The Art of Subtle Evolution: A Conversation About Sound, Change, and Emotion
Music lives in paradox – both eternal and ephemeral, fixed yet fluid with each new listen. This duality sits at the heart of ‘Nothing Changes, Nothing Stays The Same’, a track that moves seamlessly between introspective depths and pure dancefloor energy.
The song emerged in a single day, born from an organic creative flow that prioritized intuition over complexity. While its DNA carries clear traces of German techno, the track draws from a broader palette of influences, walking the line between structured precision and spontaneous evolution.
In our conversation, we explore how subtle sonic shifts mirror the way thoughts and emotions transform over time. We delve into the technical architecture behind the track’s hypnotic minimalism, while also examining deeper questions: What happens in those solitary moments of dance, when we’re simultaneously lost and found in the music? How do small musical changes reflect life’s quiet revelations?
‘Nothing Changes, Nothing Stays The Same’ is a testament to music’s dual nature – a piece that resonates in both motion and stillness, leaving its mark long after the last note fades.
“Nothing Changes, Nothing Stays The Same” seems to capture a beautiful paradox. What inspired you to explore this concept through music? The inspiration comes from the idea that nothing truly remains the same, even when it appears to. As a person, I’m always experiencing new thoughts and emotions, even if, on the surface, it seems like nothing has changed. This track reflects that internal shift—subtle but constant.
The title suggests themes of impermanence and constancy. How does this duality manifest in the musical composition itself? The track is built on repetition with only minimal changes, if any. It might seem static, but if you listen closely, small details emerge over time, mirroring the way life unfolds—gradual, evolving, yet somehow still familiar.
How does this new work reflect your evolution as an artist compared to your previous compositions? I see myself as a diverse artist, and my music always reflects my mood and what I’m listening to at the moment. This track may sound different from my previous work, but for me, it’s just another part of the journey—one link in a continuous chain.
The piece seems to invite deep reflection. What emotional journey do you hope listeners will experience? I want people to dance—alone. This kind of music encourages self-reflection, a deep personal experience that exists within movement. It’s about getting lost in the moment while simultaneously connecting with yourself.
Were there any unexpected challenges or breakthrough moments during the composition or recording process? Not really. This track came together in just one day. I knew exactly what I wanted from the start, and everything flowed naturally.
Your music often blends different influences and styles. What musical traditions or artists influenced this particular piece? I’d say this track is mostly influenced by German techno, but my inspirations are always broad. Even jazz or hip-hop can shape the way I approach music. At its core, this track is about tension and release—something that exists in all genres.
At its core, this track is about tension and release—something that exists in all genres.
The title feels particularly relevant to our current times. How does this work connect with broader themes in contemporary society? This track comes from a deeply personal place, so I wouldn’t say it directly represents something larger. But in a way, personal feelings are universal—maybe billions of individual emotions happening at the same time create a kind of collective experience.
As a composer, how do you approach balancing structure and fluidity in your work? For me, everything is improvised. I try to enjoy the process and create something that makes me feel something immediately. I don’t overthink structure—if it moves me, it’s working.
What aspects of “Nothing Changes, Nothing Stays The Same” are you most proud of or excited for audiences to experience? The energy. I think the track is very captivating, and I’m excited for people to feel that intensity when they hear it.
During the creation of this piece, were there any significant revisions that transformed its meaning or structure? Not at all. This track was a one-day creation. However, my feelings about it have evolved over time, as they always do.
Looking ahead, how does this work fit into your broader artistic vision and what might we expect from your future compositions? I see this track as part of my journey. I think, on some subconscious level, it will influence how my music develops in the future. But I try to go with the flow—I don’t plan too much. My process is emotional and improvised, so the only thing I know for sure is that anything is possible.
Parisian Rockers The Blues Fuckers Foundation Find Beauty in Heartache
Based in Paris, The Blue Storm Collective has earned a reputation for blending rock with blues, country, and folk influences to create rich, storytelling-driven music. Their latest release, “If You Feel Alone,” is a poignant ballad that explores the pain of loss and the fragility of human connections.
From the very first note of the soulful harmonica, the song establishes an intimate atmosphere. Acoustic and subtly electric instrumentation give the track a timeless, heartfelt quality that feels deeply personal. Through evocative lyrics, the band weaves a touching narrative about fractured relationships, capturing the emptiness and loneliness that can linger in their wake. There’s an authentic sincerity to the storytelling, one that resonates on a visceral level.
What makes “If You Feel Alone” particularly striking is its raw honesty. The producers opted for genuine, unpolished sounds over slick production techniques, allowing the emotion to shine through without artifice. The chorus, especially, lingers long after the song ends, blending the sorrow of lost love with a glimmer of hope that leaves a lasting impression.
For fans of soulful rock with a strong folk foundation, The Blue Storm Collective offers a truly authentic experience. This band stands out not just for their musical talent but for their ability to connect with listeners on a profound emotional level. They’re an act worth watching—and hearing—as they continue to evolve and share their unique voice with the world.
"The Essentials": Sleeping Together's Ode to Forgetful Nights
Right, so, Sleeping Together. Manchester and Liverpool’s own four-piece purveyors of… what was it again? Oh yeah, energetic indie rock. “The Essentials,” their new single, dropped recently and I think it contains atoms. You know, like everything else. Except maybe thoughts. Are thoughts atoms? My cat doesn’t think so. He thinks thoughts are made of tuna.
Anyway, “The Essentials.” This tune is all about a messy night out, the kind where you wake up with a traffic cone in your bed and a vague sense of having challenged a pigeon to a staring contest. (Spoiler: the pigeon won.) The band, these escape artists of the everyday, dive headfirst into the deliberate act of forgetting. It makes me wonder, what am I deliberately, conveniently forgetting today? Why can’t I remember the end of Hamlet?
It’s a conscious shedding of baggage – “only taking essentials,” they sing, as if preparing for a lunar mission fueled by cheap lager and questionable decisions. And the “let the doors bleed to the next” bit? Pure, unadulterated escapism, painted in the neon hues of a Friday night. I think is very clever. It’s like that feeling when you finally throw away that t-shirt with the mysterious stain you can’t identify or explain. Freedom!
“The Essentials”: Sleeping Together’s Ode to Forgetful Nights
Musically, it’s got that noughties indie bounce, all jangly guitars and driving rhythm, making them a tight knit unit of exhilarating rock. Yet, underneath the surface, a kind of nervous energy crackles. It echoes that feeling of being too present, of hyper-awareness masked as carefree abandon. It’s fascinating. And are those synthesisers or sounds from a kettle?
Did Sleeping Together invent this need to check out, the choice to limit physical and emotion for freedom? Of course not. But they’ve bottled the feeling, shaken it vigorously, and sprayed it all over our eardrums.
The final question to ask I guess is, will “The Essentials” make you dance, contemplating, escaping for a fleeting 3 minutes? Perhaps, if only to find you can’t escape yourself?
"Reflection": ArtfulFrankArthur's Search for True Feeling
Okay, here’s my take on ArtfulFrankArthur’s debut single, “Reflection”:
ArtfulFrankArthur. The name sounds like a royal decree delivered by a tipsy knight. But behind this Finnish moniker (courtesy of Simo Andersén) lies “Reflection,” a single grappling with… well, everything. It’s atmospheric pop, sure, indie rock, definitely, but try squeezing the vastness of existential dread into a genre label. Go ahead. I’ll wait.
The core of this track, this sound-creature sculpted by Andersén, is the uneasy marriage of success and inner turmoil. The central lyrics explore being profoundly un-okay, even when everything looks okay. You’ve got the keys to the castle, but the throne room feels colder than a Finnish winter, apparently. Speaking of Finland, I wonder if they have decent tacos there? Anyway…
“Reflection”: ArtfulFrankArthur’s Search for True Feeling
The music itself mirrors this duality. The guitar melodies are undeniably catchy, sweet enough, even. One minute you’re feeling the tune, the next your toe tapping to a tune while remembering humanity’s place as stardust in the giant void. A chilling concept and delivered effortlessly.
The instrumentation swirls and builds, pulling you under like a tide of… well, sparkly melancholy.
“Reflection” isn’t trying to give you answers. It’s not here to hold your hand and whisper sweet nothings – the universe doesn’t do gentle whispers. It’s holding up a mirror, albeit a slightly smudged one, reflecting the complicated mess of being human. And is that any one persons condition, or just a shared burden?.
It asks: Are we all just beautifully crafted ships sailing on a sea of mild to moderate despair? What if existential dread tastes a bit like…lingonberry jam?
Think about it.
Consequential, hailing from Bury St. Edmunds, England, those folks decided to put out some electricity- they’re calling this electricity, “Down”. A single. Pure instrumental. You know, sometimes I think instrumental tracks are like staring at a Rorschach test made of sound. What do you see? Or, rather, feel?
Because “Down,” is all about feeling. This isn’t background music for folding laundry. No, This is music is built to release tension, some of it anyway. Its message… well, is feeling the heavy rhythm and surrendering yourself to the moment and moving. The group are quoted calling it a “heavier tune that grooves.” I can certainly relate. One moment of listening in, you are going to start nodding, even stomping, to it, so beware where are you playing it.
There’s a relentless, almost tribal energy coursing through this two-minute track. I find myself suddenly craving pretzels. Why pretzels? I have no idea. The human brain is weird. But back to “Down”.It builds, it throbs, it pulls you under… and then it’s gone. Just over two minutes! Like one of those dreams where you’re falling, only instead of waking up in a cold sweat, you’re just… on the floor. Possibly dancing. Or maybe that’s just me.
Get Ready to Move: Consequential’s “Down” is Here
It’s pure electronic music, focused laser-like on the power of a bassline that could probably vibrate a small car. No vocals, No fluff. I will not even dare to try guessing where it belongs within the dance/EDM spectrum. Genres are just boxes, and this track feels like it’s trying to escape the edges of any particular box. Or even to destroy all of the boxes.
Is Consequential reflecting our frenetic, always-on, sometimes-overwhelming modern existence? Maybe, are they releasing energy.
Or Maybe it’s just a beat you will love. Go get yourself down.
Attack the Sound: "Love is War: Packed" - Catchy & Complex
Attack the Sound’s “Love is War: Packed” EP is… a thing. A Chi-Pop thing, specifically. Chicago’s own ATS is back, celebrating five years since the original “Love is War” single dropped, and they’ve decided to, well, pack it. Like a suitcase full of emotional baggage you’re not sure you want to unpack.
The central theme, in case the title didn’t bludgeon you with it, is that love is, apparently, a battlefield. Original, right? Actually kind of. Not in theme; thousands of songs deal with romantic strife. It’s in their sonic presentation. The band mixes some house and a load of soul that it somehow still sounds crisp.
ATS takes us through the wreckage of a relationship gone sour. Lyrics like “how did we let things get so strange” aren’t exactly groundbreaking poetry, but they hit. They thud, softly, like a velvet-covered brick. Ever tried to assemble IKEA furniture with a broken heart? Same vibe. The indecision (“running back and forth”), the ultimate retreat – it’s all there, served up with a side of sonic contradictions. This track, it’s almost soothing with how it tells you just how exhausting it is to love, the vocals sometimes floating and blending.
Attack the Sound: “Love is War: Packed” – Catchy & Complex
It’s catchy and complex, yet it presents it’s complexities plainly. It has, you know, layers.
Then, out of nowhere, my brain conjures images of medieval siege weaponry. Trebuchets, specifically. Why? Beats me. Maybe it’s the relentless, rhythmic pulse of the EP, mimicking the slow, inevitable advance of emotional doom. Or, you know, maybe I just need more coffee. The genre-bending, the “Chi-Pop” sound (is it official or are ATS simply its pioneers, its… astronauts?), adds this strange gravity. It’s familiar enough to latch onto and different enough to raise your head for a moment to really listen, like hearing “wait a second,” that thing in a conversation you nearly spaced on, but actually care about.
The music leaves you hanging, a little dazed, a little wiser, and pondering…is all fair out of love and war?
Plu2. The name sounds like a forgotten mathematical formula, doesn’t it? Or maybe the sequel to a beloved, animated robot. But no, it’s a 17-year-old Swede – because of course Sweden is exporting brilliantly crafted pop-infused EDM now – named Plu2, who has dropped a single called “Want Me.” And, get this: it’s not about wanting; it’s about knowing.
The track pulses, it throbs, it practically vibrates with the confidence of youth. There are moments of that synth-pop texture, where this reminds me a bit of Chvrches. You have that initial exposure to some great pop melodies before it bursts with EDM components, that’s what struck me first. This is the sound of someone absolutely certain of their gravitational pull. The central conceit? You want me. You might be pretending otherwise, maybe even to yourself, but… you want me. It’s less a question and more a cosmic declaration.
It’s fascinating, isn’t it? The bold, sometimes dangerous, territory of assuming someone else’s feelings. My cat looks at me that way sometimes, right before demanding to be fed tuna. Is Plu2’s message an honest read of some other people’s behavior, an unconscious slip revealing, in a twisted way, our inner nature?
Plu2’s “Want Me”: Teenage Confidence, EDM Throbs
“Want Me” dips its toes into a surprisingly deep pool. A pool, incidentally, shaped suspiciously like a Klein bottle. Ever seen one of those? No edges, no inside or outside. Much like the lyrical insistence of this track. The song has a raw emotion, is deeply personal.
The electronic beats support but never overshadow the vocal performance. And why should they? The student of music production, still in their teens, is out here mapping the complexities of human (or maybe just teenage) desire with a clarity.
This is music. And, let’s face it: Is Plu2 any different to what others, who want to look strong, behave in social situations? Think about that for a bit.
Lynsey Tibbs' "Hold Me Close": Infatuation in Three Minutes
Lynsey Tibbs. Royston, England. Sounds like the beginning of a particularly charming British mystery novel, doesn’t it? Except instead of a whodunit, we have a what-is-it. And “Hold Me Close,” Tibbs’ new single, is most definitely a what-is-it. A delightful one, mind you.
The song, crafted with Keir More (instrumentation, structure, co-writer – hats off to collaborative synergy!), plunges you headfirst into the deep end of infatuation. It’s not just a toe-dip; it’s the full Olympic dive. Tibbs sings of that all-consuming, slightly terrifying, utterly wonderful feeling of being completely captivated. You know, the kind that makes you rearrange your sock drawer at 3 AM because… well, why not?
The genre? pop, sure, with a dusting of country… or maybe it’s the other way around? Like trying to catch smoke with a butterfly net – a futile, but beautiful endeavor.
What resonates most is the vulnerability. Tibbs doesn’t shy away from the rawness of wanting, of that aching desire for reciprocation. It’s the lyrical equivalent of sending a text message, then instantly regretting the double-blue ticks of doom… but secretly hoping for three little dots in return.
Lynsey Tibbs’ “Hold Me Close”: Infatuation in Three Minutes
It is human desire, compressed into three-ish minutes of audio. Ever notice how pop songs never seem to go on too much about things like paying the electric bill, or how they often do cover infatuation? I mean, It isn’t exactly inventing the internet or finding the missing sock in the cosmic dryer cycle of existence. It just is. It’s that is that Tibbs and More capture so eloquently.
Tibbs’ voice dances with the hope, while her lyrics give the lyrics, structure and emotional clout.
“Hold Me Close” isn’t trying to redefine the musical landscape. But it grabs you for a tight hug and says “Isn’t existing strange and wonderful and kinda terrifying at the same time?”. It asks. Indeed.
High Life, Low Tides: Yksopretty's "IT IS WHAT IT IS"
Okay, here we go. Buckle up, buttercups, because Yksopretty’s “IT IS WHAT IT IS” just body-slammed my expectations. This Detroit native, apparently a herald of Michigan’s new wave (whatever that sonic sorcery is), dropped an album that’s… well, it is what it is. Six tracks of futuristic trap colliding head-on with… the existential dread of having too many gold chains?
Seriously, that’s the vibe.
This isn’t just bling-bling anthems. The core theme here, swirling like expensive cognac in a slightly chipped glass, is the struggle between the high life and the low, dirty undercurrent that pulls you under. Think of it as a sonic retelling of that one time I tried to make toast while contemplating the heat death of the universe. Both tasks involve fire, potential for disaster, and profound philosophical implications. Yksopretty’s rapping of boastfullness of riches versus the struggles he has, is pure rap poetry.
Yksopretty is laying bare the anxieties, the compromises, the ever-present feeling that the champagne wishes and caviar dreams could evaporate faster than a politician’s promise. It’s the musical equivalent of finding a winning lottery ticket… tucked inside a foreclosure notice. Did I mention the guy delivers this with raw energy and infectious hooks? Oh, right, the brief. I’m supposed to say things like that.
High Life, Low Tides: Yksopretty’s “IT IS WHAT IT IS”
The genre? Hip-hop, electronic, alternative R&B… throw in some rap, trap. Ultimately, it’s like the soundtrack to a high-stakes poker game played on a neon-lit spaceship hurtling towards… who knows? The beauty is in the question itself.
It is refreshing. The melodic flow adds to this masterpiece of art.
The sound Yksopretty provides makes me think, if Sun-Ra had a musical grandchild who listened only to 808s & trap while studying Renaissance art.
“IT IS WHAT IT IS” is an odd bird of a piece of art, beautiful, flawed. A contradictory sound for us, making it utterly human. Does that make any sense? It probably will once the beats do their job.
"Las Mariposas" - Ivelisse del Carmen: Love's Embers Fade
Ivelisse del Carmen, a Puerto Rican singer-songwriter crafting sonic tapestries in London, has just released “Las Mariposas,” a single that… well, it sort of feels like watching a beautifully choreographed dance between a raincloud and a sunbeam. A contradictory concoction that tastes great. Seriously, try doing that, rainclouds plus sunbeams, add milk, let me know what you got.
The theme, if you were to put a pin in its fluttering wings, is about love’s embers cooling. Not a raging inferno suddenly extinguished, but more like…the slow fade of a campfire breakfast. The wistful realization that the person next to you is now a comfortable, yet slightly alien, continent. Bossa Nova underpins, with elements of World Music.
There’s this captivating tension. Uplifting, almost relentlessly cheerful rhythms, juxtaposed against del Carmen’s voice, a spanish voice conveying that unique flavour of caribbean melancholia that’s never overly depressing. She’s chronicling a slow-motion emotional drift, yet the music suggests a vibrant pulse, even in loss. It somehow calls to mind that moment when the spanish set foot on her home, new and old crashing toghether, or that friend with the quirky clothing style – undeniably unique, bafflingly perfect.
“Las Mariposas” – Ivelisse del Carmen: Love’s Embers Fade
“Las Mariposas” doesn’t batter you with sadness. Instead, it leaves a lingering question mark hanging in the air. The lyrics – which weave poetic melodies and soulful emotion that only a daughter of that Caribbean jewel can perfectly describe – evoke images, and they stick with you like, well, like the lingering scent of mangoes on a humid afternoon. Random? Perhaps. But so is love, right? Or the random appearance of flamingoes on that english river last week.
The song sits wonderfully between a Latin indie core and modern world beats that get’s stuck in your ear-bones.
Ultimately, “Las Mariposas” makes one ponder: Is acceptance the final stage of love, or simply its most bittersweet transformation? And can avocados ever really be trusted?
Beyond the Notes: Larry Karpenko’s Vision for Modern Music
Music possesses a remarkable ability to articulate emotions that often defy ordinary language. For Larry Karpenko, music serves as more than just creative expression—it’s a vehicle for inspiration, emotional connection, and authentic storytelling that resonates with his audience on a profound level.
Making Southern California his home base, Larry has been crafting songs that weave together themes of faith, love, and human experience since the late 1990s. While his earlier work explored spiritual and religious dimensions, his newest single “Little Things New” examines the universal experiences of love, heartbreak, and the transformative effect of finding someone who brings renewed meaning to everyday life.
“Little Things New” captures with striking clarity the emotional journey of healing and rediscovery. The song narrates the story of two individuals who, having weathered previous heartbreaks, discover love in a way that infuses even life’s smallest moments with fresh significance. Through its carefully crafted lyrics and emotionally resonant melody, the track delivers a genuine message about hope and renewal, serving as a reminder that love holds the potential to heal our deepest emotional wounds.
In our conversation with Larry, we explore the creative spark behind “Little Things New,” his songwriting approach, and the personal significance this particular track holds for him. We also delve into his musical influences, his evolving creative process, and what his listeners can anticipate in upcoming releases. Join us for this intimate look into the artistry and passion driving Larry Karpenko’s musical journey.
Congratulations on your new single, Little Things New! Can you tell us the story behind the song?
“Little Things New” is a love story with a twist. A heart-crushed girl dreams of finding love. In a separate parallel reality we have a boy passionate to love a special girl. In a divine encounter they lock eyes and fall in love. Musically speaking, a bridge section carries us to a climax where we triumph in love’s unifying strength. Suddenly a final pre-chorus transports us to another time and place where only the listener can describe, to an ending that warms even the most skeptic critic’s heart.
Specifically, my sister-in-law was looking for just the right man in her life. After some searching, she eventually found him. Just before their wedding, I imagined their happiness together, and as part of her support team of friends and family, I could imagine the positive new energy from the couple’s union; lyrics fell into place.
What was the inspiration for Little Things New? Did it come from a personal experience or something more abstract? As a songwriter I allowed my feelings, past and present to guide the narrative. Recalling excitement of falling in love, building anticipation for the listener, and contrasting those feelings with uncertainly and the dullness that can accompany life when your relationships aren’t secure. The phrase “little things new” was my creative way of saying “with you life is better” and answering the “why” at the same time.
The title itself is intriguing—what does Little Things New represent to you? Little Things New is hope. Hope in humanity, hope in love, in relationships, in a better tomorrow. It’s an anthem to the hope we have in each other; that we as lovers and in community make life bearable and are better together.
Little Things New is hope. Hope in humanity, hope in love, in relationships, in a better tomorrow.
How was the songwriting process for this track? Did it come together quickly, or was it something that evolved over time? Pat Pattison, author of “Writing Better Lyrics” has influenced my songwriting style. One of my favorite elements is spotlighting words in any given phrase. For example, using a consonant adjective “shattered” in verse 1, line 1, to immediately draw in the listener. Another favorite element is when I allow love to be the hero, described in the bridge section that no matter what hardships the subjects face, love will carry them through; it allows the message to have universal appeal.
How does Little Things New compare to your previous work? Would you say it marks a new direction for you? Little Things New demonstrates the beauty of emoting straight from the heart, passionate, bearing of soul on record, in a way that others can relate and love. As I reflect back on my earliest works many were on the topic of love, learning about love, in an attempt to understand love. Many of these song are unpublished sketches and incomplete works I keep in my journal and archival recordings. In some ways, Little Things New is a return to my original themes, now completed forms.
Who are some of your biggest musical influences, and did any of them shape the sound of this single?
My early influences include Peter Gabriel. I’m drawn in to his passionate lyric writing, accompanied with soulful vocal performances and his creative drive for collaborating with others to find new grooves and expressions. He incorporates many styles into his productions, and similarly has a wide appeal to listeners. Another influence is Steven Curtis Chapman. Steven has demonstrated how to incorporate faith and family based messages of hope into his work. Allowing songs to be hero’s of hope allows listeners to improve their conditions, in alignment with original intents of song and music.
What emotions or messages do you hope listeners take away from this song? I would like listeners to take away several messages. 1)be okay waiting for their time to love, or be loved, by their special person 2)be hopeful that there are people we will encounter that make us better 3)look outside ourselves and observe good things around us and cherish those things.
Is there a particular lyric in Little Things New that holds special meaning for you? I loved repeating “they’ll be one” three times. Why? Because the unity of beautiful people are meant to be cherished, so in this instance I spotlighted the idea and allowed repetition to evoke an emotional response at just the right moment.
Do you remember the exact moment when the idea for the song first came to you? I was reflecting on my relationship with a dear friend and how they inspired me to look at life open minded, not get stuck in a rut, and be receptive to little “aha” moments; suddenly what was mundane was turned upside down and was fresh and new; my perspective changed; my outlook improved; I was experiencing love.
Will Little Things New be part of a larger project, like an EP or album? In 2025 I am doing things different, including my release plan. I could release an album, many of my tracks in 2025 fit together nicely into a love concept project, but instead I’m showcasing a variety of styles and genres that integrate me as an artist. I’m on track to release one single per month for 2025 to lean in to sharing more about each track and the process behind the writing and producing.
If you had to describe Little Things New in three words, what would they be? Connection, curiosity, community. Connection because we as humans want connection; we want to be understood and loved. Curiosity because new sparks of life await us at different unexpected times and places; if we can be receptive to these sparks, we can inspire and encourage others. Community because in community we gain our greatest strength and sense of self, our integrated and complete selves serve humanity with art, innovation, understanding and love.
Synth, Love, and Rock ‘n’ Roll: RISE’s Latest Anthem Shines
Liverpool-based rock-synth outfit RISE delivers a powerful musical statement with their latest single, “The Way You Make Me Feel” is a vibrant fusion of atmospheric synths, dynamic guitar work, and emotionally resonant lyrics. The track perfectly encapsulates the band’s distinctive sound: confident, uplifting, and packed with arena-ready energy.
Frontman Sam Kinley (performing under the moniker stayMellow) brings remarkable presence to his dual role as vocalist and bassist, his voice navigating the song’s emotional landscape with precision.
The instrumental chemistry is equally impressive—Brian Petch’s textured guitar lines weave seamlessly with Paul Kinley’s expansive synth arrangements, while Alex Mahoney’s dynamic drumming drives the track forward with purpose.
What makes “The Way You Make Me Feel” particularly refreshing is its lyrical commitment to celebrating enduring relationships. In an age often dominated by songs about fleeting connections, RISE offers a mature perspective on love’s sustaining power, exemplified in straightforward yet powerful lines like “You smile and life’s OK.” Producer Rob Whitely deserves credit for his meticulous approach, creating a production that balances technical polish with authentic emotional impact.
With this release, RISE further cements their reputation as one of the most promising emerging forces in the alternative rock landscape
Jake Vera’s Sonic Love Story: Behind the Music of “Mine"
Jake Vera is a relatively new artist in alternative rock but his music already spreads across regions beyond his local area. Despite his few released singles Vera delivers a musical depth that makes him sound like a veteran artist. The new alt-rock anthem “Mine” from Jake Vera delivers passionate love sentiments through raw electric energy as he releases it during Valentine’s Day 2025.
Vera recorded this deeply personal song in his bedroom space yet made it explode into a stadium-sized anthem. Through his musical composition Vera unites intense bass lines with powerful drum beats and guitar melodies to produce music that explores both sorrowful moments and intense emotions. Through his range of vocal delivery from soft to intense he communicates both the delicate and intense emotions which stem from his love for his fiancée.
Vera draws inspiration from artists Deftones and Cloudyfield and Amira Elfeky to establish his distinctive musical style. The artist keeps releasing new music while planning his upcoming full-length album as he continues to build his musical career. Jake Vera met with us to explain how “Mine” came to life and his artistic methods while sharing his upcoming 2025 musical plans.
What inspired you to write “Mine,” and what message or story does the song convey? I wrote the song as a love letter to my soon to be wife and how devoted I am to her. The lyrics seemed to just come as naturally as the vocal melodies did!
Can you walk us through your creative process for “Mine”? How did the song evolve from its initial concept to the final production? I can’t really explain how, but the moment I heard the track, I immediately was able to envision the vocal melodies right away. The song just screamed “love song” to me for some reason, so that’s the route I decided to go with. I figured writing about my own loving relationship would not only be authentic, but make the whole process easier.
Your music blends various genres. How does “Mine” reflect your musical influences, and did you explore any new styles or techniques in this track? Definitely a lot of obscure artists since the genres “Mine” falls under aren’t exactly mainstream. There’s obvious influences of Deftones but also some fast rising stars such as Cloudyfield and Amira Elfeky. The lyrics defintely take a lot of inspiration from their works.
Definitely a lot of obscure artists since the genres “Mine” falls under aren’t exactly mainstream.
Does “Mine” hold personal significance for you? Are there particular experiences or emotions that influenced its creation? Well seeing how it’s about my Fiancee, It’d be a bad sign if there wasn’t haha
The song is me probably at my most vulnerable and stripped down version of myself. Aside from the proclamation of my love for my Fiancee, “Mine” is a deeply personal song in regards to self expression.
Did you collaborate with any other artists or producers on “Mine”? If so, how did these collaborations influence the final product? Yes, I worked with producer, AwfulDrama who’s extremely talented and super easy to work with! I didn’t even have to really touch the track at all since I felt it was perfect as is. I simply just wrote and recorded my parts and then mixed/ mastered everything else from there.
How does “Mine” represent your growth as an artist since your previous releases? I think it really showcases my vocal talent like my other work but more notably, just how much emotion I can really convey into a song. It’s probably the most heartfelt song I’ve released so far.
What are your expectations for how listeners will respond to “Mine”? I’d expect a gripping and intense journey for any first time listener, the song is just so addicting! But I’m biased haha
I’d hope listeners can relate to their own love lives or aspire to find that perfect someone, if they haven’t yet.
Are there any plans for a music video or visual content to accompany “Mine”? If so, what can fans expect? No music videos in the works yet as I’m still currently writing and working on other music at the moment. I wouldn’t say never though. Maybe a lyric video at least in the near future!
Following the release of “Mine,” are there any upcoming projects or releases that fans can look forward to? Ha well like I mentioned earlier, there definitely more songs to come! I’m wrapping up two songs now and am looking to work on two more afterwards. The plan beyond that, is to release a full length album so I may be radio silent for awhile aside form promoting my current released music. I plan on working on more music in other genres and including them all in said album as well! So stay tuned!
What do you hope listeners take away from “Mine,” and is there anything you’d like to share with your audience about this song? There’s a special someone out there for everyone out there waiting for you! Be patient and you’ll find them when you least expect it! You’ll know when you’ve found them, trust me 🙂
Also, thank you so much from the bottom of my heart, to everyone who has listened to “Mine” and any of my other music!
Through the Looking Glass: Whitmell's "Crack in My Window" Reviewed
Allyson Whitmell’s “Crack in My Window” arrived in my inbox, and honestly, my first thought was, “Is this the soundtrack to a particularly poignant cat food commercial?” But then, of course – because life loves a good plot twist – it wasn’t.
It is, in reality, Whitmell taking a swan dive into the murky waters of nostalgia, grief, and that weird feeling you get when you realize the chipped paint on your childhood windowsill held more emotional significance than your last three tax returns. Collaborating with Jono Hill and Ben Pelchat, the Canadian singer-songwriter gives us a single saturated in cinematic strings and, of all things, the potent aroma of goodbye. It’s pop, yes, but filtered through the lens of someone who probably knows the exact emotional weight of a single, perfectly placed diminished chord.
Through the Looking Glass: Whitmell’s “Crack in My Window” Reviewed
The central theme here is a trap. A cage with a familiar view. Ever read “Waiting for Godot”? Whitmell seems to get that existentialist dilemma. She’s staring at that crack in the window, which suddenly takes a very meta shape, like a shattered mirror reflecting where we have been, feeling all the feels about leaving a place – or maybe a thing, or a person – even when that place smells faintly of mothballs and regret.
The piano is her anchor, sure, but it’s the solo violin that genuinely slices through the neat, pretty packaging. This isn’t some grand, sweeping gesture; this is like the precise cut that sets you free. Like that part in that old movie when it is finally time to step outside and face whatever monster is lurking.
It leaves you pondering: if our memories were physical objects, would we be hoarders? Or minimalists in emotional form?
Kaspar Baum’s ‘Groenland’: Cold, Dark, and Beautiful
The Dutch indie-rock band Kaspar Baum will release their third album Groenland to the public in February 2025. Under the leadership of Erny Green Kaspar Baum has transformed into a distinguished musical act through his role as singer and songwriter and guitarist who guides the band toward atmospheric soundscapes and meaningful lyrics. The music world sees the band successfully maintain its individual space through their combination of post-punk elements with introspective subject matter.
The album title Groenland goes beyond environmental and icy descriptions to express a personal meaning. The recording team discovered the album name while finishing production by utilizing Green’s family name and to commemorate his upcoming 60th birthday. The album unintentionally transmits feelings of arctic desolation at a time when global hostility is high and the world exhibits an emotionally distant atmosphere.
In this current release the album moves its attention toward internal subject matters. The band explores personal themes on Groenland that take a different direction from their political sophomore release World Wide Willow (2024) by addressing addiction (“Fear”) and heartbreak (“Old House”) along with artistic life and existential questions.
The musical signature of Kaspar Baum persists through World Wide Willow with its characteristic basslines and complex guitar arrangements and natural jam sessions that reveal authentic emotional expression. A highlight of the album “Red is Beautiful” arose through spontaneous creativity during a moment of anger which demonstrates the band’s talent for creating outstanding music from adverse situations.
The making of Groenland became clearer when we interviewed Erny Green about the creative approach Kaspar Baum used to develop their songs alongside the development of Baum’s artistry and shifts in the global environment.
The title “Groenland” immediately evokes images of vast Arctic landscapes.
What drew you to this theme, and how did it influence your creative process? Well, actually we choose the title ’ Groenland ’ at the end of the proces. Even after the mastering was allready done….. Because my name is Erny ’Green’ and I was celebrating my 60th birthday we were hoping to find a reference with the word ’green’. Our first album was called ’ Vuurland ’ which is the most southern country of South America. So ’Groenland’ being the most Northern country on earth made total sense. Also representing the fact that our times grow colder every second nowadays… So pretty Arctic in that sense!
With environmental concerns about the Arctic becoming increasingly urgent,
does “Groenland” carry any broader message about climate and landscape? Maybe indirectly, yes. But it is not a real topic on the album. Just a few days after we had choosen Groenland as a title, Donald Trump announced his plans for that country. So that immediately made our title look a bit political. Which the album isn’t…. But of course we are concerned like most of us.
What emotions or experiences were you hoping to capture in “Groenland”? That’s something we never decide on before we start the writing proces. It’s more that we try to capture the emotions that are in the room while we jam. In hindsight I think you could say that the album turned out to be recalcitrant, dark and romantic.
How does “Groenland” represent your evolution as an artist? Do you see it as a
continuation of your established sound, or does it break new ground? I released 13 albums over my career. I never intended to make something for the art’s sake. It was always about the story to tell. So in that sense the album is a new chapter in the story.
I released 13 albums over my career. I never intended to make something for the art’s sake.
Our last (second) album for example (“World Wide Willow” , Feb. 2024) was more political than Groenland. When we started writing that album the war in Ukraine had just started and that surely had it’s impact on the process. There’s even a song called ‘War’ on that one. Groenland is more personal, I guess. There’s a song about heroine mis abuse (‘Fear’), one about divorce (“Old
House”), but also songs about the inadequacy of art (and the artist!) in general to make any sense at all. Deeply felt doubts about our vain existence on this lonely planet. There’s actually a statement in the song ‘Comes a Time Comes a Light” that makes it fully clear that this record is not about politics our climate:
“Environmental talk is hot
Another president is shot
I hear you masters care a lot
About all the ones the world forgot
I hear you’re worried, well I’m not
There’s many other things that I can cry for”
Your choice of sounds and arrangements on this album – could you walk us through some of the key musical decisions you made to convey the essence of Greenland? The way Kaspar Baum works is pretty similar in most cases. I have some lyrics and maybe a melody. We start jamming and Jelmer (drums) and Erwin (bass) give the directions. That’s quite often a very Eighties (Post-Punk) based riff (especially the bass). Rempe (guitar) is all about the delicate esthetics of the songs.
When the riff is evolving, he won’t be available for 30 minutes, but always lands back on earth with the most beautiful melodies. Actually, the lyrics have to battle those lingering guitars, which gives Kaspar Baum that vibrant tension.
Can you tell us about a particular moment during the creation of “Groenland” that surprised you or took the track in an unexpected direction? That was while writing “Red is Beautiful”. We had been jamming in our studio ( Vuurland Studio ) on a certain (kind of folky) theme for over an hour and got so bored and depressed with it that we were at the break of skipping the whole idea.
With only ten minutes of rehearsal time left we sort of dumped all our frustration in one last jam that was so fucked up that it had all the ingredients to finally make it work. I had all instruments miked out, so I was able to mess around with the jam in post-production. The result was something that we couldn’t have predict. It turned out to be the first single of the album.
Julia Kate's "Fake Friends": Real Talk, Reel Problems?
Julia Kate, a 20-year-old sojourner in the land of melodies (a.k.a. a songwriting student at Berklee), just dropped “fake friends,” and my initial reaction was… did a sentient Instagram filter write this? Not in a bad way. More in a “wait, is this the matrix?” way.
The song’s theme slaps you in the face, gently. It explores how, in our curated, perpetually-online existence, actual connection becomes this… elusive butterfly. Insincere friends? In this economy? Absolutely. The single delves into the gnawing loneliness that festers when your feed is overflowing, but your phone stays silent. You know, the existential dread punctuated by the occasional cat video. It’s new wave-infused pop, complete with all those shimmering synths which create an artifical surface. It is a perfect auditory landscape that embodies the lyrical themese of the music.
But back to this idea of superficiality. Isn’t artifice itself, kind of, a hallmark of, um, everything now? This got me thinking of that Marie Antoinette painting…
Julia Kate’s “Fake Friends”: Real Talk, Reel Problems?
The song does not wallow, thankfully. There’s a current of “I’m deleting you, digitally and spiritually” running through it. The lyrics reflect feelings of being overlooked, taken advantage of, and misled by individuals who value superficial connections. The artist expresses a strong desire for liberation, from the suffocating grip of a shallow existence.
Have you ever contemplated the lifecycle of a dust bunny? The track could find some companionship in a sad dance playlist.
It’s pop, make no mistake. This is the soundtrack to shedding your skin – not in a gruesome, horror-movie way, but more in a “finally realized my self-worth” sort of way. “fake friends” whispers in your ear… Just kidding. I am NOT using that phrasing. Seriously though, what is a friend, really? Julia Kate leaves us there, questioning the fabric of our digital “relationships,” and maybe, just maybe, reaching for something real.
AriSawkaDoria. The name alone sounds like an incantation, a summoning of something… interesting. This trio—KJ Sawka, he of Pendulum and Destroid percussive prowess, Joe Doria, finger-dancing on the Hammond B3, and Ari Joshua, weaving guitar spells, it made no sense and perfect sense on paper. Their latest offering? A single, “Naima.” Coltrane’s “Naima.” Bold. Did someone order a plate of unexpected sonic delights? Because that’s approximately what I’ve been served.
It’s jazz, sure, but stretched and pulled like taffy in a funhouse mirror. You recognize the core—that gorgeous, haunting melody—but it’s viewed through this kaleidoscopic lens of modern jazz, acid jazz sensibilities and… is that a hint of downtempo chill? Yes, my friends, let’s lounge in its laid-back aura.
The emotional core of Coltrane’s original is absolutely intact. This isn’t some cold, technical exercise. The random, smooth interplay of guitar organ and drums created a unique juxtaposition, similar to a good red and some cheese.
“Naima” Notes: AriSawkaDoria’s Jazzy Incantation
AriSawkaDoria isn’t recreating “Naima” so much as channeling its ghost through a prism of their combined experiences. There is respect, but there is a refusal to create something stale or predictable.
There’s a certain magic here, a serendipitous collision of talents and tastes. A feeling as comfortable as snuggling under an electric blanket for the first time.
This track proves something quite simple. The best tributes are the things that do what they’re designed to do, without question, fear, or favour, using everything in its right place and making it so simple. This leaves us wondering… what other spirits will they conjure next?
ANGELICA, the Colombian-born, New Yorker— wait, wasn’t she a dancer? Yes, was. Now, she’s singing, and her latest single, “Lincoln Place,” produced by Marrick Smith and Ian Kimmel, dropped. And my first thought, unbidden, was: Why do pigeons always bob their heads?
Anyway, “Lincoln Place.” It’s a pop/R&B concoction, with a dreamy synth that makes you think you’re floating, until ANGELICA’s voice, all grounded and earthy, pulls you back. It’s like discovering a lost chapter of One Hundred Years of Solitude, if Gabriel García Márquez had a Spotify account and a penchant for heartache.
This song isn’t sunshine and rainbows. Oh no. It’s about love gone sour, betrayal, the kind that leaves a residue thicker than NYC humidity in July. It’s a musical rendition of that gut-wrenching “aha!” moment, when you realize your “forever” was just a fleeting mirage.
Two-timing, the lyrics. Ouch, It also the rug pull of realizing someone the spaker thought as a friend had something to do.
ANGELICA Bares Her Soul on ‘Lincoln Pl’
The lyrics chart this awful cartography of disappointment, a map from blissful ignorance to the stark, brutal truth of infidelity. ANGELICA isn’t just singing; she’s conducting a masterclass in the acceptance of deception, the cruel art of letting go.
The fusion of genres somehow…works. You’re expecting the beat to drop into full-blown pop territory, but it hovers, almost hesitantly, mirroring the song’s thematic ambivalence. The soundscape complements the song´s thematic content.
Is it catchy? Yes. Will it make you rethink every relationship you’ve ever had? Probably. And for a moment, makes me think.
“Lincoln Place” might make you bob more than just your head—perhaps your entire perspective on trust and vulnerability. But, is it forever? Or just until the next song starts playing?
"It's You" Who? Thomas And The Angry Hearts' Mystery Muse
Right. So, Lillestrøm. Norway. Land of… well, apparently, intensely yearning folk-rock anthems now. Thomas And The Angry Hearts, shepherded into existence by Ronni Le Tekrø (of TNT fame, remember explosions?), have dropped “It’s You,” and the title isn’t kidding. The whole thing is an extended, sometimes dizzying, ode to someone.
This isn’t a casual, “hey, you’re nice” kind of thing. This is full-blown, operatic (in a 70s folk-rock way, mind you, think Hooters but add a dash of… I don’t know… a Viking longship?). The lyrics, fronted by Thomas, naturally. Then we’ve got Hilde, Stig, Nils, and Leiv-Rune along for the ride, speak of sailing oceans and walking with royalty. Big dreams, classic stuff. All fueled it seems by a burning quest to share and experince, to find, well…you.
And who is this “you”? A lover? A muse? A forgotten chess piece found under the sofa cushion of life? The album doesn’t offer a definitive answer, keeping this mysterious ‘you’ is central to this album’s draw.
“It’s You” Who? Thomas And The Angry Hearts’ Mystery Muse
But here’s the kicker, tucked within the layers of soaring, U2-esque guitar lines and a sound that wouldn’t be out of place in 1992 (and I mean that in a good way!), there’s an element that feels very raw. Lines like “how will we make amends, try to send your child away” adds, an unexected shade to the whole experience.
It’s this constant push-pull between grand ambition – the singalongs, the imagined crowds, the sheer scale of it all – and this raw, almost desperate plea hidden, embedded, stitched into the heart of this quest, it is both grand and a whisper.
There is an unfulfilled yearning with, and for “you”, and this gives “It’s You” a haunting, almost paradoxical quality. Thomas and the Angy hearts, are angry about somthing, is it because of ‘You’?
Supra Nova's Super-Nova: An Explosive Love/Hate Relationship
Supra Nova. Caleb Loomis. I Love You, I Hate You. Names and titles, huh? They sit there, inert, until sound breathes meaning – or utter confusion – into them. And this… this single from the Salt Lake City artist? It’s confusion, alright. The kind that grabs you by the throat and whispers…no wait, can I use whisper… screams sweet, violent nothings into your ear.
The press release says, “emotional duality.” Understatement. It’s less a tug-of-war and more a full-body slam into the concrete wall separating affection and annihilation. The song, an industrialized cyberpunk dark-pop fever dream, is all sharp edges and synthetic sinews. It’s the sound of heartbreak played on a broken circuit board, glitches and synth waves contorting into… love? Hate? Who even knows anymore? The lyrical content is a minefield of juxtaposed tenderness, violent, raw power, and chilling repetition. The shift between dominance and complete submission occurs nearly at random, with lines such as “I adore you I’ll destroy you,” “I’ll carve my name into your mind.”
Candy. Lips. Serpent. Kiss.
It’s like stumbling into a deleted scene from Blade Runner, where a replicant discovers codependency and a chainsaw. There are echoes of early Nine Inch Nails, but…demented, I don’t know, has anyone actually read the Marquis de Sade while listening to Depeche Mode? It feels like that kind of uncomfortable, an almost beautiful horror.
Supra Nova’s Super-Nova: An Explosive Love/Hate Relationship
The central theme is possessive and destructively volatile, this toxic, almost horrific and ravenous adoration that erases boundaries, a vortex that consumes everything that dares come near, including, and perhaps especially, its originator.
Loomis throws cyberpunk, industrial, and a dash of glitch into a blender. With what, exactly? He hasn’t invented a new genre. But there’s a visceral, almost theatrical intensity here. He’s crafted, no. Forged. Forged something sharp and dangerous, something.
This feeling…did Supra Nova / Caleb Loomis just mainlined humanity’s darkest impulses directly into a synthesizer? Where do you even file that?
Hatching Harmonies: Reinis Jaunais Builds a "Nest"
Right, so, Reinis Jaunais. Latvian, guitar-slinger, world-wanderer… makes sense that his new album, “Nest,” feels like opening a suitcase overflowing with… things. Not junk, mind you. More like… carefully curated curiosities. Eleven songs, eleven postcards from somewhere just beyond the familiar.
It’s world music, yes, but not in the dusty, anthropological sense. Think more… progressive fusion. A touch of the acoustic guitar played in that percussive almost dancing style, you see it in every track, a base for the other players. Erna Daugaviete’s cello weaves in and out like a ribbon caught in a gentle breeze, while Andris Buiķis on drums and Jānis Rubiks on double bass are, I don’t know. doing that job that bass and drums are made to do, lay the groundwork and do it well! And then you have Harijs Ločmelis, who knows? Possibly he knows his trumpet and the music that should come out, or perhaps someone whispered to him.
EIII, is also present adding electronic flourish. Because of course there’s an electronic music producer. Why not? This album asks “why not?” a lot, I think.
Hatching Harmonies: Reinis Jaunais Builds a “Nest”
The theme? Sentimental fusion, drawn from travel, it appears. Isn’t it all, at some level? We gather, we collect, we carry, we return. Are we, perhaps, like those migrating birds, building our own “Nests” of sound and memory? Or, you know, maybe it’s a nice tune to put when you are bored of that weird jazz album that your friend said was genious.
The relaxing, calming, acoustic plays sound pretty, even surprisingly, soothing.
It’s genuinely a pleasant experience, listening to “Nest.” Beautiful is not really, I use too many words I tend not to be keen on. But yes, at the risk of using a “horrible” word. It is, beautiful!
Ultimately, “Nest” doesn’t quite demand your undivided attention, and paradoxically, that’s part of its charm. Is Reinis Jaunais onto something, or is something onto him? Perhaps both are true.
Turning Pain into Art: The Story Behind “Lemonade”
The upbeat melodies of “Lemonade” by Astrik Minian hide a significant deeper message. The happy tone of “Lemonade” actually tells a story about how artists can overcome challenges while expressing their artistry. During this conversation we talk with the Lemonade artist to discover everything about how she developed this song both creatively and personally and what inspired her creation.
Our guest migrated from Yerevan Armenia to Montreal where she uses her artistic talent to weave together different musical elements and emotions. During her hospital stay in 2016 she jotted down the seeds of “Lemonade” onto a yellow note pad. The track traveled through time before a reliable producer received it to transform into the sensational song which South Korean fans have embraced worldwide.
This artist proves her ability to transform continuously through her life experiences. The writer with training in creative writing brings together multiple musical styles including metal while converting her life experiences into artistic expression through new musical frontiers. The documentary explores the creative process behind “Lemonade” as well as upcoming projects such as a music video that delves into personal stories about Armenia.
The artist takes the stage to deliver her own insights in the following section.
“What inspired you to write “Lemonade,” and what message or story does the song convey?
I know that this song sounds very cheerful, and it is. But as strange as it sounds, immense suffering is what inspired me to write this song. We can be the prisoners of our minds, if we let ourselves be. But there is freedom within reach…if we don’t blindfold ourselves in front of the light peaking through the crack in the darkness. No matter what societal conditioning tells us or does to us, dreams are always within reach.
Can you walk us through your creative process for “Lemonade”? How did the song evolve from its initial concept to the final production? When I write songs, it’s because the melody and the lyrics come to me at the same time. I hear the whole thing clearly. I don’t take credit for my music – inspiration comes from up above and I am not the only artist who will say this.
I wrote this song at a hospital. On a yellow notepad with a pen that my ex boyfriend had brought me. Then, I recorded a voice memo of my vocals in my phone in order not to forget the melody. This was in 2016. About five years later, I took the voice memo and the lyrics along with my vision for the song to my favourite producer in Montreal, and shortly thereafter “Lemonade” became my second single.
Your music is known for blending various genres. How does “Lemonade” reflect your eclectic musical tastes, and did you explore any new styles or techniques in this track? “Lemonade” is a very pop song. The genre pop, I would say, is my home base. However, I don’t discriminate genres – I love all of them and I feel comfortable singing any genre. Even metal. I love metal. Although, when I was a teenager, I once auditioned for a metal band and when they asked me to growl, I simply sang haha. They wanted me to growl like “Arch Enemy.” But I sang a song by “Nightwish,” since I am a soprano and I love opera as well. Naturally, I wasn’t a good fit for them.
I would also love to collaborate with rap artists in the future, although I cannot rap myself.
Does “Lemonade” hold a personal significance for you? Are there particular experiences or emotions that influenced its creation? Resilience. The more they try to tear me down, the more I roar like a lioness. I am an alchemist – I can turn anything into gold. The worse the experience, the more precious the metal. I will turn gold into platinum. And so on…the possibilities are endless. The world is my oyster.
We come here to learn, to evolve, to grow…but most of all to create and to recognize and remember who we truly are. We are all creators. We are all eternal Spirit in temporary form. We are, in fact, limitless.How have listeners responded to “Lemonade” since its release? Have any reactions or interpretations surprised you? “Lemonade” seems to me to be my most loved song by the general public. It has the most listeners worldwide and especially in South Korea.
Did you create any visual content, such as a music video or artwork, to accompany “Lemonade”? If so, how do these visuals enhance or complement the song’s themes? A professional photographer took a series of photos of me for the cover of the single. He is the one who chose which photo would become the cover of the single. The photoshoot included a lot of yellow: yellow bathing suit, yellow scarf, yellow sun hat, yellow sunglasses, yellow manicure, and a lemon martini. Yellow representing lemons of life being alchemized into sweet lemonade – sunshine. Who doesn’t love the summer sun? We had a blast during the photoshoot.
I had then envisioned the filming of the music video in Bali, Indonesia. I was going there for work anyway, and it seemed like the perfect time and place. However, it just wasn’t working out at first. The company I had in mind did not respond to me. One day I called a “Gojek” – the local “Uber.” I was going to take a ride to go see the beautiful Hindu temples on the serene beaches of Bali. I quickly became friends with the Balinese driver because he was so absolutely kind and friendly! He accompanied me to the temples, then he took me to a bar where he asked the bartender to play “Lemonade” in LOOPS haha and then we went for dinner, where his Italian friends joined us. We were enjoying our discussions with some wine, when suddenly the Italian guy told me that the following day, his friends are filming a music video! Now…I only had one day left in Bali and this sounded crazy, but I saw an opportunity here and adventure was right up my alley: I was going to film my video the day before departing. It was written in the stars. And so it was…I hired the crew on the spot and we filmed in beautiful Uluwatu and Nusa Dua. It was an unforgettable, magical, mystical experience frozen in time. And it shows that there is Divine Timing (the Greek word is ‘Kairos’) for everything. Lemonade is made when the lemons are ripe. 😉 Not a minute sooner.
I was going to film my video the day before departing. It was written in the stars.
Following “Lemonade,” are there any upcoming projects or releases that fans can look forward to? How does this single fit into your broader artistic vision? I have released 3 singles since “Lemonade” — “Armenia,” “Gypsy Soul,” and “Malibu Beach.”
I am currently working on the production of the music video for my song “Armenia,” which is about war & peace. It’s about the resilient Spirit of an ancient nation. The nation that has contributed and continues to contribute so much to our planet.
And yet, often, this nation is taken for granted. It has been so throughout history. But we were there long before the birth of Jesus Christ, and we are here now. As the very first nation who officially adopted Christianity. Even before the Romans. We are the nation with the oldest wineries of this planet. We brought wine to the Earth! Many of our allies and enemies have come and gone. The names of their lands are only in history books now. Such as the Hittites, for example. Yet here we are. Resilient as always.
The Armenian national musical instrument “Duduk,” which is made of apricot tree wood, captures the melancholy I wanted to convey through this song. It is, after all, the nation that endured the first Genocide of the 20th century, perpetrated by the Ottoman Empire. Sadly, modern day Turkey has not yet recognized its past. And neighbouring Azerbaijan, supported by Turkey financially, declared war once again in 2020…in the middle of the pandemic.
Shortly thereafter, they occupied the independent Republic of Artsakh, and deported its Armenian citizens. My upcoming music video is going to be about this subject and it will be released in the summer of 2025.
Each song is always very different. I can never tell which genre my next song will be. But we can say that pop is the dominant genre.
Since your move from Yerevan to Montreal in 1999, how has your music evolved, and in what ways does “Lemonade” represent your growth as an artist? Growth and evolution are a continuous ad infinitum process. There is no end to it.
I was 13 years old when I left Yerevan, Armenia. I used to write a lot of short stories in Russian and in Armenian back in Yerevan, but it wasn’t until I was about 16-17 that I began composing music on the piano, which I can play by ear. In 2018, I decided to start recording and releasing my music. And so I did. I will never stop. “Lemonade” represents only the beginning to me. I have a closet full of unreleased materials yet to manifest into reality.
Being both a musician and an author, how do these creative outlets influence each other? Did your writing experience play a role in crafting the lyrics for “Lemonade”? It all comes from the same place. The inspiration, I mean. When the inspiration comes, a certain information about the form and medium come along with it – I just know intuitively when it is a song, a poem, or a novel. I am currently working on editing hundreds of poems I have written. My first book of poetry called “A Bed of Black Roses” will be published this year. I have also written a novel, which I am not yet ready to publish.
What do you hope listeners take away from “Lemonade,” and is there anything you’d like to share with your audience about this song? There is always light at the end of the tunnel – and that light is not only within reach – but it is within you. We are the light we seek. We are the guiding compass. It has been said that when we quiet the mind, the soul will speak. Well, our only true essence is the soul. And the mind is merely its servant. The mind must listen to the soul.
For we are not our minds. This entails that all suffering is temporary. The pendulum always swings. Knowing this while suffering brings peace. A state of stillness. And this is the message of this song…that no matter what negativity arises, that which is our guiding compass is the source of all inspiration and hope. And a lotus cannot bloom without the mud.
Many thanks and blessings your way.
Fighting Hate with Sound: Clare and Jade's 'BURN THE SWASTIKA'
In a time when confronting racism is more critical than ever, Clare and Jade have crafted a blistering anthem of resistance with their single “BURN THE SWASTIKA.” Drawing inspiration from punk legends like Bikini Kill, Fugazi, and Amyl and the Sniffers, the track is a bold, unflinching statement against the rise of neo-Nazi groups in Australia.
The song’s provocative title speaks to the urgent need for direct action against hate, while the raw sound captures the intensity of their message. Created in Clare’s Menai home, this DIY effort reflects their commitment to activism, using music as a weapon to combat the spread of racism.
We sat down with Clare and Jade to discuss the personal and political forces behind the track, their creative process, and the message they hope to inspire. From confronting the resurgence of neo-Nazi rhetoric on Australian streets to making their voices heard in a climate where silence can often equate to compliance, this interview dives deep into their mission to challenge hate head-on.
The title “BURN THE SWASTIKA” is incredibly powerful and direct. What motivated you to create a song with such a bold statement?
Basically, in order to combat the overtly racist and in your face statements by the neo-nazi’s I felt BURN THE SWASTIKA needed punch and just as much a bold rebuttal. The fact that people still are happy to call themselves neo nazi’s is baffling to us and needs to be challenged directly.
Can you discuss the historical and emotional context that inspired this track? What message are you hoping to communicate through this song? Currently in Australia, there are neo – nazi groups marching on the streets drawing the exact same ideas from the 1940’s. We find this deeply disturbing and we feel it is a no brainer to cover this atrocity in our music making. They are sporting swastika’s and yelling about how Australia is a man’s land at peaceful indigenous rallys, completely ignoring historical context of how Australia is Indigenous land.
Music has often been a platform for social commentary and protest. How do you see “BURN THE SWASTIKA” fitting into that tradition of artistic expression? In our current political climate where many people are defending the actions of self proclaimed neo – nazi’s we feel it essential to counteract this. We feel that staying silent is perpetuating the issue and a form of compliance.
We feel that staying silent is perpetuating the issue and a form of compliance.
Were there specific personal experiences or historical narratives that influenced the creation of this single? There have been heaps of times where both of us have witnessed people being incredibly racist in Australia. From sly comments from people we know personally, to neo-nazi’s marching the streets of Adelaide. This is still unfortunately a huge issue that desperately needs to be combatted immediately.
The choice of such a provocative title suggests this is more than just a musical piece – it seems to be a statement. Can you elaborate on the artistic intent behind the song? The intent is to obliterate racist ideology of all kinds. We want to fight against racism in a direct and confrontational way. We feel that it is essential to speak up when such derogatory and racist acts are being thrown in our face.
How do you balance the emotional weight of the subject matter with the musical composition? The lyrics are very cut throat and to the point. We wanted a composition that matched this intensity and energy giving it a really loud and overt kick. The intent is so it won’t be ignored and the message delivered with clarity.
What conversations do you hope this single will spark among listeners? The acknowledgement that neo-nazi’s are still roaming the streets. It’s 2025 and the same rhetoric is still being spewed and sprawled all over the streets and social media. What is also frightening is that there are commenters supporting these acts of racism and we want to try to nip this racist behaviour in the bud with BURN THE SWASTIKA.
As an artist, what responsibility do you feel in addressing complex historical and social themes through music? Staying silent and not having a stance when you have a musical platform seems ridiculous to us. When we have a voice we feel we need to use it. It shouldn’t be seen as complex or out there to combat racism.
Can you walk us through the creative process of developing a track with such a charged message? It’s pretty simple really. I saw some Neo-Nazi’s on the news marching in the streets at a peaceful Indigenous rally and opened my notes and started writing. We then smashed the track up pretty quickly really, infact from the time Jade started writing it till we mastered it was about an hour.
Beyond the immediate emotional impact, what long-term understanding or reflection are you hoping to inspire with “BURN THE SWASTIKA”? In the long term future we hope that it is no longer necessary to have to create music of this nature. We would hope that racism would be a thing of the past.
Don't Be a Silly “Sally”, Listen to Kelsie Kimberlin's Seriously Catchy Single!
Alright, buckle up buttercups, because Kelsie Kimberlin’s new single, “Sally,” just landed, and it’s… well, it’s a thing. A brightly colored, intensely felt, pop-fueled thing. Genre? Pop, straight up, with Kimberlin’s voice front and center. No surprise there, she’s described as an “American pop sensation,” after all.
The core of “Sally” orbits around the heavy stuff: clawing your way back from the abyss of mental health challenges, finding strength after loss, and the particular resilience of girls facing the horrors of war. That’s a lot to pack into one pop song. Did she achieve it? It depends.
The journey presented in the song is … stark. It is about, a girl named Sally I am assuming, transforming from shattered to…sexually liberated. That’s the arc. Despair to empowerment, with a rather large emphasis on the, ahem, physical expression of that empowerment. Did I just stumble into a discussion about Flemish tapestries? No? Okay, moving on.
Don’t Be a Silly “Sally”, Listen to Kelsie Kimberlin’s Seriously Catchy Single!
It’s like she found a hidden trapdoor in a cathedral and decided to redecorate it with neon paint. It’s jarring, sure. But is it effective? The contrast presented, between the traumatized beginning and the… confident ending… is undeniably potent. I think that at least she is saying something real here, but at the same time, what if socks made great hats? Think about it, they already conform to foot-shape, easy change for the cranium…
The music itself, it’s pure pop, meticulously crafted. But the theme… it feels like Kelsie Kimberlin handed us a jigsaw puzzle where half the pieces are from a serene landscape and the other half are…well… from a completely different puzzle. One you might find locked in a drawer labeled “Do Not Open Until the Apocalypse.”
So, is “Sally” a triumph? A confusing misstep? Maybe it’s both, swirling together like a particularly potent cocktail of hope and… well, you know. What does a cloud sound like when nobody is there to film it?
"Never Too Late" to Pay the Brice: Adam's New Album
Adam Brice’s “Never Is Too Late” landed on my desk – or, rather, materialized in my digital ether – and I’ve been wrestling with its echoes ever since. It’s a curious beast, this album. Part rock anthem, part campfire confessional, with a splash of country twang that somehow doesn’t feel out of place, which has themes running circles like wild horses, settling down around Persistence, passion, and all those dusty dreams we stuff in the attic.
The title track, “Never Is Too Late,” dives headfirst into the bittersweet ache of a hidden love. And isn’t it odd? How can two humans feel complete freedom in a jail built from glances. Brice seems to grab this contradiction and present in a rock music setting.
“Something To Hold” extends a hand, a sturdy musical oak tree in a world of swirling leaves, to somebody with strenght and a bit of vulnerability. It acknowledges that even the strongest oak needs an occasional, gentle rain. Then, flipping the script completely,”Better Together” is the musical equivalent of that feeling. Pure sun.
Credit: Nate Hill Photography
And sometimes you just need to rewind the story to get to chapter. I thought about old Vinyls collections. “Back To You” shows clearly this musical rewind concept with the search of power coming back to Love and family.
Finally, “A Life She Left Behind” struck me as the emotional core of the collection. There’s the taste of choices, there are new and better choices ahead. And I asked to myself who never left behind lifes before.
This Australian singer-songwriter’s blended modern rock has heart, with themes full of yearning. And while it is his goal or not, somehow It’s kind difficult not to think that his “Never Is Too Late,” it isn’t just a matter of music notes. It makes me reflect about this type of thing… like forgotten aspirations. It feels like… well… Life.
Ozzient Declares “Peace Not War” - And It Sounds Anciently Modern.
Okay, so, you’ve got music hitting your eardrums. Sometimes it’s like a rogue pigeon landing right outside your window – startling, unexpected, but maybe interesting? Ozzient’s “Peace, Not War” single feels a little like that pigeon, only this one’s carrying a tiny, insistent megaphone yelling about, well, peace and not war. Obvious, sure, but when was the last time obvious actually soaked in?
This track is less a smooth ride, more a cobbled street, deliberately uneven. Chairman Allen kicks things off, voice a little like urgent news broadcast, sketching out the societal landscape in stark, unflinching strokes. Political edge, absolutely, like a flyer slapped on a lamppost, impossible to ignore. Then, something shifts. Ozzient, the architect of the beat-scape, surprisingly steps out of the shadows, vocals weaving in for the hook. It’s a change of pace, a breath of fresh air amidst the activism – almost as if the producer is saying, “Hey, I’m in this too.”
And then TREVMENTAL arrives. Imagine switching channels on an old radio – suddenly you’re in a different space, more contemplative, the perspective tilting towards the spiritual. It’s a smart move. Peace, it seems, isn’t a one-note chord; it’s got political urgency, producerial solidarity, and spiritual grounding all rattling around in its sonic pockets.
Ozzient Declares “Peace Not War” – And It Sounds Anciently Modern.
The message? Crystal clear. We’re all tangled up in something messy – war, greed, the usual suspects. But the untangling, apparently, begins inside each of us. Think less grand revolution, more personal re-wiring. It’s a bit like trying to fix a global problem by first tidying your own room – maybe slightly chaotic logic, but there’s a certain stubborn, human sense to it.
It won’t solve everything, no single song ever does. But “Peace, Not War” drops a pebble in the pond, and the ripples… well, they’re worth watching. Or rather, listening to.
Rebecca Helen's "Patterns In The Sky": Grief, Mapped
Rebecca Helen’s new single, “Patterns In The Sky,” landed in my inbox, and honestly, I wasn’t expecting… this. This rising star from Cape Town – indie-pop, they say – has bottled something raw, something that spills out of the speakers and pools around your feet.
The theme? Grief. But not the movie version, with artfully placed single tears. This is the messy, inconvenient, “why did I leave the laundry in the dryer?” kind of grief. Helen somehow navigates the agonizing pain of loss, singing in a way that connects deep into ones sole. She croons of enduring love and memory, her words a desperate, beautiful attempt to piece together something shattered. Remember that feeling when you first saw Van Gogh’s “Starry Night?” It had me a similar, with a disorienting blend of beauty and utter chaos, it felt not so far off.
The song’s indie-pop bones support a surprisingly sturdy structure.
Rebecca Helen’s “Patterns In The Sky”: Grief, Mapped
There are moments of profound lyrical simplicity that hit harder than any complicated metaphor ever could. Which made me think— do butterflies ever get lost? Probably not. They just go where the wind takes them, which in a way makes them far braver than me.
What’s surprising isn’t that Helen explores the idea of hope amidst the wreckage; It is the visceral way she conveys the hope for a connection that refuses to be severed by physical absence. It made my left ear itch. It feels personal, deeply human, I could picture my grandfather, whom I never met.
“Patterns In The Sky,” is a song that embraces the cracks and the echoes left behind. Will Rebecca Helen, and “Patterns In The Sky” fill stadiums? I’m pondering the profound significance. Maybe. And perhaps that’s the entire point.
Groove Moose Brings Feel-Good Energy with “Let Me Shake You”
Groove Moose takes listeners on an expansive musical journey with Let Me Shake You, a near seven-minute southern rock epic that masterfully combines warm acoustic textures with dynamic percussion and soaring melodic lines. The track pulses with an infectious positivity, striking a delicate balance between contemplative moments and energetic drive.
The songwriting partnership of Bobby and Zack delivers a message that resonates deeply—an outstretched hand to those navigating difficult times. When they sing, “Let me shake you, heard you were feeling down… Let me wake you up and lift you off of the ground,” the sincerity in their delivery transforms simple words into a powerful anthem of support and perseverance.
The band’s tight-knit chemistry is evident throughout the track’s arrangement. Beginning with a foundation of rich acoustic guitar, the song builds organically as lead guitar and percussion weave into the mix, creating an irresistible rhythmic tapestry. The composition reaches its peak with an electrifying two-minute guitar solo that showcases the band’s rock credentials while maintaining the song’s emotional core.
Let Me Shake You feels tailor-made for festival sunsets and starlit summer concerts, its combination of soulful performance, bright melodic hooks, and masterful instrumentation creating something truly special. Groove Moose has crafted more than just a song—they’ve created an uplifting experience that speaks to the heart of what makes southern rock so compelling.
‘Calm Down’ – Daytes’ Masterclass in Storytelling and Genre-Blending
Daytes welcomes 2025 with an impressive new release, “Calm Down” a sophisticated fusion of Afrobeat rhythms with elements of UK rap, R&B, and hip-hop. The London-based artist crafts a deeply personal yet universally relatable narrative, delving into the complexities of a passing romance. His storytelling abilities are on full display as he explores the emotional tug-of-war of uncertain feelings, creating moments that will resonate with anyone who’s navigated similar waters.
The track’s production is a masterclass in balance, featuring an infectious Afrobeat foundation layered with dynamic percussion and rich, soulful elements. The collaborative efforts of producer Brizy Beatz and mixer Yani elevate “Calm Down” to exceptional production standards, setting a new benchmark in the genre.
While echoes of influences like J Hus, Burna Boy, and Dave can be heard in Daytes’ work, his distinctive voice shines through. He demonstrates a rare ability to weave intimate storytelling with captivating melodies, creating a track that feels both commercially accessible and genuinely authentic.
“Calm Down” represents Daytes at his creative zenith, pushing beyond his established boundaries and suggesting an exciting trajectory for his artistry. If this single is a preview of what’s to come in 2025, his audience has much to look forward to.
Awaiting Abigail Unleashes Power and Emotion in ‘Bad Mind’
At the beginning of their musical journey Awaiting Abigail releases their first single “Bad Mind” which unites intense rock and metal energy with emotional narration. From their Dallas base the six-piece band creates a powerful song that combines deep emotions with powerful sound.
The song begins with intense dynamic guitar rifts and thunderous drums which immediately create a dark urgent musical background. The song develops its internal exploration through an unorthodox 7/4 time signature which creates a complex rhythm structure. Abigail Hill’s voice takes center stage as she transitions fluidly from soft whispers to strong statements which perfectly express the layered emotional depth of the song’s words.
Each musical segment of this track demonstrates the bands extraordinary connection to their performance. The musical partnership between guitarists Mike Tolfa and James Smith produces complex soundscapes through their use of tender melodies combined with heavy power chord sections.
Each musical segment of this track demonstrates the bands extraordinary connection to their performance.
The foundation of this song rests on Laurie Barnett’s bass and Heather Hammonds’ drums which support every note while Kori Tolfa’s keyboards create an ethereal atmosphere that brings the entire piece to new heights.
The song uses lyrics to present an honest and direct study of mental health. Through the repeated delivery of “everything seems fine, not to my bad mind” the artists portray the split between external appearance and internal mental state that mental illness creates. Through the chorus the band delivers a cathartic moment that uses “one step in front of the other” as a personal mantra which also extends its meaning to universal hope.
The inaugural song from Awaiting Abigail represents more than a debut release because it showcases a deep exploration of human strength and openness alongside the potential to survive personal hardships. This song marks the arrival of an innovative rock and metal group which brings inventive musical elements together with deep emotional impact.
