without sacrificing good lyricism. Regarding the lyrics, it is a credible account of his life and the dreams of leading a lavish life with money, fame, and lots of girls. However, there arises an element of internal struggle and a yearning for a life that transcends the prestigious life of a ‘playa.’
This track, ‘Cheddar & Groupies’, is one of the tracks produced by Trak that effectively combine different genres without sacrificing good lyricism.
The production quality is perfect and the overall sound is good where the big beat and the multi-layered tracks are clearly heard and crisp. The song, which was a mix of rap and pop, had Trak rapping energetically and the song structures has kept the song interesting throughout.
In its essence, one gets the impression that “Cheddar & Groupies” is just an elaborate story of what it is like to be a young artist trying to make sense of life and the grind of the music industry. The fact that Trak is unashamed of being unique shows in how he incorporates other sounds with such sincerity and narrativization. As he keeps on expanding his niche then this single can capture the depth of his musical journey profoundly.
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Jordana Delgado is a Vancouver based pianist, composer and singer songwriter who is making quite a stir through her poignant yet classy tracks. She followed various genres right from her childhood and the combination of the emotional style and the romantic prominence was the key to her music.
Her most famous album is “Rainy Times” and many people were touched with the stories that she tells in the songs. The visuals of the album earned the short film over 430000 views on YouTube, showing Jordana’s side of creativity. Some of her successful releases include “Somewhere in My Memory”, “Autumn Leaves”, and “The Cradle” . it is no surprise that “Autumn Leaves” got airplay on CBC Radio.
Now, Jordana is ready to amaze her fans one more time with “The Dancing Pink Flowers”, the leading track from the new EP “Seasons”. The track is based on Bossa Nova with the original piano tune represents spirit of spring in a gentle, tender music. According to Jordana, the feeling when it comes to music is like ‘cherry blossom dancing gently through the soft spring breeze’.
It has been quite a ride for the veteran artist who still has the capacity to leave audiences in awe of her depth and range. It is now time for Jordana to take us through her various pieces, her sources of inspiration and the meaning behind these profoundly touching pieces.
Is there a story behind your stage name?
It’s just my real name 😉
Where do you find inspiration? I find inspiration mostly in nature. There’s so much beauty around, it’s magical!
I also find inspiration in live music. Seeing other talented musicians perform is very inspiring.
Are you from a musical or artistic family? Yes, when I was born both my parents worked in the music industry. My dad was a touring musician and my mum was a booking agent. I grew up around artists and live music because of their jobs.
What was the role of music in the early years of your life? Music has always had a prominent role in my life. My parents always had music playing at home and they brought me to lots of live shows. We would go to see my dad play if they played nearby. My dad also brought me to some of his band rehearsals. My mom, because of her job, brought me to every show for children in the city: music, puppets, theater, circus… It was only natural that I showed interest in music very early.
Who inspired you to be a part of the music industry? It happened naturally. It wasn’t a decision that I made one day. I guess it was the musical environment I had since I was born.
How did you learn to sing/write/to play? I started singing when I was around 3 and asked my parents for piano lessons when I was 4, but they thought I was too young. At that time, the only music education available was the old-school Conservatory of Music. They knew how hard that can be on young kids, so they let me experiment and have fun with music by myself. I sang, played the recorder, a little keyboard and the guitar. I picked up songs by ear. Those were a few years of experimentation and learning mostly by myself.
When I was 13, my parents saw that I was really serious about music and signed me up for piano lessons and formal music education. I went to the Conservatory of Music and got my degree in piano performance in classical music. After that, and because I also wrote music, I got interested in jazz harmony, so I went to study with a private teacher. I also learnt a lot from playing in many different classical ensembles, world-music bands, pop bands… the more variety the better.
Overall, one has to find the balance between experimentation and education because both are very important.
What was the first concert that you ever went to and who did you see perform? Since I was exposed to live music from a very early age, I couldn’t say. It probably was one of my dad’s bands.
How could you describe your music? At first sight, people say it’s neo-classical music. I can see why they say that: it’s mostly piano solo music. However, I think it’s descriptive music. I tell stories with music and I use any musical element I need in order to serve the story. That means that I can have piano pieces that sound classical, others sound jazzier, others more Brazilian, others more pop… I use any musical style I need to tell my story better. I also write songs and I love to custom-make the piano part so the accompaniment describes exactly what the lyrics say.
I tell stories with music and I use any musical element I need in order to serve the story.
Describe your creative process. My creative process looks different every single time. However, there’s a common element: the storytelling. Music brings stories to my head, I see them! The process could start with an improvisation, or with me wanting to explore some music theory element, or trying to express a feeling or emotion.
It could also start with a title, or a word in mind, or a specific story. The spark could be anything! Once the process has started, the story comes to mind and then I just follow it and see where it brings me. Sometimes the story requires me to do some research and sometimes the music just unfolds before my eyes in real time.
What musician do you admire most and why?
Regina Spektor. I fell in love with her songwriting many years ago. At that time, I only wrote instrumental music, and she’s the reason why I started to write songs.
Did your style evolve since the beginning of your career? Of course, totally! I’ve played so many different musical styles: classical, world-music, pop, a cappella, singer-songwriter… and I enjoyed immersing myself in each of those genres for a while. I think that, in my music right now, you can hear little hints of everything I’ve done in the past. Your style keeps changing and evolving as reflection of yourself.
Who do you see as your main competitor? Myself! I’m not here to compete with anyone. Everyone has a unique path and a unique voice and one should not compare themselves with others. I only compare myself with my past self. Am I improving? Am I moving forward? How can I do this better? That’s all I care about.
What are your interests outside of music? I like to be outside in nature as much as I can. However, I also like reading, knitting and going to my ballet classes.
If it wasn’t a music career, what would you be doing? I’d still be involved in the arts for sure. I’d probably be working in the theatre world as a production designer or stage manager.
What is the biggest problem you have encountered in the journey of music? How to balance the personal life with the artistic life. As an independent artist, you’re by yourself and you have to do all the work that usually requires a team of people full-time. But you’re alone trying to do everything which usually means that you end up working 12-15 hours a day. And it’s still not enough. It is very challenging to put limits to that so you don’t end up with massive burnouts every so often.
Another big problem is smoke-sellers. Nowadays is easier to release music since we don’t need record labels anymore. However, there are many many people out there trying to take advantage of musicians’ dreams, asking for your money for services that achieve nothing and trying to scam you. There are also very good professionals that actually help you, but one needs to be very careful.
If you could change one thing in the music industry, what would it be? Musicians shouldn’t play for free, ever! We actually spend more time and money in our training than a doctor or a lawyer. In addition, we need to buy expensive equipment, pay for studio time and a long list of other things. If you wouldn’t ask a doctor or a lawyer to work for free because you value their training and expertise, why would you ask a musician to work for free?
Why did you choose this as the title of this project? My new single is called “The Dancing Pink Flowers.” It’ll be included in my EP “Seasons” as a representation of the spring. When I sat to write it, the theme was clear: spring! And what is more representative of spring than the gorgeous cherry blossom? Pink flowers everywhere, dancing with the wind… so: “The Dancing Pink Flowers”
What are your plans for the coming months?
Right now, I’m working on the release of my EP “Seasons” that comes out on July 26th and also on its release party. For the fall I have plans to finish a project I started in 2022: “The Rainy Times Story.”
For those readers that are new to my world, “The Rainy Times Story” is a 9-episode short film that develops through the tracks of my debut album “Rainy Times”, and that has gained so far over 430k on YouTube. It is a very special story about the pass of time. I released 6 episodes between 2021 and 2022 but for personal reasons I had to stop it. Now, in 2024 is time to bring to life the last 3 episodes!
Do you have any artistic collaboration plans? I do collaborate with other musicians in the Vancouver community but they are usually one-time collaborations for a specific gig. They’re usually very spontaneous. Right now, I don’t have any serious collaboration in mind. By “serious” I mean recording and officially releasing a song.
What message would you like to give to your fans? I want to express my eternal gratitude to them! I do what I do thanks to the fans that support me and cheer me on along the way. I wouldn’t be here without them! THANK YOU!!
“Wave Goodbye”: Eddie Cohn's Serenade - A Downtown Session
As the needle drops on Eddie Cohn’s “Wave Goodbye (Downtown Session),” one feels as though they are stepping into a sepia-toned reverie, where guitar strings flutter like the wings of a moth against an old porch light. Here is music that hangs heavy with the scent of bittersweet farewells and smoldering personal revolutions.
In this track, minimalism crafts its echo. Each strum of Brett Farkas’s electric guitar travels sprawling paths down dusky corridors of introspection; each note lingers like fingertips reluctant to let go. As we wander through the heartbeats woven by Cohn’s earnest vocal delivery and acoustic adornments, it becomes clear: this is not merely a song but a ritual for shedding skins.
“Wave Goodbye”: Eddie Cohn’s Serenade – A Downtown Session
The pulse of “Wave Goodbye” resonates in those hollow spaces within us all — whispering stories about change clothed in twilight gowns. It captures goodbyes breathed softly under breaths – whether to past lovers whose memories linger or versions of ourselves better left behind among moonlit shadows. These melodies rise and fall like chest heaves, spilling secrets into cavernous rooms lit only by flickers from a muted television broadcasting long-forgotten MTV Unplugged sessions.
What emanates fiercely from “Wave Goodbye” isn’t just sound; it’s catharsis wrapped subtly in echoes and silences crafted delicately by Kevin Penner’s mixing and mastering prowess—all set against L.A.’s concrete jungle as captured through Leslie Andrew Ridings’ lens—a nostalgic nod draped in modernity.
With simplicity sublime yet profound influences boldly printed between lines sung – here lies Eddie Cohn holding out his hand invitingly towards metamorphosis’ embrace-all sealed with farewell kiss upon listeners’ ears till their next encounter.
