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A Star on the Rise: Zara DuCrôs Debuts with “Ball Game”

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A Star on the Rise: Zara DuCrôs Debuts with "Ball Game"

Allow me to present to you Zara DuCrôs – New Zealand-raised singer and actress, now based in New York, who has already created quite a stir with her debut release, ‘Ball Game.

What’s dope is that Zara knowingly assumed her mom’s maiden name to be unique in an environment that is saturated with vanilla names. Her work is inspired by real life experiences or people she holds dear, the setting of New York offers her the coolest environment to be creative in.

Music has always been a part of Zara’s culture as soon as it opened its doors to the public. She had this ill Ukrainian piano teacher named Nataliya in her childhood that played a huge role in her sound and love for music. It is possible to see/hear those formative years in her songs.

Talking about that beat, ‘Ball Game’ is a loaded up pop-rock kind of deal, but you ain’t seen nothing yet from Zara. Inspired by such artists as Taylor Swift, Olivia Rodrigo, and The 1975, her development of a new style allows for acoustic and soft vibes to fuse with the harder elements in the most intriguing manner. It means that there are no limitations, there are no guidelines that one has to adhere to when creating artwork.

Listen to Ball Game

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What is your stage name?
Zara DuCrôs

Is there a story behind your stage name?
Well, ‘DuCrôs’ is my mother’s maiden name, and it’s actually one of my middle names. My real last name is ‘Smith’, but I decided against using it given there are already so many prominent ‘Smith’s’ on the entertainment scene. ‘DuCrôs’ also just sounds cooler to be honest, and it’s French!

Where do you find inspiration?
I draw inspiration from a lot of areas in my life, though I primarily find it in the relationships I have or have had with people around me. I enjoy writing about specific periods of my life; thus far it’s usually the most turbulent, change-inducing, or hopeful eras that produce the best music. It helps to live in NYC as well – there’s inspiration everywhere here.

What was the role of music in the early years of your life?
I would say that music was one of the pillars foundational to my life from a very early point. I’ve been singing as long as I can remember, and picked up the piano at age 7. Music, in various forms, whether it was playing Tchaikovsky or singing pop songs in the car with my mum, was the most important outlet for me. It’s always been the way I am best able to express myself.

Are you from a musical or artistic family?
I can’t really say that I am – I’m the only one of my family who has decided on a career in the arts. However, my brother (one of the most talented people I know) is a really talented lyricist. He used to write a lot.

Who inspired you to be a part of the music industry?
This question is hard! I don’t know if there is any one person that inspired me, because I always felt like it was something I wanted to do. Although, one of my best friends (who has a band himself) convinced me while we were still in high school to start doing more with my music, because I was always too scared to. Maybe I could put it down to him!

How did you learn to sing/write/to play?
Singing is something I don’t think I ever learned properly, but I was definitely a part of school choirs growing up. I figured out how to write songs gradually as I entered the teenage years – I taught myself, really just drawing upon my favourite artists as a reference/rubric for what sounded right.

When it comes to playing piano, I grew up with a lovely Ukrainian piano teacher called Nataliya. She was so passionate that it definitely rubbed off on me. I gained classical training with her for a little over ten years – I still think about her a lot and miss those days.

What was the first concert that you ever went to and who did you see perform?
The first concert I ever saw was Justin Bieber’s ‘Purpose’ tour – I was about 13 years old and probably just fan-girled the whole night.

How could you describe your music?
I would describe my music as a blend of pop and punk influences, with lyricism that explores the turbulence of girlhood. This new single has a pop-rock vibe to it, though a lot of my other work I plan to release is more of an acoustic sound – soft pop stretching from a piano ballad to a more folky/indie pop track. I think that my sound will be ever changing!

Describe your creative process.
It definitely differs, though usually I will sit down at the piano when I’m feeling inspired and bang out a song in anywhere between 30 minutes to a couple of days. Sometimes that’s frequent, and sometimes I have huge dry spells. I have a journal that I’m constantly jotting down ideas into – lyrics, concepts, experiences, etc. so when the idea for a verse or a catchy hook strikes, I have the concept ready to go. Or vice versa!

What is your main inspiration?
A lot of things; mostly my relationships with people who are important or have been important to me.

What musician do you admire most and why?
I struggle to narrow that down to one. Lyricism is super important to me – I love clever lyrics. For that reason, I love artists like Lizzy McAlpine, Sophie Holohan, Olivia Rodrigo and Taylor Swift. I also love creative production and am really impressed by artists like The 1975, Del Water Gap and Harry Styles who I feel take risks all the time and make interesting choices when it comes to producing a track.

Did your style evolve since the beginning of your career?
My career is really only just beginning, so I don’t know that I could speak to the evolution of my style. I definitely think that it will in the future; after just my first release I can feel myself wanting to experiment more with my sound.

Who do you see as your main competitor?
I honestly have no idea. The other girlies in pop? I definitely have a lot more to produce before I’m competing at the top!

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I definitely have a lot more to produce before I’m competing at the top!

What are your interests outside of music?
I’m also an actress! I’m frequently taking technique classes and recording self-tapes. I also love team sports, going for nice walks etc. Recently I’ve had a weird obsession with the weather as well that I can’t really justify.

If it wasn’t a music career, what would you be doing?
If not acting, maybe journalism. That interested me for the writing elements – I also think I would have enjoyed being a live-cross reporter on the news.

What is the biggest problem you have encountered in the journey of music?
I think getting over what people might think about what I put out – it took me a while to take the first step, but at the end of the day I’m really proud of what I made, and I like my music! So it’s alright if no one else does.

If you could change one thing in the music industry, what would it be?
I’m not entirely sure. Though if I speak for right now (as in June 2024), I would love to see more fun, dance-able pop music make an appearance. I feel as though as a culture we peaked with summer music in 2016 and it hasn’t been the same since. Less moody ballads (though I do love those) and more upbeat bangers!

Why did you choose this as the title of this project?
The line in the chorus “we’re playing different ball games” seemed to encompass the song best out of them all – so calling the song ‘Ball Game’ felt like the best choice.

What are your plans for the coming months?
I have plans to get the ball rolling on an EP soon; there are a lot of tracks that I am excited to share, so I would love to put out a larger body of work moving forward.

Do you have any artistic collaboration plans?
Not as of yet, though I’ve been meeting a lot of new artists in recent months who are super talented, so who knows! A collab could be on the horizon.

What message would you like to give to your fans?
I’m not sure that I have any fans just yet! But if there are any out there, I would want to say that my goal is always to make music that helps you feel seen. I know how much music has helped me deal with the rockiness of relationships and change throughout the years – if my music can help anyone in the same way it helps me, that would mean the world.

“She’s Got It”: Cybèle’s Empowerment Anthem Steals the Show

"She's Got It”: Cybèle's Empowerment Anthem Steals the Show
"She's Got It”: Cybèle's Empowerment Anthem Steals the Show

As the needle drops on Cybèle’s latest sonic canvas, “She’s Got It,” a whirlwind of empowerment spins through every decibel. Here we have music that doesn’t just walk into your living room; it dances in wearing neon boots and tosses glitter into your soul.

The first note strikes—an electric pulse—melding Dua Lipa’s disco-pop vibrancy with wisps of Michael Jackson-esque theatrics right before plunging deep into something uniquely, irrevocably *Cybèle*. Her vocals aren’t merely emotive—they’re revolutionary war cries from atop velvet mountains, harmonizing both her French finesse and Chinese-American vigor. The track is like flipping pages in an atlas where every nation speaks pop but accents its syllables differently.

But what does she celebrate? Women—their grit wrapped softly under feathers yet fierce as unyielded swords strung across their backs. This songwriter isn’t here to play melodies for you; no, she crafts hymns for inner revolutions birthmarked by dreams so audacious they might scare the stars away if whispered at nightfall.

"She's Got It”: Cybèle's Empowerment Anthem Steals the Show
“She’s Got It”: Cybèle’s Empowerment Anthem Steals the Show

This release marries cinematic production—a grandeur only matched by Cybele’s committee-meetings between Berklee College studies and Harvard debates—with streetwise whisperings about homelessness or pink ribbons twirling against cancerous indifference concerning women who fight endless odds each day without losing rhythm!

It finishes not with a bang nor whimper but rather as rivers meld back quietly after nourishing earth: empowering manifestations encased within rhythms anyone can echo out loud! A powerful testament — joyously complete.

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…real love’: Silja Rós’ Soulful Tribute to Youthful Freedom

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‘…real love’: Silja Rós’ Soulful Tribute to Youthful Freedom

Ok, let me introduce you to this incredible all-rounder direct from the beautiful country of Iceland – Silja Rós. This chick is the total package, incorporating dancing into her singing, acting, and even writing songs in a way that will amaze you.

Such a sound matches the uniqueness of Silja; her music can be best described as R & B, alternative pop and soul. Influenced by Sade jazz taste and Erykah Badu soul, but one cannot mistake her for anyone else other than Silja. If you take a closer look at her references like Jacob Collier, Olivia Dean, Frank Ocean and so on, everything is clear.

After the success of the EP known as “The way u. . . ,” Silja is back with her new single ‘ … real love’ and it is about to become your new favorite summer hit, fam. This is an ultimate disco track that hypnotizes with its beats and feels like a perfect soundtrack for the youth of the 80s and 90s.

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This is an ultimate disco track that hypnotizes with its beats and feels like a perfect soundtrack for the youth of the 80s and 90s.

Silja Rós states that ‘…real love’ is about her experience living in Los Angeles in a colorful apartment full of people like the popular show *Friends*. The song is about the happiness and the liberty of the warm summer days well spent with friends, chasing dreams and having fun.

It is not just the atmosphere of the track that catches the listener’s attention but also Silja’s mellow voice and these jazzy groovy rhyms right from the beginning of the song. That awesome bass beat and the warm Rhodes piano gives this track this laid back, cool, pure vibe feel.

In conclusion, real love’ is so much more than just a song – it’s an incredible and inspiring piece that would never cease to be popular among people of various age. Silja has created a true gem of a song that is going to be the summer anthem and encourage everyone to embrace the little things in life, true friendships.

Listen to …real love below

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A Decade in the Making: TONYT’s Explosive ‘Revolving Doors’

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Let me put it simply – when you listen to TONYT’s latest single ‘Revolving Doors’ you would not be wrong to assume it is a track from a full band with several musicians. First things first, you are met with the first chord progressions that immediately remind you of early pop-punk from the 2000s.

The breakdown towards the end is heavier and more aggressive for a metal band here and now with these killer electronic elements and synth lines occurring here and there. All in all, it is a deliciously dynamic and multifaceted ride and its complexities make it a roller coaster ride all the way.

This track gets straight to the topic that is most contemporary to the United Kingdom, given the circumstance of the impending election. How it reflects the current culture and mood, kind of like a soundtrack to the crazed political climate people are experiencing at the moment. Talk about depth!

And you know what? The story of creating ‘Revolving Doors’ is as surreal as the tune of the song. When Tony and Josh recently discovered a demo they recorded while in college over a decade ago, they took over a year to pass ideas back and forth to each other before the creation of this project from two ‘hyperactive’ friends. That constant to-ing and fro-ing has paid off big time and what we get is a track that is well thought out and yet it is raw with energy.

Moving forward, the guys are already planning strategies to adapt “Revolving Doors” to a stage performance with an album release, live sessions, music videos, and remixes on the horizon. They’re sure to knock the roof off!!!

All in all, ‘Revolving Doors’ is nothing but another testimony on TONYT’s capacity of integrating all those different musical jigsaw puzzles into one coherent, engaging and not to mention catchy musical piece. It is a track that reflects the turbulent nature with which it was recorded, and the turbulent political climate it discusses, all the while being one hell of a fun, explosive, and powerful alt-rock song. Watch these two: they are only beginning to blaze new trails and cause ripples in the industry.

Listen to Revolving Doors below

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From Retro Roots to Futuristic Flair: Exploring Carsten Schnell’s ‘Heiss!’

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From Retro Roots to Futuristic Flair: Exploring Carsten Schnell's 'Heiss!'

I’d like to introduce you to this amazing artist in electronic music scene – Carsten Schnell who has been producing those mind-blowing tracks since 90s, and recently came up with this track named – “Heiss!”this jam is a straight up lesson on how to mix the old school vibe with the new school rhythm that will keep heads nodding cross generational boarders.

“Heiss!” starts with these arpeggiated rhythms that would remind you of those days of synthesizers from Roland and Yamaha. And just as one thinks he’s seen it all, one wakes up to this!He comes at you with these orchestrated, modern broke beats and electronic dance music elements that make the song fresh.

Like an adrenaline rush that lasts just a few minutes, “Heiss!” is still packed with hooks, and been given Carsten’s trademark radio-friendly sheen, without losing any of its depth and dynamics. It has an incredible beat, the rhythm is perfect, and it has an energy that is perfect for playing in clubs as well as listening to when compilation is being made.

Carsten is a magician at combining people and robots as features, and the manner he incorporates these futuristic vocal inserts to “Heiss!” lends the number a sci-fi feel that is rather fitting.

But here is where “Heiss!” gets really exciting – the name of the show means “hot” in English and one can draw a conclusions that the creators of the show were referring to climate change. During you are dancing the night away to the catchy beats, Carsten calmly reminds you about global warming and the effects of people on the environment. Genius, right?

It’s, perhaps, a perfect blend of his pioneering work and his predisposition to exploring uncharted territory within the electronica sphere. This track helps to preserve his creativity to the maximum, and to introduce himself to the modern listeners as an innovative musician. Be prepared for some fun, tears and motivation – all at the same time!

Listen to Heiss! Below

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Andrew Caryl Soars in ‘Secret Place’ with Human Without Gravity

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Okay, music lovers, I have a special one for you today – the details about “Secret Place,” this new spooky, but gorgeously moving track. It is a work of Andrew Caryl and a talented artist from Belgium, Human Without Gravity, whose real name is Lieselotte Verrecas.

With its focus on peace and solitude, “Secret Place” captures the desire each of us has for an oasis from the rigors of life. Lieselotte sings the most heavenly operatic soprano over these fat booming piano notes that wrap around your head like a blanket. It’s their musical therapy, the medicine for the ears, you feel me?

The story of the song is so familiar too. Lieselotte was a resident of a big city that was full of noise and she began to yearn for quiet. In her own words, “I always thought, ‘I wish I had a secret place. ’ . . . ” And that was the inception of this heart-touching piece.

Andrew’s brilliant mixing and mastering enhance Lieselotte’s poetic, reflective lyrics, and the songs’ healing nature is undeniable. When I spoke with dude, he shared with me all of the juicy details : his numerous musical inspirations, his foray into the production booth, his opinion on how the music business is moving.

You’re going to want to hear what Andrew has to say and how he and Lieselotte harnessed that desire for calm in creating their new musical sanctuary. Don’t miss the opportunity to go behind the scenes of “Secret Place”.

Listen to Secret Place below

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What is your stage name
Andrew Caryl
Human Without Gravity

(Human Without Gravity is the artist on this track, and Andrew Caryl is the co-writer and producer. The questions are being answered by Andrew Caryl)

Where do you find inspiration?
As a producer first and an artist second, I mainly look for artists and songs that are what I refer to as “within the 4 chords” – a reference to the spaces just ‘outside the box’ If you place a square inside of a circle so that the corners of the square touch the inside edges of the circle, you end up with 4 semi-circular spaces surrounding the square.

In the world of mathematics, each of these spaces is called a chord. I find that songs and artists that fit into these spaces – not middle-of-the-road pop-hit stuff, but also not way out there either. That is hard to find. That is what inspires me. It’s not about genre. It’s about finding a unique sound in a world full of copycats. When I find them. I jump at the opportunity to produce them.

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I find that songs and artists that fit into these spaces – not middle-of-the-road pop-hit stuff, but also not way out there either.

What was the role of music in the early years of your life?
I started playing trumpet when I was around 8 years old. That was influenced by my grandfather, who was a big fan of Dixie-land jazz. My mother was the president of the Barry Manilow fan club, so we went to a lot of Barry Manilow concerts. As a reward for my tolerance of all that, she would let me pick a show from time to time that I wanted to see.

I’m dating myself a bit here, but some of my first concerts were KC & The Sunshine Band, Iron Maiden, Kraftwerk, and Howard Jones – a crazy wide love of music across multiple genres. By my early teens, I had discovered electronic music. I studied music theory and composition at university. I have been writing and producing ever since.

Are you from a musical or artistic family?
Not really. There aren’t any other musicians or artists in my family, but my parents and grandparents were massive fans of music. Their love of everything from jazz to rock really influenced me. It helped me understand that just because I don’t ‘like’ a song or an artist doesn’t mean it isn’t good. It taught me to listen to everything with an open mind.

Who inspired you to be a part of the music industry?
My old friend Steve Thompson. He is also a musician and former band-mate. He reached out in 2020 during covid. We all had plenty of time on our hands, and he thought we should get a remote/virtual band together and record cover songs for fun. He called it ‘The Distance Blues Project’. We recorded a few songs that summer.

It forced me to get my ‘chops’ back on the keyboard. It inspired me to start writing again. This is when everything took off. I started meeting some really talented singers and other producers and working with them. I found that what I really loved was the technical aspect of music production. So I dove in head first. I’m still learning.

Everyone is still learning. But after landing a song as a finalist in a pretty large songwriting competition, I gained a lot of confidence that I was good at it. This all started with a phone call from Steve in early 2020.

How did you learn to sing/write/to play?
I’m not proficient at playing any instrument. I can play just enough keys or guitar to accomplish what I need. I don’t really sing much, but when I do, it’s a style I developed a long time ago. I think I have a terrible voice. So I had to find a way to create a sound that would work and would sound cool. So, when I do sing, it sounds a bit like Trent Reznor but with more distortion. Mostly, I rely on working with other singers who can actually sing!

What was the first concert that you ever went to and who did you see perform?
I’m dating myself again here! The first concert I ever attended was Barry Manilow because my mother used to take me to every Manilow show she could get to. But the first concert I ever bought a ticket to was KC & The Sunshine Band. My first record was a gift from my grandparents: Johnny Cash’s ‘Live at San Quentin.’ I have a huge love of music across all genres.

How could you describe your music?
‘Secret Place’ with Human Without Gravity, for a moment. Lieselotte (Human Without Gravity) writes melancholic pop music about being human and the disappointment that often comes with being human. She’s very introspective. With songs like ‘Greed’, ‘Drinking Tea With Demons’, ‘Storm’ and ‘Secret Place’, she has a voice that pulls you in and makes you listen to what she has to say.

Describe your creative process.
I always start a song with a beat or melody that I love. Then I build around it. When I create something that seems to be working, I’ll then start thinking about the subject matter, lyrics, etc. and build out the rest of the production. Depending on how the song evolves, the genre, etc. I’ll then start looking for a singer. Or, in the case of my personal projects as Darren Vader or dilemma sect, I’ll record the vocals myself.

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Human Without Gravity, whose real name is Lieselotte Verrecas

What is your main inspiration?
Nature. Mother nature is fascinating. Full of beauty. And full of life. And full of mathematics. Everything comes down to numbers and patterns. I really get inspired during those rare moments when I can sit in silence in a quiet place outdoors. Just last week, I was on a pretty secluded beach. The wind and waves. Man, it’s so rhythmic and soothing. The same thing happens in the forest. I love sitting alone in the forest. The wind flows through the trees. It’s truly musical; and magical. Those are the times that I come up with the best ideas.

What musician do you admire most and why?
This is a tough one. I admire so many. But right now I;d have to say it’s a tie between Post Malone and Tayler Swift. Yes, both in the pop genre. or country. I guess that depends on the day of the week. But that’s what I love and admire about them. Post Malone was able to to bring his fans into hip-hop, pop, and country music all at the same time. I really love that he doesn’t have to pigeon hole himself into a single genre. he’s teaching listeners that genre doesn’t really matter. I think that is awesome.

Did your style evolve since the beginning of your career?
Absolutely. My early songs sucked so bad. I mean really bad. And the production. wow. so bad. And it was very stiff and electronic. I learned to produce with a more human feel as I developed my own sound as a writer and performer. I started listening to everything. For a while, I couldn’t figure out how to rectify my love of everything and turn it into a production process that made any sense. But now I think I am figuring that out and am developing a production style that I like.

Who do you see as your main competitor?
I don’t think about ‘competition’ at all. Everyone is unique and everyone brings something great to the table. So I don’t think about it as competition. In fact, collaboration is the key in today’s music industry. If you are collaborating and making friends in the industry, you probably won’t get very far. It’s not just about business either. It’s about human connection and understanding that we all have great things within us. Everyone has a unique view that can make a project great.

What are your interests outside of music?
I love to travel. I love meeting people and experiencing new cultures and ways of life. I also love college football and motorsports.

If it wasn’t a music career, what would you be doing?
I’d probably be a magician or a circus clown. Maybe a river rafting guide or an interior decorator. So many possibilities!

What is the biggest problem you have encountered in the journey of music?
Income. It’s really hard to make a living in the music business. It’s become a lot harder with the advent of streaming services and the lowering of the attention spans of the younger folks. Everything with the fans who buy music is increasingly driven by social media. They don’t seem to be experimenting with new music nearly as much as I did when I was younger. They prefer to only listen to what their friends are also listening to. This makes it harder to build a fan base and breakthrough as a new artist.

If you could change one thing in the music industry, what would it be?
I would get rid of music streaming. Sure, it provides a platform for anyone to release music, but it has also completely changed the landscape of how an artist makes a living.

Why did you choose this as the title of this project?
‘Secret Place’ was born through the experience that Lieselotte (Human Without Gravity) had while living in a big noisy city. In her words, “It was never quiet, which stressed me out because I really needed a place where I could find some peace. I always thought, ‘I wish I had a secret place…’ And that’s how the song was born.”

What are your plans for the coming months?
I hope to work with Human Without Gravity on another project very soon. in the mean time I am working on an EP with London-based artist Shea, an acoustic EP with Louisiana-based singer Richard Guidry, a couple of upcoming tracks with Florida-based singer Melanie Joy Wilpon, recording a new album with my alter ego ‘dilemma sect’ and focusing on projects for TV and film.

Do you have any artistic collaboration plans
You bet. I am always collaborating. I have projects in the works with Shea, Richard Guidry, Melanie Joy Wilpon, Okafuwa, Robbie Rosen, and Alessa, among others. I thrive on collaborations.

What message would you like to give to your fans?
I really love the folks who follow the music that I help create. If they follow me, then they have a wide range in musical tastes. I appreciate them so much! I always say “Don’t let genre define you or what you like. Be you. Be yourself. Explore.”

Peter Daniel’s Quartet Delivers a Jazz Masterpiece with ‘Miles Around’

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I recently had the opportunity to chat with Peter Daniel, a very talented Seattle-based saxophonist, and composer who recently released his new single called ‘Miles Around’ which is from his complex and innovative series called ‘Quartets.

For this one, Peter got together an amazing cast: Marina Christopher for bass, Marina Albero for Fender Rhodes, and Heather Thomas on drums. Together they make this great, full bodied jazzy sound that just engulfs you. The musicianship is exceptional but it’s Peter’s artistic direction and the chemistry that makes “Miles Around” an entirely different ball game.

Today, Peter’s musical odyssey is as diverse as can be. He has supported electronic dance music artists, explored funk and soul for ten years, and trained as a jazz musician. Those manifold inspirations amalgamate into his completely distinct style as both a composer and a performer.

I wanted to get an insight into his creative process, his artistic progression and his experiences during his journey towards pursuing music full-time. He also talked about his first musical influences, the events that made him decide to dedicate to music and his philosophy of always working with other artists.

Picking Peter’s brains was enlightening and gaining insight into the current jazz scene that he has emerged as such a passionate advocate for was amazing. He has so much to tell and it seems like a genuine passion for teaching – tune in for more of the details!

Listen to Miles Around

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What is your stage name
Peter Daniel Quartet

Where do you find inspiration?
My education was primarily focused on jazz, and I have been exploring the funk/soul world in depth for the past 10-12 years. I have also had the privilege of a very diverse career, backing up EDM bands, latin jazz and pop artists, hip hop and indie rock icons and everything in between, so some of the lessons I learned there make their way into this music.

What was the role of music in the early years of your life?
I’ve been playing since the 5th grade and immediately took a strong interest in music. I found myself in jazz band in middle and high school and took a lot of inspiration from my music teachers. My middle school band director, now retired, actually came to one of my shows last year; it was great to see him.

Who inspired you to be a part of the music industry?
I didn’t embrace music as a profession and full time pursuit until I was already in college studying a science degree. I had friends in high school who were similarly motivated and through them we encountered some of the players on our local scene: guys who didn’t have a recognizable name but were making their living through music.

This was an eye-opener for me, that there was this class of musician in between hobbyist and playing two nights at Jazz Alley. I also got a lot of encouragement from my private teachers both in high school and college who helped assure me that I had what it was going to take.

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I didn’t embrace music as a profession and full time pursuit until I was already in college studying a science degree

How did you learn to sing/write/to play?
I learned writing like most skills are learned: trial and error. This is a large collection of recorded music that I’m proud of, and the road that lead to it is paved with many more compositions that no one will ever again hear played.

I tried to pay attention to songs I liked and then break them down to figure out what specifically about them I was drawn to. Through that process and through feedback from bandmates (writing for instruments you don’t play involves a learning curve) I have developed my voice as a composer and arranger.

What was the first concert that you ever went to and who did you see perform?
One of the earliest I can remember is Wynton Marsalis with Jazz at Lincoln Center on tour in Seattle, it must have been in the early 90s. I can’t remember what the venue was, I was in 3rd or 4th grade. And while I can’t remember any of the music they played, I can remember how the music made me feel, how excited I was, and how bright the stage and the band was.

How could you describe your music?
It’s a mixture of jazz and funk with influences from pop music. Maceo liked to say his music was “2% jazz, 98% funky stuff.” We’re probably closer to a 50/50 ratio.

Did your style evolve since the beginning of your career?
Absolutely. As what you might call a session or studio musician, I find myself performing in a wide variety of styles, each of which informs me in a different way. As I progress, these influences grow and change in various ways. Also as I continue to grow and improve as a saxophonist, what is available to me changes and what I can produce grows as well.

What are your interests outside of music?
It’s a bit of a cliche around the Pacific Northwest, but I like being outside. My wife and I love multi-day backpacking trips into the North Cascades, and we’ve taken our daughter camping several times a year.

What is the biggest problem you have encountered in the journey of music?
The industry is constantly changing. It is now easier than ever to create and distribute music which is both a blessing and a challenge. The barriers to entry have been severely reduced so any artist who has something to say can find a way to say and share it without having to convince the former gatekeepers of the music industry.

However this leads to a flooded market with an unimaginable number of artists and songs to contend with if you want people to hear your songs. Finding your voice, finding your audience, and effectively connecting to them have always been surefire ways to succeed, but how those are executed requires a wide variety of new skills in order to catch the eye: photography, graphic design, video editing, etc. are all now necessary for musicians or their teams, with more resources and platforms every year. It’s a lot to keep on top of.

Why did you choose this as the title of this project?
When I formed this quartet I was in a number of regular bands and found myself playing with the same two dozen or so people. There are a lot of great friends and players in the Seattle scene and I wanted to create a context to play with a lot of them, so I started a group that intentionally rotated players.

The album features 4 different rhythm sections comprised of some of the players who were on regular rotation so I called it “Quartets.” One of the early iterations of the band was Heather Thomas on drums, Marina Albero on keys and Marina Christopher on bass and I really enjoyed the sound of that lineup, so it was important to me to get this version together once it came time to record.

What are your plans for the coming months?
The album will be out later this year, likely in the fall. To keep up with all the news, head to www.peterdanieljazz.com

Do you have any artistic collaboration plans
I will be at Timber! Fest this July in Carnation, WA where I will be launching the Peter Daniel Horntet. We are working with a number of artists at that festival including Dean Johnson and Kate Dinsmore, and I’m hoping to expand the collaborative work of that group in the years to come.

What message would you like to give to your fans?
Thanks for all your continued support! We are nothing without our community, and I am truly humbled by the one I have assembled here.

“Checkmate In Two Donnie”: THE HYBRIS Strikes Again

“Checkmate In Two, Donnie”: THE HYBRIS Strikes Again
“Checkmate In Two, Donnie”: THE HYBRIS Strikes Again

“Checkmate In Two, Donnie,” by THE HYBRIS is their latest outcry, a track that doesn’t merely ripple but rather tsunamis through the placid waters of contemporary rock. Here in this audial cosmos, we meet again our indefatigable trio—Ringo Rabbit, Beanie Bison, and Malcolm Mandrill—who don their capes not just for show but as armor against societal decay.

Wielding guitars like swords and lyrics sharper than a scalpel’s edge laced with lemon juice and salt—painful yet cleansing—the band from alt-rock’s whimsical corner hurtles toward us on steeds made of distorted chords and pulsating drumbeats reminiscent of ’80s punk spirits dancing under discolored pop art skies.

In “Checkmate In Two, Donnie,” one can almost see these fine superheroes poised over a darkened chessboard sprawled across an alleyway where shadows whisper secrets. Each checkered move narrates tales: thwarting the knavish dash to power by figures veiled behind masks not as charming or benevolent as theirs. It’s all at once a murky fairytale illuminated by fireflies trapped in old jam jars—a beacon for those navigating the foggy streets besieged by political ghouls.

“Checkmate In Two, Donnie”: THE HYBRIS Strikes Again
“Checkmate In Two, Donnie”: THE HYBRIS Strikes Again

Imagine if superheroes didn’t swing between skyscrapers but straddled bass drums projected towards horizons tinted by neon rebellion—you’d get close to what THE HYBRIS conjures here. As they crisscross continents—from Nice to L.A., tipping hats off in Cologne—their anthemic resonance echoes within earshot; it reshapes silences into discussions infused with purpose beyond beats per minute; it sparks dialogue seasoned generously with disgust yet anchored firmly in hope—it is very much ‘hybris’, daring greatly despite risk of descent.

As “Checkmate In Two” murmurs its last note amidst electronic applause fabricated from yesteryear claps salvaged from vinyl grooves long thought forgotten—remember this: You’ve journeyed through more than just sound waves; you’ve surfed upon rip currents aiming boldly for shores unknown.
Keep your ears tuned; there’s still more heroism left in these valiant misfits capable of upsetting popular musical myths—with every chord struck stirring revolution one riff at a time.

Follow The Hybris on Website, Twitter, and Instagram.

Heartstrings and “Saviours”: Guillem Gené Latest Tune

Heartstrings and “Saviours”: Guillem Gené Latest Tune
Heartstrings and “Saviours”: Guillem Gené Latest Tune

In the velvety darkness of Guillem Gené’s latest single, “Saviours,” one can almost feel the tender bruising of a soul yearning for daylight. This Barcelona troubadour, with his strings soaked in rue and honey, plucks more than just tunes—he pulls at the very sinews that tether hearts to bodies.

“Saviours” is a folk-pop lullaby that whispers secrets the night sky has held too long in her star-studded throat. It is as if each note were frolicking across dew-dampened cobblestones, chasing shadows back into the penumbra of forgotten loves and resurrected hopes. Here lies not just music; here beacons a journey from gloam to gleam carved out by chords that seem forged in earnest vulnerability.

Could it be possible that every strum beneath Guillem Gené’s fingertips breeds kaleidoscopes inside our chests? His previous harmonies — “Stand” and “Tamed”—led us through heart-spun mazes, yet “Saviours” aims for something wilder: an anthem for those battling their inner nightfall. Listening feels like watching dawn break over mountaintops known only to those brave enough to weather nature’s caprices.

Heartstrings and “Saviours”: Guillem Gené Latest Tune
Heartstrings and “Saviours”: Guillem Gené Latest Tune

The lyrics serve as slender threads sewing patches of light onto dark canvases—hope quilting prayers into war-torn cloaks worn through seasons of solitude. The song fosters belief in redemption and love’s transformative power with its melodic pulses reaching out like hands hopeful for human touch amidst fog-thick despair.

Simple though it may sound—for what are words against such raw emotion—“Saviours” reaffirms why we cling to melodies when waves crash hardest against our hulls.

Follow Guillem Gené on Website, YouTube and Instagram.

The House Flies Buzz with ‘She Hums Mozart’

The House Flies Buzz with 'She Hums Mozart'
The House Flies Buzz with 'She Hums Mozart'

The ethereal sigh of The House Flies’ new single, “She Hums Mozart,” seems to weave spider webs between reality and a windswept dreamscape where notes from a forgotten opera drip like thick, candle wax off celestial bodies. Alex Riggen’s voice haunts this track with the ghostly precision of a misty figure wandering through an ancient hall; all while dream-laden guitars erupt quietly into frenzies only to descend into melancholic whispers that seem stolen straight from the lips of siren calls lost at sea.

Here, amid shoegaze swirls and gothic whispers, you find yourself abducted by sound waves surfacing suddenly out of the dark post-punk waters. It is as if every string plucked sends ripples through time itself—back when Mozart reigned supreme—for here his spirit gets trapped under layers of grunge distortions orchestrated by Nick Pompou’s thumping drum beats that resurrect old gods long thought asleep. Ozzie Woods’s bass lines are not merely played but seemingly dropped from great heights onto unsuspecting symphonists below.

In “She Hums Mozart,” one swims through shivering reverberations—a sonic drowning clothed in airy veils; every note folds upon itself becoming echo devoid of origin yet full with intent; forever stretched on a timeline lacking finitude or margin. There exists within these bounds no clear delineation between waking life and nocturnal fantasy—even absence has substance as you wade further into their densely packed fever-dream forestry.

The House Flies Buzz with 'She Hums Mozart'
The House Flies Buzz with ‘She Hums Mozart’

Yet it beckons—the promise whispered subtly atop fog-strewn landscapes carved meticulously over previous work such as ‘Glimmer’. The project promises more: enticing us forward towards impending edifices named “Mannequin Deposit”. Here they stand—musicians cast against their own looming creations—an ensemble clad in echoes assuming shapes before dissipating fully upon audience gasps.

With “She Hums Mozart,” The House Flies offer up throbs and thrashes structured deceptively simple while daring listeners to unravel complex melodies disguised beneath intentional hauntological static—a beautiful séance spun cunningly around delicate shadow play meant for pondering long after final notes diminish gently like October dusk silently whispering over desolate moorlands.

Simple conclusion? This musical phantasm deserves your ears—and perhaps even parts unknown.

Follow The House Flies on Website, Instagram and Facebook.

Cian O’Donoghue: The Indie Pop Sensation on the Rise

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Cian O’Donoghue: The Indie Pop Sensation on the Rise

You’ve gotta check out Cian O’Donoghue – this dude is something else, hiskiller tunes are giving me all the feels lately. He’s an indie pop singer-songwriter with a super chill, acoustic vibe, but also some funky flair that’ll get you grooving. Think Ed Sheeran meets The Neighbourhood with a Charlie Puth twist.

His new single “Read Your Mind” is an absolute jam, all about the butterflies and over-analyzing that come with catching feelings for someone new. The smooth guitar riffs, soulful backup vocals, and relatable lyrics make it impossible not to smile and sing along.

I’m low-key obsessed and can’t wait to hear what Cian has in store for 2024 as he drops more tracks and hopefully hits the road for some live shows. He just has this raw, personal touch to his music that really resonates, you know? Let me give you the full scoop on his inspirations, creative process, and how he got to where he is today making these infectious indie pop gems.

Listen to ‘Read Your Mind’ below

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What is your stage name
I just go by my name Cian O’Donoghue, I feel it’s more personal that way – I have no ‘persona’ or act, I’m just me.

Where do you find inspiration?
My biggest inspiration right now is Quinn XCII, I feel like his energy can be felt through my newest song, ‘Read Your Mind’ – I love the grooves and hooks in his music, combined with the often-sad subject matter it’s such a great juxtaposition. For Irish artists, The Script and Gavin James influenced my early years massively, and I feel like their influence is still there.

What was the role of music in the early years of your life?
Being a musician was the dream I had from an early age, along with being a footballer, rugby player, and every other sport! As I slowly gained the self-awareness to realise my complete lack of sporting ability, music seemed to be the one dream that never left.

Are you from a musical or artistic family?
There’s music in both my parent’s families. My father’s family are very musical, every family gathering the guitar comes out, and everyone does a song or 2, with everyone else joining in. The same can be said on my mother’s side although to a lesser extent – still some fabulous musicians and the late night sessions are always great.

Who inspired you to be a part of the music industry?
I suppose seeing the script play live would have had a huge effect on me – I was 12 and it was my first ever concert. They were the band that captured my heart at a young age. While I was always playing music, it was from that moment where I started writing music.

How did you learn to sing/write/to play?
I was taught classical piano from the age of 6, but I always wanted to transition to playing chords and singing along – I spent a lot of time figuring out songs by ear and playing them myself, which has become a massive part of my producing skill. Lets just say I’m very thankful that my younger self was too stubborn to look up the chords for songs online!

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I was taught classical piano from the age of 6, but I always wanted to transition to playing chords and singing along

How could you describe your music?
I always find these questions so hard – I would say pop, mixed with funk and RnB. I tend to not try follow ‘tropes’ (other than whatever I write being in the pop world), I just go with the flow. I love to write happy songs, with nice grooves, Because that’s the music I like to listen to the most – When I put on my headphones, most of the time I want to be fighting the urge to dance in public.

Describe your creative process.
Songs always start as chord progressions for me, as that’s where I honed my skills as a child desperately trying to figure out the chords of my favourite songs. Once I’m satisfied with the chords, I’ll find some melodies on top and then the lyrics come last. As a producer, I rarely produce first which is interesting – I might find a cool synth sound and a drum loop to write to on my keyboard/synthesiser, but that’s as far as I go – Generally, once the song is done, then I start producing.

What musician do you admire most and why?
I probably admire Quinn XCII the most for his ability to combine hiphop and pop so seamlessly and write the most amazingly catchy hooks.

Did your style evolve since the beginning of your career?
When I started writing, it was of course ed Sheeran, singer-songqwriter sad vibes! I feel like every pop musician starts somewhere around there, although I did have a healthy dose of The Script and Gavin James in there too.

When I started producing it became Charlie Puth , as he also produces his own stuff, and I loved his synth work. Now more recently, It has ranged somewhere between Post Malone, The Weeknd and Quinn XCII, largely synth based but with more guitars entering the fold more recently.

Who do you see as your main competitor?
The Tiktok and Spotify algorithm! Its so hard to get out there when there’s so many people just like you trying to do the same, but I focus on my problems with the platforms rather than other musicians!

What are your interests outside of music?
Outside of music, I love football (soccer depending on where you’re from). I’m a big Liverpool fan. I love a bit of UFC, Golf, Rugby and Formula One too, so my weekend generally consists of watching various sports. After that, finding time for my friends, whether were playing golf (terribly), football (terribly) or just going for some drinks.

If it wasn’t a music career, what would you be doing?
I love teaching so if music teaching counts then that’s where I’ll be!

What is the biggest problem you have encountered in the journey of music?
It’s the promotional side – I have too much Irish catholic guilt to truly ‘sell’ myself well enough!

If you could change one thing in the music industry, what would it be?
The salaries! But in all honesty I try avoid these questions – ‘It is what it is’ is the most overused phrase in the world, but I rather just deal with the facts, and deal with the situation as it is rather than wishing for a change I know I will never have the ability to make.

Why did you choose this as the title of this project?
As I was writing the song with my good friend Molly Cartwright, Read Your Mind just naturally appeared to become the hook of the song, and I find it encapsulates what the song is about – ‘What the hell is going on in the other persons mind, cos I haven’t a clue’

What are your plans for the coming months?
I have a lot of projects for other artists like DAWNA, Jamie McIntyre and Michael Runswick to name a few. I’ll be going away in July which I’m looking forward to!

Do you have any artistic collaboration plans
I am currently working on a song with a Belgian artist Nina Dewachtere, the song is still in its early days but I am very excited for it, so hopefully we will release it this year!

What message would you like to give to your fans?
Thanks for the support, and there’s a lot more to come!

Breaking “The Drought” with Drue & The Millions

Breaking “The Drought” with Drue & The Millions
Breaking “The Drought” with Drue & The Millions

In the parched abyss of modern soul, Drue & The Millions emerge like a raincloud heavy with promise, dripping melodies onto thirsty hearts. Their latest single “The Drought” captures loneliness with such honesty it’s almost scandalous—like peeking through a crack in someone’s armor only to find galaxies swirling inside.

Einav Cohen sings not just with her voice but her marrow. There’s something primally cathartic as she belts out lyrics that tug at the frayed cables of our own desolation. You can hear echoes of Ella and whispers of Badu, yet Einav is startlingly original – a phoenix crooning from its ashes rather than merely rising.

Turning to the music itself – imagine jazz had a love affair with R&B on pop’s sumptuous sheets; that’s where you’ll find Drue & The Millions’ sound nestled. Each note Guy Herling coaxes from his keys seems dipped in sepia-toned memories while other musicians stitch these into rich tapestry beneath Cohen’s vocals — creating an aura both retro and urgently now.

Breaking “The Drought” with Drue & The Millions
Breaking “The Drought” with Drue & The Millions

As for “The Drought,” it feels less like a song and more an exorcism—of sorrow, isolation, all set against the haunting balm of their melodious craft. The track isn’t just heard; it resonates within your ribcage as if hitting some universal frequency that mends cracked souls.

Thus breaches forth “About Time,” looming on life’s horizon—a debut album promising further journeys across emotional landscapes carved over eight long years under spotlight soliloquies.

Breaking “The Drought” with Drue & The Millions
Breaking “The Drought” with Drue & The Millions

Simple truth? “The Drought” isn’t mere music—it’s moisture in melody form for anyone feeling too brittle in their human beingness.

Follow Drue & The Millions on Facebook, Bandcamp, YouTube, and Instagram.

A Call for Peace in ‘Red, White and Blue’ by FireBug

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A Call for Peace in 'Red, White and Blue' by FireBug

Have you heard FireBug’s powerful new rock anthem “Red, White and Blue” yet? This Southern California duo has been cranking out gritty, bluesy riffs for years, but their latest single takes on a whole new level of meaning and passion.

For Jules and the FireBug crew, “Red, White and Blue” represents a rallying cry for unity amidst all the toxic division plaguing America recently. The hard-hitting lyrics pour straight from the heart, touching on how everyday people from all walks of life are dealing with the same struggles and shouldering the same burdens. Jules’ soaring vocals echo with the simple but vital message – at the end of the day, we’ve got way more in common than what separates us as a nation.

But “Red, White and Blue” isn’t just words. From the first thunderous drum beats that hit like a colonial-era battle cry to the scorching guitar melodies and driving basslines, this is a full-blown rock ‘n’ roll assault on the senses. At times it feels like an unholy collision of The Cranberries’ haunting vocals and Janis Joplin’s raw firepower.

Having a studio legend like two-time Grammy winner Adrian Bushby behind the boards doesn’t hurt either. The guy who’s worked with Muse and the Foo Fighters brought his magic touch to “Red, White and Blue,” injecting FireBug’s bluesy backbone with punchy modern production that makes every component pop.

For a band that rose up from playing local dives to iconic stages alongside legends like Iggy Pop and Iron Maiden, “Red, White and Blue” feels like the perfect next step in FireBug’s journey towards mainstream transcendence. This is a song that deserves to be screamed from rooftops and airwaves across the entire divided union.

More than just a killer rock track, it’s a galvanizing reminder that even as we’re bombarded with hate and negativity, there’s still a unified community out there striving towards hope. If you’re searching for the light in these divisive times, “Red, White and Blue” is one helluva inspirational lighthouse.

Listen to Red, White and Blue

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Songkick

Luminous Ballads: Laura da Sousa’s ‘Dark Moon’ in Focus

Luminous Ballads: Laura da Sousa's 'Dark Moon' in Focus
Luminous Ballads: Laura da Sousa's 'Dark Moon' in Focus

In the silvery slip of twilight that is Laura da Sousa’s “Dark Moon,” there exists a peculiar and enveloping world—akin to stepping into a reflection on a still pond under the unyielding gaze of night’s new moon. Here, in her latest concoction, classic country twangs weep like willows beside audible gasps of Patsy Cline’s heartache and Emmy Lou Harris’ soulful defiance. It is as if June Carter threw her laugh into the ring while Johnny Cash’s shadow loomed over softly strumming guitars.

The song itself—a tapestry woven with threads glowing from lunar inspiration—is pregnant with an emotional resonance so palpable it nearly outshines its own muse. “Dark Moon” isn’t merely an ode to celestial wanderings; it’s an audacious dive into the turbid waters of personal recollection and universal mythology where every chorus feels both hauntingly familiar yet sharply fresh.

Each melody in Sousa’s arsenal tells tales not just sung but felt—the kind of feeling you get when cold wind pierces warm skin, shocking your system into reverent awareness. The soundscape painted by these tender ballads breathes life into this ethereal love story between artist and astral body, grounding cosmic wonderment with earthen roots carved deep within country soil.

Luminous Ballads: Laura da Sousa's 'Dark Moon' in Focus
Luminous Ballads: Laura da Sousa’s ‘Dark Moon’ in Focus

Moreover, “Dark Moon” doesn’t solely sing—it echoes through corridors long forgotten; each note a footstep leading back to melodies bolstered by tradition but defiant enough to forge paths aflame with innovative fervor—and always underscored by Laura’s powerful vocals that manage somehow to whisper confessions bold as brass.

Indeed! In taking arms against the omnipresent pull of mainstream cacophony, Laura da Sousa proves herself again as craftsman whose chisels are lyrics sharp enough cut through stardust fabric stretched across our acoustic universe. With ‘Dark Moon,’ she captures more than songs: she traps magic betwixt beats—an alchemist turning melancholic rhythms golden; an adventurer mapping constellations not yet dreamed up.

Simply put—Laura da Sousa has done it once more: captured lightning – no darker nor light than mankind needs be mesmerized at least for spans marking revolutions around suns silent without her music.

Follow Laura da Sousa on Website, Facebook, Twitter, YouTube, Instagram and TikTok.

Galisko: Crafting Anthems from Life’s Chaos

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Galisko: Crafting Anthems from Life's Chaos

Are you listening to Galisko’s new one?‘Get Out’ is a straight up pop rock hit – anthemic and extremely catchy to the extent that for the period that I listened to the song, I found myself singing the lyrics aloud as though this is a song I have been listening to for ages.

For the LA-based singer-songwriter, it marks a huge creative awakening after a painful couple of years of COVID. Just like many others, Galisko had to start wondering about many things that were once taken for granted as the entire world was turned around. But instead of degenerating they used all of that anxiety and desire for change this website into one hell of cathartic music release.

Working with producer Ben Shopen, on “Get Out” Galisko has delivered their most ambitious and expressive sound to date The stacked guitars, punching drums and the shouty vocal performance just scream about the newfound freedom. It’s the kind of fist-pumping anthem which can be perfect for invincible vocals on the stage leaving all the troubles behind.

In this case, Galisko has always spewed a message of determination as well as empowering of self through songs from the group. The themes that Daniels explores in his shorts get amplified to the nth degree when he infuses them with raw feeling and full-blown punk energy in “Get Out. ”If you’re among the people who have had their freedom limited in any way in the past few years, I’m not sure there is a song better suited for a good ol’ cathartic scream.

I recently reconnected with Galisko to talk about its experience with the pandemic, how the song “Get Out” was created, and how this new music is making them feel alive.

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Listen to Get Out below

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 What is your stage name?
Galisko is my stage name

Is there a story behind your stage name?
-Galisko is my surname. Basically most of the time no one calls me by my first name, Amit, and from a young age it was always Galisko. I chose to embrace it.

Where do you find inspiration?
– I get inspired by things that happen to me most of the time. Situations I’ve been through in my life. Love, family, things that I go through between myself that are difficult to explain in words and I simply find it best in writing.

What was the role of music in the early years of your life?
– Wow. Music was everything to me from a very young age. I found comfort in her, she was often a loving hug that I needed. She taught me a lot about myself and gave me the gift of my self-confidence.

Are you from a musical or artistic family?
– No, I didn’t come from a musical family. But from a young age my parents raised me in a musical education. At the age of 7, they enrolled me in a piano class, then a guitar class, and when I decided that I wanted to sing, they supported me a lot and have always been behind me in every decision I made regarding music. They are very proud of me and always there to support and help.

Who inspired you to be a part of the music industry?
– I am very influenced by the biggest rock-pop bands in the world.
Radiohead, Coldplay,
Lena Del Rey, Florence and the Machine..
And also female singers from my country, Ninet Taib, she is really my idol.
But I always try in everything I do to be me and bring something new.

How did you learn to sing/write/to play?
– From a very young age it was clear that music was an integral part of my life. I studied piano, guitar and voice development most of the years of my life.
In the army I served in a military band and after my release from the army I did a bachelor’s degree in music.

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– From a very young age it was clear that music was an integral part of my life.

What was the first concert that you ever went to and who did you see perform?
– The first performance I remember is a performance by Aviv Gefen, a huge Israeli artist. I was about 13 years old at a huge rock festival on my country’s independence day.
I left there with light in my eyes. I remember myself literally standing on the irons on the stage and unable to take my eyes off him. and still it has been 16 years and every few months I am at his concert and enjoy it in the same way.

How could you describe your music?
My music is a journey. Whoever succeeds in listening to the words through the melody and production will discover a world. I’ve been through a lot in the last few years and I wrote it all in my songs. I decided when I start taking them out, I will help other people get through their difficult times, what is not visible to the eyes, what does not sparkle and shine on Instagram and the networks.

And so I also chose to do all the designed photos of the album. full of contrasts. Very beautiful things compared to hard things, cigarette ash, rising smoke, a fake crown and toilets and everything looks so rich and shiny but real life is not all about the glamorous exterior.

Describe your creative process.
– Most of the songs on my album were written during the isolation period of the corona virus. I wrote almost more than half of the album during this period and whenever I could get out of the house I went to record with my producer, Ben Shopen, who was also a full partner in the making of this album. From the melodies to the arrangements to pushing me to write more and find my unique voice.
Working with him was amazing and I love every song on this album so much.

What is your main inspiration?
– My main inspiration is the marital systems I have experienced in my life. Somehow it’s easier for me to write about it, I feel like I have something to say and also help others overcome difficulties related to relationships.
Almost every relationship I’ve experienced in the last 10 years has a song on my album.

What musician do you admire most and why?
– Radiohead is one of my favorite bands in the world. I love the strange melodies and the bizarre lyrics as well as this sadness that is present in Thom Yorke’s songs.
And like I said, Ninet Taib is the best singer in the world in my eyes. Her voice accompanies me everywhere from a young age. In whatever form she took it. In any musical style she chose to sing. I look at her and strive to get there. To such a level of control, of perfection.

Did your style evolve since the beginning of your career?
– for sure. I think I realized that I can do many things with my voice and also stylistically.
I really like to sing sweet ballads, but my album came out more rock kicking in the face.
Although it is very diverse and combines several styles within it.
Over the years I became more sassy and less sweet despite my blonde hair and big green eyes.

Who do you see as your main competitor?
– I don’t look at anything as competition. I have my own path that I only look at and it is only before my eyes. Nothing else is interesting and I don’t think there is any competition in music. as musicians we always like to collaborate and do things together that inspire and that’s how I see it.

What are your interests outside of music?
– I am a voice development teacher. And I really like to teach and help other people use their voice and go through processes. I think that due to what my country is going through, my perception of music has changed a lot and I take it as a huge healing factor and my love for music also increased with the war, I realized that I can help people with the music.

If it wasn’t a music career, what would you be doing?
– I would probably manage other people’s businesses or deal with art in one way or another.

What is the biggest problem you have encountered in the journey of music?
-Because today most of the advertising and virality comes from Tiktok and platforms of this style it is a bit more challenging because you no longer have to be just the musician who writes songs, sings and performs, but also a content creator, a comedian and a real publicist for your life. Sometimes I think I missed the train in my adult years ha ha but I try. It is indeed more challenging

If you could change one thing in the music industry, what would it be?
– I would return the music to simply be music without all the jungle around.

What are your plans for the coming months?
– In the coming months I will release 2 more singles from my debut album, “Unfixable”. And then the rest of the album will be released.
I am very excited and can’t wait to sing the songs from the album on stages.

Do you have any artistic collaboration plans
– There are currently no musical collaborations planned. I am concentrating on releasing the album and myself to the world first.
I want my songs to reach as many people as possible and help them get through challenging times.

What message would you like to give to your fans?
– First of all, I really thank everyone who walks the journey with me and waits all the time in anticipation to see and hear the things that come out. I feel this virtual hug and it gives strength to continue. So stay tuned and see you soon

Riding the Waves of Chaos: An Interview with Whitney King

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Riding the Waves of Chaos: An Interview with Whitney King

Prepare yourselves, Whitney King is here with another banger titled “Losing Control”!This is Glasgow’s newest band, they are very young and yet they carry on the tradition of dad-rock with anthemic, singalong guitar riffs, and a stomper of a pogo beat.

Start to finish, tracked straight from their Barras flat, the sound of “Losing Control” is huge enough to rouse even the dead man’s neighbors. It is all about going berserk and this is something the young gunslingers are all about as the movie so vividly portrays.

The artists may be barely out of university, but Whitney King pens songs as mature as they come. Their third single is “Losing Control,” yet one can hardly tell given that track’s shiny, fuzzed-out stomp. While they’re probably just as keen on a brew and an early bedtime as any other native of Glasgow, they’re quickly beginning to establish themselves as one’s to look out for in Scotland’s indie circuit.

I had a chat with the band about inspiration, mayhem when recording, and where songs like this come from. ..

Listen to Losing Control

Follow Whitney King on

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What is your stage name?
-Whitney King

Is there a story behind your stage name?
-We wanted to give off a bluesy feel and felt it was important to have something that would look cool written down. Think Albert or BB King. There’s also the added fun when people ask which of us are Whitney.

Where do you find inspiration?
-We all have different musical backgrounds, our inspiration comes from all avenues of rock, metal, blues, country and punk music. We’re constantly trying to do something new and are always on the lookout for new musical ideas.

What was the role of music in the early years of your life?
-All of us were interested in music at young ages, our drummer Shannon learned to play at home and would practice in a shed in the garden. Both our guitarists picked up guitar in school and joined bands. We still play music we listened to in the car with our parents as kids. That stuff is part of our band DNA.

Are you from a musical or artistic family?
-Nothing majorly impressive. Though music was always close to us and we were brought up learning the importance of treasuring it. Some of our Dads’ll jam on the guitar and can hold a tune but we’re not related to rockstars or anything.. though I’ve heard Steven’s Gran can play a mean sax solo.

How did you learn to sing/write/to play?
-Mostly solo practice at home, some of us started to play because of our parents but that can only get you so far. I think coming up in the age of the internet and youtube gave us a boost. Half the band also attended music school together in Glasgow, this is how we met in the very first place. We had great chemistry and even better teachers.

What was the first concert that you ever went to and who did you see perform?
-That would be different for each band member, as for me I can’t remember the first concert I saw, but I remember very well going to see Metallica for the first time, it was a big deal, had to travel 500km and while there were on the stage I couldn’t actually believe that they were there and that concert was happening.

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That would be different for each band member, as for me I can’t remember the first concert I saw, but I remember very well going to see Metallica for the first time, it was a big deal,

How would you describe your music?
-We’re a modern rock band with a heavily blues-influenced guitar-driven sound. Our songs range from heavy metal to the realm of pop, punk and even folk at times. Sometimes I refer to our sound as: ‘loud gig music that people can jump to’ I think this works for us, we like to get a crowd on their feet and keep them on their toes.

Describe your creative process.
-It’s like making soup. Music soup.

What is your main inspiration? What musician do you admire most and why?
-Again, I take everyone in the band would give a different answer, but as for our style, I think we can all agree that took inspiration from artists like AC/DC, Chris Cornell or My Chemical Romance.

Did your style evolve since the beginning of your career?
-Definitely, I’m sure we now find ourselves more unified in style, when we started we were more bluesy, and then we had acoustic period over COVID. These days we get pretty rocky and hell yeah, we love it.

Who do you see as your main competitor?
-We don’t think in these terms, music is about fun and staying together for hence, hence even if we wanted to name anyone, no one would come to our minds.

What are your interests outside of music?
-Having pints in the pub. But on a serious note, Josh loves making cocktails, he’s really good at it, Zak enjoys recording and probably knows everything about fantasy and horror writers, Shannon knows all the secrets on how to make the best wine on this planet and Steven, believe it or not, loves to go randomly for fishing in Japan. As for me, I’m the nature and hiking guy.

If it wasn’t a music career, what would you be doing?
-Anything that is fun and pays the bills. I don’t believe that any of us could do a serious job for the entire life.

What is the biggest problem you have encountered in the journey of music?
-Promoting our music is the most challenging part. It requires lots of work and consistency, and if you have other things on your mind and you work full time, it can be tricky to find time to do it consistently. And even though you put a lot of effort to it, a strong outcome isn’t always guaranteed.

 

Why did you choose this as the title of this project?
-That’s the main line in the chorus, it’s easier to remember the song if you use a repeated phrase from the lyrics as a song title.

What are your plans for the coming months?
-Hopefully a bigger tour, that’s our dream. We’ve been doing pretty well locally and we are ready for the next step. We’ll also be releasing more music this year, but that’s all we can say about this for now.

Do you have any artistic collaboration plans?
-None so far, but we are open to that. It would be awesome to go on a tour with other bands.

What message would you like to give to your fans?
-You learned the chorus of “One More Night” and “Under City Lights” so fast that you amazed us, we still can’t forget the first time people sang “One More Night” during our gig in Perth. Let’s do the same with “Losing Control” and “Dead End Road” so we will never have to stop singing together.

Harmonies of the Heart: Bob Gemmell on Music and Life

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Harmonies of the Heart: Bob Gemmell on Music and Life

You know that feeling when a song just stops you in your tracks? The lyrics cut right through and make you think about what really matters in life? That’s the power of Bob Gemmell’s latest track “Lesson Number 2.” The opening line hits you like a ton of bricks – “The first one shows us how to stay alive. The other shows us how to live.”

Bob’s the frontman and songwriter for the band Big Medicine Head over on the west coast. With this new solo single, he’s gone for a  gentle guitar, slow drum beats and subtle piano vibe, but the words are what really get you. This song was inspired by the demise of his mother, he said

“When my mother was passing she would drift in and out of consciousness. She would tell us what she saw on the other side, when she had “crossed the river”. She also gave me short lessons – things she considered important for me to know before she crossed over. That all made its way into the song.”

The song features Bob on vocals and guitar, backed by an excellent crew including Lee Takasugi on piano, Jeffy D on drums, and Johnny McGuire shredding away on lead guitar. Together they craft this warm, immersive Americana sound that just draws you right in to Bob’s philosophical musings.

I recently got to chat with Bob about his inspirations, life experiences, and the stories behind “Lesson Number 2” and his other tracks. The guy’s got a true gift for turning life’s hard-earned lessons into powerful, thought-provoking music. Let me share some highlights from our conversation…

Listen to Lesson Number Two

Follow Bob Gemmell on

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What is your stage name
Bob Gemmell is my real name and my stage name, although a lot of my music has been released by the band “Big Medicine Head” for whom I am the songwriter/signer/guitarist.

Is there a story behind your stage name?
I wish there was! My email address, however, is a different story. In the eighties there was a singer named John Cougar Mellencamp (actually, he’s still around). I thought it would be
cheeky to mashup our names for my email address, which is  bob.cougar.gemmellcamp@gmail.com.

Clever enough, I suppose, but John Cougar Mellencamp’s popularity has dimmed, and I’m stuck with this pointlessly long email address
that no one understands!

Where do you find inspiration?
I’m inspired these days by the heroism of kindness. Small gestures of grace in what has become a mean spirited world move me. I hope that spirit infuses my music.

What was the role of music in the early years of your life?
Incalculably large. I read somewhere where Tom Petty said something along the lines of “Some kids take up rock and roll to meet girls – others do it to save their lives.” I probably mangled that and he probably never actually said it, but I fall into the latter category.
I was always drawn to lyrics, and when I was a kid a good lyric could give me gooseflesh.

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I probably mangled that and he probably never actually said it, but I fall into the latter category.

Are you from a musical or artistic family?
Yes, my dad was a crooner, and my sisters sing and play instruments.

Who inspired you to be a part of the music industry?
I suppose Bob Dylan, because he showed at their are no rules – which meant that whatever path you take on your musical journey can’t be wrong if your heart is in the right place.

How did you learn to sing/write/to play?
When I was fifteen my mom wanted me to have some direction. She forced me to take guitar lessons. I took a few lessons with Danny Schmidt (father of Eagles bassist Timothy Schmidt).

He showed me some chords, and I took it from there. The most important aspect of my music I suppose are the lyrics, and I learned that craft by listening to Joni Mitchell and Bob Dylan albums.

What was the first concert that you ever went to and who did you see perform?
Bruce Springsteen at Winterland. It transformed me. I’m a Catholic, but going to that concert was like going to church for the first time.

How could you describe your music?
Missives from the whiskey and paisley highway. Or as it says on bobgemmell.com, “With words and melody Bob Gemmell paints an American landscape where the roads are travelled by highway kings, evangelists and lost souls – or where there are no roads at all. “

Describe your creative process.
Great topic. Most people who are interested assume that I write all the lyrics and build melody around them. That’s almost never true. I usually start in the headspace of an artist I like – say Bruce Cockburn or Steve Earle, for instance – and begin creating a melody out of the sound of words, but not the words themselves.

A may want a lot of hard consonants or perhaps long vowel sounds. The feeling of words comes as much from there sound as anything literal attached to them. It is only after I have a melody and feel through the sound of the words that I begin to wrap a narrative around them. It is also true that sometimes there is no narrative.

In those instances I use language as a camera, and capture impressions that don’t add up to a story. That might be most evident on the song “Lonesome Desert Crawl” from the first Big Medicine Head album. Incidentally, I release solo music now, but I’m still associated with Big Medicine Head.

https://bobgemmell.com/track/1692749/lonesome-desert-crawl

What is your main inspiration?
The endless possibilities of the American highway, and what lies over the horizon.

What musician do you admire most and why?
Bruce Springsteen. When right wing political culture mistook his musical affinity for American culture as an indication of nationalism or jingoism, he forcefully rejected that. Plus his music has been informed by John Steinbeck, as is mine.

Did your style evolve since the beginning of your career?
Yep – for sure. My lyrics have become more true to my internal experience, rather than topical observation. Plus I fingerpick a lot more. And when I started it was all the sound of whatever I
could squeeze out of a Fender Telecaster, while on my more recent music I’ve played banjo, resonator, mandolin, acoustic guitar and of course my Fender Telecaster.

Who do you see as your main competitor?
I’m not sure I have an answer for that. I don’t think about it much.

What are your interests outside of music?
Prose – I’m working on a novel called “Tales of the Western Hemisphere”.

What is the biggest problem you have encountered in the journey of music?
I spent a number of years confusing the lifestyle with the music. Once I realized that alcohol was an impediment to – and not an enhancement of – creativity, my writing really opened up.

If you could change one thing in the music industry, what would it be?
I would like to see more acknowledgment of great writing. Outside of the Americana genre there are very few songs that are popular these days which could stand on the quality of their
lyrics. I like songs where you can just print the lyrics and they stand on their own.

Why did you choose this as the title of this project?
When my mom was dying I sat by her bedside. She would drift in and out of consciousness, and come back with tales of what she saw on the other side of the river. She would also offer
little lessons, things she wanted me to know before she left. Since then I have been fond of lesson number two.

What are your plans for the coming months?
More music! I’m working on my next release, and also a new track from Big Medicine Head.

Do you have any artistic collaboration plans?
If Taylor Swift calls and wants to pen something together I would pick up the phone.

What message would you like to give to your fans?
“Let everyone you love know how you feel – that’s lesson number two”

Rhythms of Resilience: ‘Crowns’ by The Almas

Rhythms of Resilience: 'Crowns' by The Almas
Rhythms of Resilience: 'Crowns' by The Almas

Imagine, if you will, a tempest in the ever-morphing skies of rock ‘n’ roll—a vent that erupts not with the fire and brimstone typical of their genre, but with glittering shards of hope and resilience. This is “Crowns” by The Almas; it’s less a song than an uproarious declaration in the court of hard rock.

In the grand carousel of life’s challenges and conquests, “Crowds” booms like a war drum in an enchanted forest—calling on all to gather under its echoing canopy. Charged vocals from Crystal Teigland caper across stormy rifts carved by Frank Slifka’s searing guitar licks while Josh Sukowski adds layers as intricate as ivy twisting through ancient ruins. Andrew Ehredt lays down rhythms that are both a clarion call and heartbeat—urgent yet steady, summoning strength from within chaos.

Rhythms of Resilience: 'Crowns' by The Almas
Rhythms of Resilience: ‘Crowns’ by The Almas

But what cipher lies beneath these explosive harmonies? It’s an intricate dance between darkness draped cloaks waving at despair while holding lanterns aglow with valorous intent towards mental health awareness. Each note seems soaked in shared sorrows then wrung out over audience heads leaving drops that peel away apathy reducing staleness into stirring action—each chord strums against stigma while vibrating vehement support for our veterans’ invisible wars.

There’s irony here too—a band called The Almas meandering amidst heavy metal maelstrom guiding listeners around rugged corners into soft fern-banked clearings filled with light heart-fabric soothing souls through empathic euphony shaped chords!

Leaving us where we began… Considering their momentous journey knitted across tens of thousands miles woven alongside almost daily enact nor heroic standing ovations – How simple it seems now… Listen closely: “Crowns” isn’t just music—it’s evolution sung loud!

Follow The Almas on Website, Facebook, Twitter, and Instagram.

Rony Rex’s ‘Dopamine’: A Vibrant Exploration of Dance Music

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Rony Rex’s ‘Dopamine’: A Vibrant Exploration of Dance Music

Hey, have you had a listen to this? Rony Rex is a Finnish producer who has recently released an EP. I would still like to describe “Dopamine” as a crazy track which will throw you to the different sides of electronic music. This fellow has features for days and the whole EP just screams sex appeal and youthfulness. Rony Rex is truly one of The freshest dance music tastemakers in Finland today.

The album begins with the track “Ugly”, a song that does not falter around. Well-defined bassline, synths, and Nigerian American Benni Ola’s hoarse, sexy spoken-word opening create an unapologetically club-ready track. That catchy beat and the happy notes make them characteristic of the summer, which serves as the backdrop for this EP.

Next, there is “Papi” with vocals by Teen Suicide, Kitty from The Pom-Poms. As usual, this is a playful jam, which features thick beats, powerful bass synching, and synthesizing that fits the theme of money scam perfectly to complement Kitty’s playful lyrics. She develops a very smart stories which come with a hint of jeopardy but the smile makes it more audacious.

The song is musically upbeat, but lyrically, the viewer is taken on a very bipolar ride with this song entitled, “I Could Be. ”The chorus is full of the artist’s pleas for her man to stay with her because she’s unsure about herself – a theme of the song would appeal to anyone struggling with their worth in a relationship. Yet, Ravenna takes over at the end of the movie and says to the mirror, “I know that I am good enough. ”

It ends with “Shapes” which has a somewhat ambient sound to it. The dark and bassy verse breaks into the iridescent and vibrant chorus, accompanied by compelling vocals of Australian artist LÂLKA. It is a very peaceful kind of song which can make them dance under the sparkling Disco light.

“Dopamine” is an absolute audio delight that Rony Rex has created, and after listening to the track people are sure to want more and more. Any fan of electronic music should definitely check this EP out as it proves Rony’s versatility and strong skill of mixing elements while keeping the crowd going.

Listen to Dopamine

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Edie Yvonne on Her Latest Anthem ’15 (When I Leave)’ and Beyond

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Edie Yvonne on Her Latest Anthem '15 (When I Leave)' and Beyond

Edie Yvonne is a new artist who recently released her new single “15 (When I Leave)” which is a raw, emotional banger about being a teenager. Following in the footsteps of Green Day and Blink 182, the track combines raw guitars, punchy drums and Yvonne’s strong voice to deliver a new yet familiar two and a half minutes of pure punk-pop emotion.

The lyrics are quite descriptive of the melancholic experience of severing the ties with home and familiarity, with lines like ‘I’m leaving. I know it’s not your fault. You never cared at all. At least I tell myself, so it hurts less, when I leave. ’ It’s raw and real in the way it portrays the human mechanisms of dealing with emotional distress.

Yvonne’s vocal performance is the focal point and she articulates both fragility and fierce power perfectly right in the feels. When she sings ‘I know you can’t hear me screaming out’ as the music increases to the climax, it can be powerful and heart-wrenching.

The production is polished but raw, the hooks are infectious, and the vibes are undeniably pop punk, which makes it simultaneously new and nostalgic. In such a short space of time, “15 (When I Leave)” encapsulates the desperation and chaos of youth. It is one moment of freedom and a clear signal of Yvonne’s potentiality.

Listen to 15 (When I Leave)

Follow Edie Yvonne on

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What is your stage name

EY: Edie Yvonne

Is there a story behind your stage name?
EY: My mom gave me all of the names on her list of baby names since I’m an only child so Edie Yvonne is abbreviated. My name is Edie Yvonne Bella Rrose. Edie after my Abuela’s favorite singer Eydie Gorme, Yvonne after the artist Yvonne Rainer, Bella after a family member, and Rrose after artist Marcel Duchamp’s alter ego.

Where do you find inspiration?
EY: I’ve grown up around artists all of my life that I think have informed my point of view.

What was the role of music in the early years of your life?
EY: My Abuela is a Nicaraguan opera singer and we would always sing together when I was little. I also took singing lessons with Katie Riggs when I was very young and did tens and tens of musicals at YADA – the Youth Academy of Dramatic Arts.

Are you from a musical or artistic family?
EY: Aside from my Abuela and her musical career, my mom is an art curator so I grew up around a lot of artists and artists studios.

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Aside from my Abuela and her musical career, my mom is an art curator so I grew up around a lot of artists and artists studios.

Who inspired you to be a part of the music industry?
EY: Our family friend who is like a Godmother to me Elaine Sir is in the music industry and is a mentor to me and has really encouraged me. She connected me to producer Douglas Boehm who has been an amazing collaborator and she is my biggest cheerleader when she visits me in the studio and in rehearsal.

How did you learn to sing/write/to play?
EY: During the pandemic, when YADA performances pivoted to zoom, I found myself in my room alone with my guitar and keyboard. I took a songwriting class with Samantha Aurelio and made a short film titled At Ease. I had the opportunity to write a song for the film credits and that is where it began. I haven’t stopped writing since.

What was the first concert that you ever went to and who did you see perform?
EY: Florence and the Machine at the Hollywood Bowl.

How could you describe your music?
EY: Indie teen anthemic, dream pop.

Describe your creative process.
EY: I usually start with a few lyrics or a melody which I then bring to the guitar, sometimes my keyboard. From there I keep on writing and polishing until I can bring it to the studio and work on it with my producers Nicky and Cormac.

What is your main inspiration?
EY: Ideas tend to spark from real life experiences but usually dramatized and molded into a more heightened story.

What musician do you admire most and why?
EY: I love Alanis Morisette and her honesty and emotionality through her songwriting.

Did your style evolve since the beginning of your career?
EY: It’s been an eclectic journey with a lot of experimentation.

Who do you see as your main competitor?
EY: I am only just beginning so I see more inspiration than competition.

What are your interests outside of music?
EY: Acting and fashion.

If it wasn’t a music career, what would you be doing?
EY: Along with music I hope to continue acting.

What is the biggest problem you have encountered in the journey of music?
EY: I’m just starting to perform live so I’m still learning to build confidence on stage.

If you could change one thing in the music industry, what would it be?
EY: I’m still just beginning and experimenting – there’s so much more for me to learn about the industry.

 

Why did you choose this as the title of this project?
EY: I wrote the song about fears and hopes around growing up and adolescence when I turned 15 which inspired the song. This has been a heavy year and I’m fortunate enough to have music to get it all out.

What are your plans for the coming months?
EY: Getting ready for more live performances and recording in the studio for the summer!

Do you have any artistic collaboration plans?
EY: Recently, a producer named Frank Cervantes sent me songs I was super into and I’ve been in the studio recording them including a song titled Forever Girl!

What message would you like to give to your fans?
EY: I’m so grateful for all of the support as I begin to release music and can’t wait to keep performing and connecting!

Mēl Teams Up With Women For Debut Project “FOR MELANIN GIRLIES”

Mēl Teams Up With Women For Debut Project “FOR MELANIN GIRLIES”
Mēl Teams Up With Women For Debut Project “FOR MELANIN GIRLIES”

Born out of her desire to enforce creative collaboration among women in not just music but the entire space. Ghanaian sound engineer and multi-instrumentalist Mēl teams up colleague women in the music space for debut project, “fOR MELanin giRLiEs”. 

The project is a first step to achieving a goal by calling on fellow creatives in Ghana and the diaspora to speak on topics dear to women but often overlooked by a patriarchal society”. FMG speaks on the themes of community building, abuse, self-love, and breaking from societal pressures and barriers.

Featuring Ria Boss, Seyyoh (of SuperJazzClub), Darkua, Sofie, KiKi Celine, Sh3lter, Ms Fu, Haeven and Rie Osei. The follows her two pre-release songs Siren’s Call and Breathe which were released earlier in the year. With all songs produced and A&R’d by Mēl, FMG is described by Mēl as her way of laying the foundations for her fellow women artists to express themselves on subjects women are passionate about. 

fOR MELanin giRLiEs” is now available on all streaming platforms here

 

 

Whiskey Haze: Silversel’s Anthem for the Broken and Brave

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Whiskey Haze: Silversel's Anthem for the Broken and Brave

Let me introduce to you an upcoming hottest single called “Whiskey Haze” performed by the great American rock band Silversel. Form Statesboro Georgia this band embodies a sense of Alternative /metal and hard rock as their songs are filled with distorted sounds of guitar riffs that scream to be heard.

Featuring Wally Silver’s gritty and passionate voice, Ricky Saldano’s thunderous drums, Justin Myers and Daniel Durden’s high-energy guitars, Stephen Saxon’s hardcore bass, and Mikey Burress’s burning rhythm guitar, Silversel performs with both aggression and style. The song starts with quite a punchy first verse and a driving rhythm in the verses that can take you to the whiskey haze as the title suggests.

The lyrics effectively portray the concept of fighting with the internal monsters and the process of searching for the way through the inner storm. Phrases such as “Swallowing the sun in a whiskey haze” stick in the mind long after the song is over, distilling the human struggle when confronting the darkness within. But according to the band, from a lyrical perspective, the song is more about the journey of the process of healing and rebuilding which is a long and tiring process.

The quality of the production is superb, something that one would expect for a band of Silversel’s calibre; this production has been worked on by Shane Baldwin – the engineer. It sounds like every instrument is distinct and equal, which makes it sound like a chaotic and liberating kind of music. The song can be best explained with its cover art done artistically depicting a lonely road at dusk against the Misty mountains.

“Whiskey Haze” is a great comeback for Silversel who already has three successful albums and who was nominated for a Grammy for their song “Heard It All Before. ” The album proves that this band can really provide people with meaningful songs which are very emotional. With “Whiskey Haze” as preparation for their fourth studio album to drop in the near future, all signs are pointing to a bright future for Silversel. If you have a chance, go and see them live: Their recent tour with FRACTURED shows that there is no comparison between a live concert and studio tracks.

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New Jersey’s Finest: The Local 12 Shines on ‘Abandon’

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New Jersey’s Finest: The Local 12 Shines on ‘Abandon’

You know how it is with debut albums – there’s just this buzz of excitement around them. And when it’s an alt-rock album, that anticipation kicks into overdrive. That’s exactly the vibe with “Abandon” by these guys called The Local 12 from New Jersey. From the minute it kicks off, this record just plunges you straight into their unique, multi-layered rock sound.

“Abandon” just nails that alt-rock essence while still feeling fresh and distinctive. It opens up with “Wave At The Window” which sets this really upbeat, melodic tone with the lyrics telling a little story. But then the smooth piano solo and electrifying guitar riff come in and add all these cool layers. Hooks you in right away.

The next track “Godforsaken” shows off how seamlessly these guys can blend genres. The lyrics are very cinematic and the music has the bar just completely vibing between jazz, film score vibes, and trippy sound design. The vocals are on point and the sound production is top-notch.

Through the whole album, The Local 12 keeps their sound super diverse. Tracks like “King of Small Time” bring in this funky groove while “Hitchhiker’s Guide” takes you into this mellow, psych-rock space that’s giving major ’70s prog-rock nostalgia. Every song brings something a little different to the table so you stay engaged and surprised.

They give off this nostalgic feeling that’ll remind you of iconic bands like Blur, Nirvana, and Steely Dan. But they’re distinctly their own vibe too which is what makes their potential so exciting.

As the album keeps going, they don’t let up on impressing you with how versatile they are. The closing track “Stranded” starts as this poignant ballad but then evolves into this massive, uplifting anthem pulling together piano, guitar, strings – all while the lyrics hit you right in the feels.

One thing that really struck me about this album is how cohesive the theme of abandonment ties everything together. Whether it’s a relationship ending, feeling isolated, or a personal transformation – The Local 12 explores all these different shades of that experience. Adds so much extra depth and resonance.

The Local 12 is Dave Iannucci, Dan Ream, Pat Ream, and Eric Bailey – they formed in 2018 but you can hear their tight chemistry and passion for music all over “Abandon”. The rich arrangements and emotive vocal delivery show how dedicated they are to their craft.

Long story short, The Local 12’s debut “Abandon” is an outstanding alt-rock album that showcases their eclectic style and serious musical talent. With its contrasting haunting melodies and driving rock anthems plus the thoughtful lyrics, it’s a must-listen for any rock fan. They set that bar high with “Abandon” which just makes me psyched to hear what they’ll do next.

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‘Cast Out to Sea’ Chapel of Roses Returns with an Eloquent EP

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LA’s Chapel of Roses veterans are back with their new record, Cast Out to Sea, which successfully encompasses the theme of perseverance and the unstoppable flow of time in the genre of hypnotic rock with punk vegan and sincere lyrics. This EP as well is a noteworthy comeback for the band that is based in Nashville and has been inactive for four decades.

The first song on the list is the title one ‘Cast Out to Sea’ which begins with an entrancing harmony that is characterized by high, reverberating finger plucks which establish an environment of a very captivating trance. The band is completed by the lead vocals of Chris E. Kelley, which also contributes to the band’s overall eerie feeling of being lost at sea.

His attitude looks mysterious and worried at the same time, the feeling which is expressed by the existential motifs of the song. The chorus is especially powerful here, with Kelley singing ‘Cast out to sea’ in an enigmatic fashion, ending in a powerful high-pitched scream. The bridge is done with a stronger voice, barely audible, then the song regains the intensity it had from earlier.

In addition to the other versions, “Cast Out to Sea – Further” is another version of the track with nearly one and a half minutes longer duration. A twisted, foggy tune plays the background as it builds up to a hypnotizing instrumental battle backed by recurrent tapping.

The drums rise gradually throughout the course of the song and their groovy pattern provides the feeling of liberation and drive.

Fans of Chapel of Roses will be delighted to know that they are back in action again coming with Cast Out to Sea, a banger. The EP is a very artistic representation of the human beings and their lives and their struggles and the strength they possess to endure the hardship they go through in life.

Through raw and reflective lyrics delivered by Kelley’s soulful voice and supported by the melodies of Jim T. Graham’s lap steel guitar, listeners are encouraged to get on board and inspired for self-reflection and desire.

Finally, Chapel of Roses has delivered an album that struck a chord with their audience and effectively captures their artistic journey as well as music’s ability to change lives. It is more than a successful return to the stage; it’s the introduction to a promising period in the future of the band’s work. We can only wait with bated breath on what Chapel of Roses will drop out next as they return with a huge welcome.

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CORVYX’s Powerful Rendition of ‘The Show Must Go On’

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Freddie Mercury Tribute: CORVYX’s Powerful Rendition of 'The Show Must Go On'

CORVYX, the alt-pop artist celebrated for his impressive five-octave vocal range, has delivered a passionate rendition of Queen’s “The Show Must Go On.” His performance channels the essence of the song whilst at the same time making it his own.

CORVYX, who regards Mercury as one of the greatest singers of all time, found joy in covering this iconic song. Reflecting on his experience, he says, “Freddie’s voice on that track is so emotionally raw and poignant. I wanted to cover it and make it my own – my version is darker and more epic, but it retains the song’s core message.”

This rendition stands out as one of CORVYX’s most notable tracks, transforming the anthem into an intense, despair-laden soundscape. His interpretation aims to evoke deep emotions while conveying a message of hope amid struggle.

This cover also marks a significant milestone in CORVYX’s career. With nearly a million captivated followers on social media, he is poised to release his original music soon. “The Show Must Go On” sets the stage for CORVYX to push his boundaries even further, crafting enchanting, emotional alt-pop music for fans worldwide. Prepare yourself for CORVYX to emerge as a truly astounding talent.

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Tidal Water’s Debut Single ‘Corrupted’: Insights from Martin Hovden

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Tidal Water's Debut Single 'Corrupted': Insights from Martin Hovden

Every now and then one stumbles upon a new band worth listening to, enjoying every piece of music created by the group. This is precisely what happened to me when I discovered Tidal Water’s first single entitled “Corrupted. ” This new band that originated from Oslo, Norway comprises of Martin Hovden who is both the vocalist, songwriter and producer, Renato Anesi, Jims Lehner and Markus Matland.

“Corrupted” is just the first glimpse of their upcoming album “Polarity” – and let me assure, it’s an aggressive and catchy song!All in all, all these mambo jumbo in the song fundamentally combines the influences of alternative rock, blues, hard rock, punk and classic rock ‘n’ roll into this innovative, sexy tune. Hovden’s powerful singing is again doing the job and the band as a whole is just fantastic and well knit with their music and coordination.

The finest aspects and several layers of melodies were enthralling me over and over with the repetition button. For someone who rarely listens to this music type, the vibes and such a fine line just clicked in. Everything died down and by the very end of that finale, my need for more from these guys intensified.

Fortunately for us, “Corrupted” is only the introduction or the prologue if you will. I recently had the opportunity to catch up with Martin Hovden to talk about the creative process, inspirations, and the story that Tidal Water did with this sickening first release. Well, that’s what he has to say I am sure you would like to listen to him.

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What is your stage name?

Our stage name is Tidal Water, and I, Martin Hovden, am the main producer, songwriter, and vocalist. I’ll be answering the questions in this interview. The core of Tidal Water is Renato Anesi and myself. Renato is an incredible guitarist, an unrecognized genius on par with legends like Hendrix and Vaughan. I’m excited to showcase his talent. Although other band members participate occasionally, Renato and I form the core, especially when preparing for tours.

Is there a story behind your stage name?

Finding an unused stage name was challenging. Initially considering “The Void,” we settled on “Tidevann,” the Norwegian word for Tidal Water, which wasn’t in use. The name resonates with my connection to the sea and the natural phenomenon of tides influenced by the moon. Tidal movements impact ocean currents, symbolizing our music’s stirring effect.

Where do you find inspiration?

My inspiration stems from life experiences, philosophical reflections, and societal observations. Growing up in the northwestern hemisphere, I’ve witnessed how our economic systems exploit other nations, fueling my lyrical content. Musically, we draw from various artists and genres, creating playlists to honor our influences. Philosophers and authors like Steven West and Gregory Roberts also inspire me to question norms and reflect deeply.

What was the role of music in the early years of your life?

Music played a significant role in my early years. My mother introduced me to multiple rock and singer songwriters from the 60s and 70s music, while my father played more Scandinavian artists in the later genre. This diverse mix shaped my musical tastes. As I grew older, my interests expanded to include hiphop, indie rock, hard rock, punk, ska and more, reflecting my evolving taste and the playful nature of adulthood.

Are you from a musical or artistic family?

Yes and no. While my parents didn’t play instruments, music was always present at home. My sister plays the guitar, and my grandfather was a brilliant violinist. Reflecting on my family history, I realize we have a strong musical heritage, even if my parents were exceptions.

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Yes and no. While my parents didn’t play instruments, music was always present at home.

Who inspired you to be a part of the music industry?

Meeting talented musicians like Renato Anesi, Txai Fernando and Markus Matland inspired me to join the music industry. Their incredible music and my love for singing and dancing motivated me to take the plunge. Life is too short not to have fun and create music that stirs the soul.

How did you learn to sing/write/to play?

My musical journey began after a breakup in my mid-twenties. Inspired by my ex’s rapid progress on the guitar, I learned to harmonize and sing. Later, I joined a choir and took vocal coaching, which was incredibly beneficial. AI, specifically BOB, has been a crucial partner in writing, helping me structure rhymes and refine my lyrics despite my dyslexia.

What was the first concert that you ever went to and who did you see perform?

My sister’s performances were my first exposure to live music. Despite her perfectionism, which holds her back, I see great potential in her. To those struggling with perfectionism, I encourage you to loosen up and seize opportunities, as life is too short to let dreams slip away.

How could you describe your music?

Tidal Water’s music blends rock with funk, punk, blues, and jazz. Our lyrics address societal concerns and personal experiences. For instance, Sensitivity: Internal “Neo-Colonialism” draws inspiration from documentaries highlighting global injustices. We aim to create music that is thought-provoking yet enjoyable, combining serious themes with playful, jammy elements.

Describe your creative process.

Inspiration comes from personal experiences, societal observations, and philosophical reflections. Using AI, particularly BOB, helps structure and refine my ideas. Our songwriting process is dynamic, blending spontaneous studio jams with pre-planned melodies. Collaborations with musicians like Renato Anesi and Jim Lehner shape our sound, aiming for a raw, live feel.

What is your main inspiration?

My inspiration is a blend of personal experiences, societal observations, and philosophical reflections. Growing up with diverse musical influences and engaging with philosophical ideas shape my lyrics and themes. Opposing Edward Bernays’ consumerist views, I encourage seeing ourselves as responsible citizens. Curiosity, playfulness, and a commitment to questioning norms drive my creativity.

Inspirations like the strokes, kings of lean, and many more there are so many important inspirations, id love to honor all by my memory is scrambled..

What musician do you admire most and why?

I admire musicians who work diligently, have fun, and balance creativity with a sense of playfulness. Those who address societal issues through their music and inspire others are particularly commendable. Their dedication, creativity, and positive impact deserve applause.

Did your style evolve since the beginning of your career?

This is the start of my career, and the journey has been about discovering Tidal Water’s musical identity. Initially casual and experimental, our style has evolved through studio sessions and collaborations. Embracing a playful, non-perfectionist approach, we’ve blended various genres to shape our unique sound.

Who do you see as your main competitor?

I don’t see other artists as competitors. Instead, our competition lies with apathy, boredom, greed, hatred, jealousy, and scammers. These negative forces hinder creativity and progress. By focusing on our art and supporting each other, we aim to create a positive, supportive environment for meaningful music.

What are your interests outside of music?

  • Dancing: Expressing myself physically and connecting deeply with music.
  • Nature: Hiking, running, and camping to relax and recharge.
  • Running: Staying fit, clearing my mind, and finding inspiration.
  • Women: Appreciating the perspectives, creativity, and support of women in my life.

If it wasn’t a music career, what would you be doing?

I work as a consultant to fund my music endeavors and run my own company, which acts as my label. If not for music, I’d focus on writing my book—a mix of fiction, multiple timelines, magic, fantasy, sci-fi, and philosophy. This project reflects my passion for storytelling and exploring complex themes.

What is the biggest problem you have encountered in the journey of music?

The biggest problems are scammers, time, money, and jealousy. Scammers exploit artists, causing setbacks. Balancing time between music and a day job is challenging. Funding a music career is expensive, and jealousy within the industry can be toxic. Overcoming these challenges requires resilience and support. Sensitivity: Internal

If you could change one thing in the music industry, what would it be?

I’d eliminate scammers and leeches who exploit artists. Platforms like Spotify should provide a list of vetted promotional services to protect artists. Additionally, all song contributors should receive proper credit, not just the main acts and producers. This transparency would acknowledge everyone’s hard work.

Why did you choose this as the title of this project?

“Polarity” reflects the societal trend towards polarization in various aspects of life. This division is toxic. Understanding and empathy are crucial for fostering a more inclusive society. This project aims to highlight and challenge these polarizing forces.

What are your plans for the coming months?

Tidal Water plans to release singles monthly, promote our debut album “Polarity,” and prepare for potential tours. We aim to avoid burnout by balancing these activities with self-care, taking breaks to recharge, and ensuring sustained creativity and enthusiasm.

Do you have any artistic collaboration plans?

Yes, we have ongoing collaborations and are searching for new opportunities. We hope to find a female singer for some songs and explore acoustic versions of our music. Separately, I’m working on a drum and bass project with Papa J, titled “Papa J and Tidal Water’s Digital Noise,” though it won’t be performed under Tidal Water’s name.

What message would you like to give to your fans?

Strive to be responsible within your own conscience, and don’t let dogmas bog you down. Stay engaged, question societal norms, and find joy in life’s imperfections. Embrace challenges with a playful spirit and use them as opportunities for growth and creativity.

Dive into the Depths Of Evelí Ray’s “Ocean of You”

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Dive into the Depths Of Evelí Ray's "Ocean of You"

Another song released May 11th is Ocean of You by Evelí Ray, and I have to say it was quite the rollercoaster. It is as if she decided to create normal electronic beats and then added a double bass for some reasons and then just to throw a twist of something new into the mix, she included some Eastern instruments. We’re talking duduk, tabla, oud—the whole enchilada.

But it is not only Evelí who is doing her thing. Oh yeah, she is accompanied by a whole team of musicians from Barcelona and Latin America. Marcos Exposito plays the bass guitar, Joan Miró plays the guitar, oud, mandolin, and ney, and Pablo Cruz only plays the percussion instruments. And if that is not enough, she has also invited some guest musicians namely Pablo Giménez, Antonio Mazzei and Blai Vidal to the party.

The feeling of the song is kind of difficult to describe. It has elements of that Scandanavian music intrigue but with a hint of that Meditterranean sun that brings a smile to your face. Not shying away from combining elements of art pop with world music, Evelí is ready to shake things up. You can clearly detect some influences from Peter Gabriel and Bjork there for that bold and introspective sound.

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It has elements of that Scandanavian music intrigue but with a hint of that Meditterranean sun that brings a smile to your face.

We got some deep stuff happening in “Ocean of You. ”Another song that’s thematically relevant to Khalid and Lorde is Evelí where Khalid diving into the Sufi poem of Rumi about universal love and we are all connected. It is more about love within and coming to terms to the fact that one belongs to humanity.

All recording sessions were collectives and guest musicians recorded from their home studios. That gives this music that genuine, passionate feel which just captures the listener.

If you are ready for music, which will make you ponder, inspire emotions, and possibly, get you tapping your feet, then try listening to “Ocean of You”. Believe me; it is truly an unforgettable one.

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Jeff Vidov’s Anthemic Elixir: “Oh mi da dey di”

Jeff Vidov's Anthemic Elixir: "Oh mi da dey di"
Jeff Vidov's Anthemic Elixir: "Oh mi da dey di"

In the bubbling cauldron of the modern music scene, where genres intermix like a well-shaken cocktail, Jeff Vidov stirs up an effervescent brew with his latest single, “Oh mi da dey di.” A spoonful of rock, a dash of pop and that twinkling garnish of anthemic choruses make this song not just a dish best served on loudspeakers but also an elixir for the weary soul.

Imagine diving headfirst into a kaleidoscope; colors burst and swirl as if painting directly onto your spirit. This is Vidov’s craft—where every note echoes like laughter bouncing through an abandoned cathedral. His approach melds Canadian stoicism with capricious flights of musical fancy, threading hope and community tightly together until they sing in harmony. The melodies? They rise like balloons escaping towards clouds made fluffy with optimism.

Jeff Vidov's Anthemic Elixir: "Oh mi da dey di"
Jeff Vidov’s Anthemic Elixir: “Oh mi da dey di”

The beauty here lies not just in what you hear but how it beckons you forth to join hands—to feel less alone amidst global chaos. It’s communal yet deeply individualistic; every chord strums intimately across heartstrings while simultaneously welding crowds together under their shared human condition framed by resonant reverberations.

Jeff shapes air around him using keys as sculpting tools—with illustrious past stylings from theatre work to teaching—and “Oh mi da dey di” showcases his palate richly saturated by complex experiences. Here he veers off anticipated paths into fascinating emotional landscapes explored via thought-provoking lyrics upheld by robust Neorock vigor.

And does it land? Ah yes! Like soft feet settling upon centuries-old earth after soaring over monumental valleys—the conclusion is simple: Vidov delivers far more than sounds; he delivers connections woven from audible gold threads sparkling wildly against life’s tapestry—a true craftsman working wonders beyond sight or measure.

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 “Funk, Rock, and Soul: DJ Williams Delivers with ‘By Way of RVA'”

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 "Funk, Rock, and Soul: DJ Williams Delivers with 'By Way of RVA'"

Welcome music freaks, brace up for some rocking summer as DJ Williams, electric guitar wizard and producer par excellence, sets off for a 26-city tour across the U. S. This is more than just an ordinary concert – it’s a celebration of his latest album titled “By Way of RVA” that is a testament to the city of Richmond, Virginia where he cultivated his unique creativity.

If you have got the opportunity to watch DJ Williams perform, then you well aware of the fact that this guy is a monster on stage. Premier Guitar even described him as ‘…a monster… an inspiring and efficient and melodic soloist, with a warm sound and extraordinary technical proficiency. ’ Now, he begin and ends his tour on May 3 in New Orleans during Jazz Fest After Dark and on July 13 in Golden, Colorado.

But he’s not doing this alone – DJ is supported by incredibly talented musicians, including Ben Atkind on drums, Steph Orsini on bass, and Macon Mann on keys. Together, they’re going to be ripping through tracks from his latest EP, “By Way of RVA,” released on Projekt Records and highlighting just how versatile of a musician DJ is. We’re talking funk, rock, soul – all in one, and all part of this excellent piece of audio.

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This is followed by the opening track on the EP ‘Fade Away’

This is followed by the opening track on the EP ‘Fade Away’, a catchy tune that can only be attributed to DJ Williams but has hints of Lenny Kravitz to it. It has its energy from the power chords, live drum and a guitar solo that will bring anyone to their knees. Next up is “Burning Ash” which features very powerful riffs and great falsetto, and then we’re on the dreamy “By Way of RVA” which features Hip Hop beat and awesome Guitars that take one to another world.

Though, the piece that I found most impressive as generally unorthodox is “Mr. Nobody,” with it’s strange guitar line and extended vocal summit that solves this great tale. There’s also DJ’s take on Nirvana’s heart shaped box, so this is one of those they take it into lo-fi, trip-hop, trap style, this and that, that proves how much of a beast he is. “Turn Of Events” is the final cut with a reggae inflection perfectly serving as a laid-back finale after the musical chaos.

What is even more intriguing is the fact that the album can be regarded as highly personal for DJ. He did the whole thing in his bedroom and even produced some peculiar ideas such as placing drums in the wardrobe and vocals in the shower as it created a natural reverb. Listen to how he stacked like 22 vocals on “Heart-Shaped Box” or just how he went over the top with these orchestral synth arrangements on the title track.

That is the life story of DJ, who was born in Plainfield, New Jersey, grew up in Richmond, Virginia, and who listens to the music ranging from Curtis Mayfield and Nirvana, from Miles Davis and Led Zeppelin. He is currently the lead guitarist for Karl Denson Tiny Universe Band, also performs a solo project DJ Williams Projekt as well as has performed with John Legend, Dave Matthews Band, and George Clinton to name but a few.

And if you are up for the fact filled summer of live music, don’t snooze on DJ Williams ’ tour. And, with his fiery performances and this thrilling new EP, he’s absolutely making an impact on the musical landscape. Don’t wait for the show, take Your tickets, turn up the music on RVA, and let the concert begin!

 

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“The Beginning of a New Era: Melody Alex. Patrick’s ‘1980’

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"The Beginning of a New Era: Melody Alex. Patrick's '1980'

Melody Alex. Patrick, the versatile artist from the French Riviera zone of the world is preparing her first show disc “1980” and from this disc start a seven disc series that she proposed to release and this is called “The Non-Sense Anthology.

With renowned guitarist Lorenzo Sarli by her side, Melody Alex is ready to take on the nation and conquer it. Patrick is excellent and the daring and raw nature of his performance is sure to entice new viewers while leaving long time fans eager for future performances.

“1980” is a contemporal carefree recollection of that period that the new generations have no idea about. The lyrical and musical video for Electro Mix, one of the songs from the track, is a great teaser for the new album as it causes excitement and curiosity. The musicality is evident throughout the album, as Melody showcases her ability to incorporate touches of the contemporary into her music while incorporating a vintage twist as well.

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“1980” is a contemporal carefree recollection of that period that the new generations have no idea about.

Sarli is able to incorporate guitar work under the guidance of Melody to enhance the strings and variety of the track by giving a singing quality to the strings and adding incredible force to them.

Her overemotional and autistic inclination pushes her to create art for the sake of the art, turning her past misery into volumes of artistic expressions. This emotional intensity is captured in “1980” and not only provides a throwback to past memories, but also opens a window into Melody’s world, the world that is alive with passion and creativity.

As with all good pop stars, it’s about more than the first song; ‘1980’ is the preface to an artist’s evolution. Melody Alex. This song and music have been created by Patrick and Lorenzo Sarli to give listeners a taste of the future and what the subsequent albums will be like. Through the power of singing and the art of performance, Melody Alex promise to be captivating. Patrick is thus set to make his mark on the music scene of his generation.

Watch 1980 below 

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