Humans out of Control On the Making Of “The Majick”
Can you share any interesting or unique stories or perspectives in "The Majick?"
Mark Rem: “Well this song was written waaaay back when we were first a band 15 years ago, and our lives were pretty hedonistic.”
Mark Hung: “Our singer Nick wrote the lyrics and it’s fairly obvious what it’s about.”
Nick: “It’s about drugs mate.”
Mark Hung: “Yeah we know!… so on the surface it’s not that deep (sorry!) but I also crafted the music to become more intense as it cycles through and to me it also leans into the struggle we all have from time to time, how instant gratification and constant stimulation can lead you do more and more crazy shit. That escalation of indulgence is also represented in the video, with the magicians having to resort to increasing levels of shock to get a reaction from the crowds.”
Mark Rem: “Watch the video, and you’ll see what we mean… it’s not for the faint hearted.”
How do you feel "The Majick" represents your Bands identity?
We’re not the youngest boy band on the block, you might get that from the video (streaming now, thank you very much), and what you’ll get from both the horror show that is the video, the songs content, and the performance is its entertaining, but there’s some pretty dark stuff going on in there too. We’ve lived through some things, we’ve survived some, and all that is there; it’s dark, but it’s also delivered with an element of fun, we don’t take ourselves seriously.
And that’s probably our identity, we have the collective wisdom of people that have screwed a bunch of stuff up, but somehow came out the other side laughing and smelling of roses. That and we don’t mind saying we’re a pretty decent rock band.
What do you like the best about this track?
Ken Johnson: “We wrote it, it’s HooC from start to finish. We all met by chance. And it’s by chance that we produced this together.”
Mark Rem: “There’s no chance about it mate, I think you’ll find we produced the song and video off the back of you constantly nagging everyone to get off their lazy asses and get some stuff actually recorded and released!. Every band needs a drummer to put a collective rocket up the bands backside.”
What do you enjoy most about performing live and connecting with your audience?
Probably the bit where you get to play the songs live and connect with the audience, hah ha! Seriously, yes there can be a euphoric high of performing on stage, doing that as a collective force, with our mates. Which then bleeds out to our audience; hey sometimes we do actually bleed on the audience, but we’re working to improve our health and safety at work policy.
Basically all you’ll ever get from this band is 110%
What are some of the biggest challenges you have faced as a musician, and how did you overcome them?
Ken J: “Its tough out there isn’t it? Think of how many bands there haven’t been, think of how May venues close every year, and I’m not just talking about since the pandemic. Think how many good (and bad) songs we have been denied because the scene isn’t what it once was.”
We all have other projects and that’s fine, we all play in (some pretty great) cover bands, we play sessions, and we do other things for money. But making new songs is probably the most meaningful thing you’ll do, and at the same time it’s the hardest thing to crack in terms of getting an audience to tune in and come on a journey with you. But hey we’re here, we’re still doing it, and that’s gotta be worth something.
LTB On the Making Of “Slow Down”
Can you tell us about the inspiration behind "Slow Down" and the story it tells?
"Slow Down" is a song that I wrote based on a personal moment of anxiety and stress. One night, I found myself sitting on a balcony, feeling completely overwhelmed by life. It was at that moment that I decided to slow down, taking a deep breath. Surprisingly, that simple act brought me a profound sense of peace and serenity that I hadn't experienced in a long time. I wrote "Slow Down" to capture that very moment and as a message to anyone else who might be stressed or overwhelmed, encouraging them to take a step back and find their own moment of calm.
Can you talk about the recording and production process for "Slow Down?"
I handled the entire recording and production process for "Slow Down." It was quite a lengthy and challenging journey that often involved late nights of work, but I'm incredibly proud of the end result. To help with recording, mixing, and mastering, I enlisted the assistance of GDA Productions from Millersville, Maryland.
What do you like the best about this track?
What I appreciate most about "Slow Down" is the production of the track. I set out to challenge myself and improve my production skills, and I believe that this song reflects the hard work and dedication I poured into that aspect of it.
Can you tell us a bit about yourself and how you got started in music?
A little bit about me: I'm from Annapolis, Maryland, and I'm currently a student at Belmont University. In addition to my passion for music, I'm also a big fan of fantasy football and sports in general. I have a habit of staying up until midnight just to listen to new music releases on Fridays. My journey into music started early in life when I sang in my school's chorus, participated in recitals, and developed a deep love for radio hits like "Crazy" by Gnarls Barkley. High school was a turning point for me when I discovered Ableton and began creating my own music. I continued to be involved in music through solo choir performances, musicals, and open mic nights. Now, living in Nashville, I'm surrounded by a vibrant musical atmosphere that I can't wait to explore further.
Are there any specific themes or messages that you aim to convey through your music?
Through my music, I aim to share my personal story and experiences. My goal is to connect with others who can relate to my music and share my passion for music with fellow enthusiasts worldwide. Music is my way of self-expression and a means to connect with my audience on a deeper level. I'm excited to continue this journey and see where it takes me.
LEUER Releases “Till I Can't”
Can you briefly describe what the song/each song is about?
This song is about falling in love. I was surprised when I met my partner who was out on a nursing contract in Oregon. We actually met through a hiking group. We went to lunch as a group and hit it off and started hanging out. Next thing I know I'm quitting my job and moving across the country. It was such a good decision. He amazes me every day with his determination. This song was written before I left. There was a lot of nerves about it - if it's the right decision or not.. this song asks him to be sure of what he wants with me because I am sure that it is what I want.
Were there any notable or amusing happenings surrounding the recording/production of the EP?
I always laugh because my roommate at the time would probably hear the most random stuff from my studio. There's a lot of adlibs in the background and they sound weird on their own. I can just imagine him walking down the stairs with me singing some random adlib and being like wtf.. lol
Who are the band members and what do they play?
I'm Michael. I go by LEUER as my stage name. I play piano, guitar, and sing.
Are there any other interesting or amusing happenings – no matter how small – that the band have been involved with that would be of interest to those who like your music?
I've always wanted to build a community around my music and connect with others who have struggled with depression, growing up gay, and those who like sad music and enjoy my music as i explore the happier side of life.
Please provide a one or two-line personal quote that can be attributed to a band member, about either the band themselves or the release. Obviously the more eye-catching this is the better.
Follow your heart. Life is too short to not.
Review: Tom Tikka ‘Rainbows and Dead Flowers’
From the long-celebrated award-winning songwriter Tom Tikka & the Missing Hubcaps comes their latest album, Rainbows and Dead Flowers. Heartfelt music fused with irresistible hooks, Tikka’s vocal has a kind of healing power that brings people together, and the music he wrote is full of emotions and catharsis. The former Sony/BMG songwriter is best known for his work with Carmen Gray.
In 2020, Tikka embarked on a solo career and has since released two highly acclaimed albums and a handful of hit singles. “Doormat” and “With Eyes Closed” topped the South African rock chart while his latest singles claimed spots on the UK charts.
With beautiful harmonies woven into illuminating soundscapes, uplifted by rich backing vocals, the title track immediately is a wonderfully crafted haunting masterpiece. The tracks in this album are the kind of songs you’d hear at the height of an emotional momentum in a movie. Tikka conducts such power in his songwriting that it’s hard to not feel anything while listening. It’s the kind of music that touches you spiritually and emotionally.
“Fire and Ice” showcases its adventurous spirit, coming to listeners with a hint of spiciness and openness. In a mixture of cool and heat, the song blossoms in a broadening sonic landscape, yet the uniting and almost tear-jerking quality of the song unmistakably reminds you of Foo Fighters.
“Hieroglyphs” is a track you instantly fall in love with on its first note. It’s driven and fierce, laced with contrasts and tension of rock n roll. “We Won’t Be Dust” slows down the peace and sees the intertwining of introspection, evoking a sense of stillness amidst movement. “Something New” on the other hand, is like Ed Sheeran meets The National with master storytelling and genuineness.
Woken up by a groovy dance beat, “What Comes Around” shakes things up with a retro aesthetic and vibrant colors. The vocal almost has a hint of Elvis Presley in its wildness and mystery. “Let’s Make Love on Sunday” then gets you in reminiscence of the Beatles.
If anything that comes to mind at the end of the album, it’s that Tom Tikka makes really good music. He has a natural charm that brings people together through the form of music.
Ziad Hisham On the Making Of ‘On A Personal Level’
How does 'On A Personal Level' reflect your musical journey and growth as an artist?
For me, the EP is a significant documentation of the relationships I cherished during my time in Cairo before relocating to London. All the collaborators on this project are dear friends of mine, and having them contribute to the EP was a beautiful experience. It truly reflects the sound I'm striving to cultivate and evolve—a fusion of Egyptian music with elements of jazz and electronica.
Which song is your personal favorite and why?
Flying Solo is my favorite because it's the first song I've put out where I've really embraced the Egyptian music style I've been working on for a while. So it feels nice to finally share it with the world.
Have you noticed any particular interpretations or connections that listeners have made with 'On A Personal Level?'
The thing I appreciated the most is that the listeners had different favorite songs. This EP has a mix of artists and styles, and each one of these artists has their unique charm. The beauty lies in the fact that every listener resonates with something distinct, whether it's the melodies, the beats, or the lyrics. I'm truly grateful that the EP was able to offer such a wide array of musical tastes, allowing each listener to find something they genuinely appreciate and enjoy.
How do you approach the creative process when working on a new project? What steps do you typically take from start to finish?
I don't really have a specific process when I'm making music; it's more of a random trial-and-error journey until I stumble upon something I like. Typically, I begin on the guitar because it offers me a lot of creative freedom and lets my imagination run wild, especially regarding how the other instruments in the track might complement it. This guitar-centric approach is my usual method for composing.
However, if I'm working on a track composed by another artist and producing it for them, my approach shifts. I usually kick off with drums or percussion to establish a solid groove and then build upon it from there.
Are there any unconventional techniques you've experimented with that led to interesting results?
In most tracks on the EP, I've incorporated an Arabic percussion section that I created by setting up two microphones in the studio. I recorded myself playing various percussion instruments at different spots in the room. This setup allowed me to capture a sense of a genuine percussion section with multiple players. The beauty lies in the subtle variations of acoustics you get when playing from different spots in the room, similar to what you'd hear with multiple musicians playing together in one space.
Eteipapula On the Making Of ‘Dubiety ?’
What was the creative process like for this particular ‘Dubiety ?’
I feel like the creative process behind ‘Dubiety ?’ was really intimate and personal. It was just me, my bass, a midi keyboard and my ideas. It was lots of happy incidents and a unique creative journey as it spanned over 1.5 years in time. It was hard to keep the finished songs to myself and not make them public but it was definitely worth the wait since, I think the album would really lose all its meaning without a single track from it, or maybe even with tracks having switched positions in the pacing of it. Speaking of meaning, the album was recorded and produced during the end of my teen years, it kind of marks my transition from childhood to adulthood and lyrically-wise it's all about doubt and insecurities in my opinion but anyone can see whatever they want in the lyrics. It feels victorious to have a finished project on which I can look back to keep track of my progress in music and in life, it's like a time capsule from the recorded period I will always turn back to.
Can you talk about the recording and production process for ‘Dubiety ?’
As I said, ‘Dubiety ?’ was recorded and produced in a modest way. On Fl Studio on my computer and by recording bass lines in the cleanest way possible without having an audio interface. I have some friends who helped me in the creative process as I needed their help and skills to reach the results I was aiming for. For example, a friend of mine recorded guitar chords I had in mind for the tracks "Summer Rhetorics,” "Remover" and "blessed rainy day.” Another one lent me the kalimba I used for the track "Ambien Amoeba.”
What is your personal favorite song from ‘Dubiety ?’ and why?
I'm truly proud of each song almost equally but I would be lying if I said I do not prefer some over the others. I'd say "Remover" is my favorite, it's the one I listen back to most. It's above all because it was my first full collab on a song with an online friend of mine who goes by the pseudonym : (´･ᴗ･ ) . Learning how to exchange ideas with another person passionate about music was the best experience ever, and I'll look forward to it if I find opportunities to do so. You always end up noticing some errors or things that could have been done to add substance to the song here and there from the other person's point of view. I think that's what art is for in general. To build relationships through a common creative process. It might be the most human experience possible.
Can you share a bit about your musical background and the journey that led you to where you are today?
When it comes to a "musical background" I have the chance to have parents who deeply love music. It might sound generic, but my parents gave me their love for music really young, as they were blasting Best-of the Beach Boys compilations, Eels albums and many more records in our flat or in the car, my dad plays the harmonica and put one in my mouth when I was really young. I had the chance to study drums for 4 years in my local musical conservatory before quitting because of an abysmal teacher. It was only halfway through middle school that I started having a deep emotional relation to music and started listening to classic albums and niche stuff by digging the internet. Today, I can safely say that music is something I couldn't live without. Listening to and making music is really what makes me want to experience life.
How do you approach creating something new and different?
I already have very precise ideas of what I'd like to do next. I'd want to create a project with a deep connection to nature, especially the sea and the mountains. About the human experience with these landscapes and their ability to shape us with their magical presence and aspects. I'd love to experiment and cross boundaries I haven't explored yet sonically, I think it will come with the gathering of new instruments, mainly strings and brass. It will take time, but I'd like my next project to be a true accomplishment for me, kind of like a child in some way.
Lonely Gimmick Releases “Roll Me Over”
"Roll Me Over" is the final single by "Lonely Gimmick" before the release of their first album/E.P "Stay At Home to Sleep In" at the beginning of next year.
Centred on the same girl as an earlier single (“Grumpy Days”) "Roll Me Over" reflects on the relationship’s aftermath. LG bares their soul right away, describing the beginning of the end with their opening lines. They place the blame completely on themselves whilst trying to soothe by saying "everything will be alright", "the night sky is full of stars". Despite the hurt inside LG, their sole concern is to not cause further pain to themselves or anyone.
This is the first track by Lonely Gimmick to start with vocals only: a bold move.
Lonely Gimmick is the alter ego of Max Pow, an anonymous multi-instrumentalist musical artist, although both these names are pseudonyms to hide the artist's real identity. Lonely Gimmick blends diverse genres from Hip-Hop to Techno, Lofi to Indie into a unique sound scape. Their work is self- recorded and produced, with the vast majority of the instruments featured on each track played by the artist. LG has been building up a following online since 2020 releasing singles such as "Blue Ticked Influencer" and "Grumpy Days". All the while winning praise from online music press outlets such as American Pancake, Iggy Magazine and featuring on BBC introducing.
Bastie Releases “Too Late”
The former ‘BBC Introducing Artist of the Week’ is due to release his new track, Too Late. With BBC Introducing having already praised Bastie’s latest work.
The track is his first collaboration with Ivor Novello nominated producer Brett Shaw who has previously produced both a number one and two album with Florence + the Machine and Foals. Bastie was keen utilise Brett’s trademark live, raw instrumentation with this release due to the songs grittier undertones commenting on Bastie’s former arrest and other slip ups along the way.
“Too Late” is no exception with the former UK Songwriting Competition finalist bettering his Indie/pop/rock style to its most raw and authentic yet.
You can catch Bastie and his band live at a number of venues in London over the next few months. Meanwhile, Bastie is also set to appear in an upcoming Netflix program playing the well-known track “Handbags and Gladrags”.
Maria Lane On the Making Of ‘35 days’
Can you share any interesting or unique stories or perspectives in '35 days?'’
In ‘35 days,’ I explore the emotional landscape of long-distance relationships, which I've personally navigated more than once. The essence of the song reflects how digital the experience feels; like you're reaching out, but only connecting through a screen. It’s a journey through the sense of separation, the feeling of a wall between two souls despite being so emotionally connected. This ep is a reflection of the trials of distance, the heartache of longing through a screen, and the perseverance of love despite the odds.
Which song do you like the best and why?
I have a special fondness for “quality time.” What stands out to me about this song is its lyrical depth, which feels akin to a heartfelt monologue. As I penned down the words, I sensed an urgency to voice all the emotions and thoughts bubbling inside. Musically, I'm particularly proud of its progression; beginning with a mellow guitar strumming which then crescendos into an intense “rock” vibe by the time we hit the bridge. The juxtaposition of the calm start and the fervent climax mirrors the emotional rollercoaster that relationships often bring.
How does '35 days' fit into your overall artistic vision?
Visually, I think it was captured really well in terms of how I imagined the cover art to be, the image when you're laying in your bed with your phone next to you and you keep looking at it to see if this person texted you back, the agonizing anxiety that can bring.
Sonically, it feels closer to the kind of music I want to be making, and each song is a journey of its own but it has an arc, which is how I want my music to feel.
Can you recall a particular moment, artist, or experience that had a significant influence on your music?
Absolutely, theater has been a profound influence on my musical journey. My passion for theater was one of the earliest I've ever had, and it greatly shaped my understanding of storytelling. I learned the significance of specificity in lyrics from being onstage and getting to be experiencing these stories. Theater is all about transporting the audience to another world, creating an environment so tangible that you forget reality for a moment. That's what I aim for in my music too. I strive to craft songs that don't just sound good but feel immersive, where every lyric paints a scene so vivid that listeners feel they're right there in the midst of it. It's that tangible, enveloping experience I fell in love with in theater, and it's what I aspire to deliver in my music.
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
I always draw from my own experiences when I write. By focusing on specific moments in my life and translating them into lyrics, I believe that's where the relatability comes from. For me, being honest and raw in my storytelling is key. While I have numerous musical influences that inspire me, I'm careful to ensure that the essence of my music remains authentic to my experiences. By being truthful in my approach, I naturally blend relatable stories with my unique voice, giving my music a distinct touch that's all my own.
Kesurapan On the Making Of ‘Lifeless Shells’
What was the creative process like for this particular 'Lifeless Shells?'
Most songs start with a catchy riff, and then we build everything else around it. Take “Falling Faster” for example. We knew right from the start that we wanted to create a haunting vibe with that pitch-shifter effect and then shape the whole atmosphere around that riff, keeping it simple but impactful. On the other hand, “Oblivion” was like a puzzle. We grabbed different parts and patched them together, borrowing some ideas from other songs we had. But when it all clicked with “Oblivion,” it just felt right. Now, “Lifeless Shells” was mostly built around its chorus. That was the first piece of the puzzle that fell into place. The lyrics, rhythm, breakdowns, and solos just flowed naturally from there, you know. That’s pretty much our usual process, but for these three songs, it just felt very organic. That’s why we had to put them on the record.
Can you talk about the recording and production process for 'Lifeless Shells?'
Our friend Martin Frank, who lives in Austria, offered us a long weekend in his cozy little studio. We spent 4 days there and recorded 4 songs: “Falling Faster,” “Lifeless Shells,” and “Oblivion,” along with a live recording of the song “Not Blind Yet,” which we plan to release as a single soon, alongside the ‘Lifeless Shells’ EP. Martin gave us some great support with his ideas and experience. He had previously collaborated with our friends from Abstractyss and his work with White Noise Generator, for example, was quite helpful giving us the right shape of sound. He gave us some great suggestions, and we had a lot of fun hanging out in the hot tub, drinking beer, and savoring our guitarist Matze’s famous Nasi Goreng. These memories are truly special, and we are thrilled with the songs that came out of it.
What did you enjoy most about making this album?
We had a great time as a band and with the creative process. But what made it really special was the fact that as friends we got to hang out in a little cabin that had a studio in it. We slept in the studio, so we had a lot of nighttime recording sessions. It was great to have the freedom to record around the clock without any pressure. It was really some quality time for us. Also, especially Falling Faster means a lot to us, because it's one of our most emotional songs, dealing with a very sad event in our friends' lives - it was good in that context to bring that up through the song, to talk about it and give the song the sound that it deserves.
Can you tell us more about you as a band?
We formed Kesurapan in 2019, at the time it was Dom, Fabi and Matze coming together from other bands and bringing their individual influences. Initially, the focus was to go in a stoner and doom direction, but through our influences as kids of the 80s and 90s this has evolved into a more open approach, with early influences from alternative metal and rock like Tool, Deftones, Alice in Chains and others. Our bassist Ade joined us and brought his background in black and death metal, which has a definite influence on our song structures, which are often complex and unpredictable as a result. Unfortunately, when we were ready with our live set in 2020, the lockdowns messed things up for us. We wanted to play live but were not allowed to, yet. In this phase, we used the time to record our first EP in home recording. With this debut EP packed we had our first gigs and the passion to play live took hold of us. Since then we shared the stage with legends and idols like Pentagram and Kadaver, played great festivals like the Blackdoor Festival and made many new friends in many venues. The last 3 years have been very exciting for us as a band, and with our first studio EP we want to complete the whole thing now.
How do you continuously grow and evolve as a band?
Aside from our day-to-day grind, we’re all about growing as a band. We are therefore constantly pushing ourselves to up our game on stage and in the songwriting process. We want to give our tunes more depth, and break free from those genre boundaries. But of course this also means fun to us and not only work. As pals, we hit up loads of concerts together in Munich, soaking up inspiration. Our next goal might be to hit the road for a small tour, maybe this year or next, spreading our sound and discovering new places through our music. We haven’t tackled the whole tour life thing as a team yet, but we’re totally up for the challenge.
CRONAM On the Making Of ‘Decompression’
Can you share any interesting or unique musical elements or production techniques used in 'Decompression?'
The track “Decompression” started out as a live recording I did with my Eurorack Modular Synths. My rack consists of analog drum- and complex synth modules such as Zephyr and the Ultra Kick Module from SSF, as well as FM and digital synths for atmospheric textures. So I listened to the recording a couple of days later and thought: “Yay, this banger is definitely worth releasing!”. So I went into the multitrack recording in my DAW (Ableton Live) and did the post-production, mixing and mastering of the track to polish it and make the drums, sub base and main synth stand out to push the deep dubstep feeling of the track.
How does 'Decompression' fit into your overall artistic vision?
My artistic vision is to create contemporary bass music with an experimental edge to push the boundaries. I’m always drawn to the deeper, darker side of music and love to experiment with hardware synths to get the best out of them. The ‘Decompression’ EP is a milestone for me as I was able to express exactly what I wanted: A deep, cinematic and intoxicating dubstep flavour.
It was inspiring to combine all of my artistic and technological abilities such as Sound Design, Modular Synths, Turntablism and Mixing/Mastering to finish it up.
What has been one of your favorite memories along the path to making this EP?
It is always incredible to hear a live recording and get hyped by it. For the ‘Decompression’ EP especially one of my favourite moments was when I finished the mastering and then listened to the EP driving around with a Friend on a trip in OC California. It was so hard-hitting in the car which made me really happy. I got a lot of positive feedback.
How do you approach creating something new and different?
I get a lot of inspiration from experimenting with synths and drums. I usually create a patch on my Eurorack modular synths and as the patch evolves an idea is forming. I do a lot of improvisation and usually aim to be able to perform my music live. When I feel good about a patch I start a live recording and improvise. Sometimes the recording is satisfactory and I decide to polish it and then I get a new track for an upcoming release project.
Can you share a memorable experience from a collaboration that enriched your music?
When I met with fellow artists the first time starting to jam and play together and it just works without many words. It’s like getting caught up in a brain sync with other artists. Those moments are truly magical. And this style of collaboration truly enriches me as an Artist and my music.
One of those collaborations really stood out and soon I will play live concerts in Berlin with my new Band called Forms of Entrophy, which combines different crafts like Modular Synths, Turntablism, Sampling and Finger Drumming in a coherent Live setup, playing Dubstep, DnB and Hip Hop.
Tom Minor On the Making Of “It's Easy to Play Hearts”
What was the creative process like for this particular "It's Easy to Play Hearts?"
It started with the title, as it often happens to me. I used to come across these instrument guidebooks called "It's easy to play Abba", "... piano", or whatever, and I started to toy with the idea of using that for something more universal from a human perspective. And what's more universal than the matters of the heart?, so there I had it. Someone playing lightly with another person's deepest feelings and creating heartbreak made for an interesting drama angle and a slightly darker tinge, juxtaposed with something being 'easy'. But I also wanted there to be a somewhat hope-inducing ending, like saying "sod it, and sod YOU, you fickle person, I'm out of here for something better!".
Musically, I knew from the beginning that it had to be an energetic uptempo track, in order to create a more uplifting vibe than a traditional 'sob ballad' would do, reflecting the inner contrast in the lyrics.
Can you talk about the recording and production process for "It's Easy to Play Hearts?"
Once I had the music and lyrics down, the arrangement fell into place quite naturally, it kind of wrote itself. I knew I wanted it to sound a bit like a typical early-sixties Motown dance number, and my producer Teaboy Palmer helped a lot in putting it together the way it ended up sounding. So props to him for that!
What has been one of your favorite memories along the path to making this song?
I have this hobby when I'm out walking: if I hear something interesting I bring out my mobile phone and try to record what I hear. And then later on I tend to listen back to what there might be. While producing It's Easy to Play Hearts we discovered this recording I had made outside a tube station. There was a street preacher with a megaphone touting his passionate message, which still to this day I'm not quite sure what it's about, but with a bit of editing it seemed to fit in perfectly with the middle part and ending of this one. I obviously don't know who the guy is, and he has no idea of ending up in my song. My apologies to him for stealing his voice. (My excuse being: I was ambitious and I needed 'the money'!)
How did you get started in music, and what inspired you to become a singer-songwriter?
I was a rock and pop fan from a very early age. I always liked the energy of a good solid rock tune and great pop melodies as well, and I wanted to learn an instrument in order to be able to create similar kind of - more or less organised - noise myself. But I was always greatly into lyrical content as well and appreciated strong lyrics with a bit more meaning than your average top-40 hit usually has. And never being able to master an instrument (in my case guitar and keyboards) well enough to shine solely with my playing, I started leaning more towards trying to write "the perfect three-minute mini-operetta" in the form of meaningful melodies and narratives over and over again. It's Easy to Play Hearts is one of the more recent efforts of mine to achieve exactly that ever-escaping goal.
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
I guess it's more than anything a question of finding a subject and a perspective that speaks to you personally first, what you yourself would like to hear in other people's art, and then trying consciously to put it together in such a way that someone else could get something out of it as well. It is undoubtedly a balancing act between reflecting your own personal emotions and creating something relatable to others at the same time. But in the end it's really no use trying to sound like someone else if you want to create something even remotely relevant in this world full of everything already.
L.E. Moon Releases “Dying and Living”
Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?
It's inspired by my grandpas death.
Can you briefly describe what the song/each song is about?
The song is about letting go and finding purpose in every experience, especially painful ones. Life is equally about living as it is about dying and therefore there is hope in my song's message that to feel - however good or bad is to live.
Where was the single/EP/album recorded and who was involved in its production?
Dying and Living was written and recorded in Berlin, Germany in my Bedroom and then produced with producer AdamZ
Who are the band members and what do they play?
L.E. Moon - Singer, songwriter, performer
What are the band's main influences?
Birdy, Florence + the machine, The Carpenters, Arctic Monkeys, Childish Gambino, Kate Nash
Alexandra On the Making Of “Funny”
What was the initial spark or idea that led to the creation of "Funny?"
I had a moment alone in my bedroom where I was almost giggling to myself at how good of a day I had considering that the previous day had been so miserable. And I realized that the only thing different was just the fact that I woke up on the right side of the bed, so to speak. I did the same exact thing both days, but they felt like polar opposites. Under my breath, I said to myself, “life is just so damn funny like that, isn’t it?”, and “Funny” was born. I wanted to write about how fickle and human this whole experience is.
Were there any memorable or standout moments during the recording sessions for "Funny?"
I remember on day 2, I believe, of recording when two members of my band came in to record bass and guitar. The previous day, we tracked the bones of the song, but Adam (my guitar player) came in and just made it come alive with his lead guitar parts. All of those tasty licks and ear candy parts you hear just came out of him like breath. Both he and Dan (my bass player) elevated this track to new heights and watching the synergy of my amazing producers at Matte Black Sound and the insanely talented musicians I get to call my bandmates bring this thing to life in front of me… it made me emotional. It’ll never get old listening to other incredible musicians play my music.
What did you enjoy most about making "Funny?"
It just felt so easy. The love that everyone involved had for this song made it feel like play… which I really needed at the time. It just felt like a jam band session with my pals. Pals that really believed in me and believed that song. It was almost shocking how easily everything flowed - almost like it just needed to and was ready to come out.
What is your songwriting process like? How do you usually start crafting a new song?
It usually starts with a one-liner or some sort of thesis statement-like idea. Once I have a concept and hopefully a hook line, I can write a whole chorus. Then the rest of it just flows out. If I start writing a song, I have to finish it right then. Even if I make edits to it later, I have to finish version 1 or else I just won’t come back to it. I’ll write a song in sometimes as little as a half hour if it feels good.
Do you have any memorable on-stage moments or performances that stand out to you?
This past June, I opened for Abraham Alexander at his sold-out show at the Kessler in Dallas. The Kessler was one of the first places I saw live music when I moved to Dallas in 2018 and I remember just dreaming of playing there one day. My parents and my best friend flew in from Ohio. It was unbelievably special. To finally accomplish that, with my closest friends and family there to experience it with me, I was left in awe and gratitude. I still am.
Brian Lambert On the Making Of ‘Wild’
Can you share any interesting or unique musical elements or production techniques used in ‘Wild?’
I think the way in which it was spread out over the course of a few years. Every song was produced differently than the rest. Some of the songs I poured over for a week at a time and by the end of the process it was as fast I could do it. Not because I had a deadline or sense of getting it done but more as a way to make sure and stay out of my own way. I do think my skills in recording have become very refined after doing the 52 Week Music Production Challenge and working on the 2 Star Crumbles records as well as producing a couple of other artists. I also love that so many of the songs became collaborations by the end of everything. That really brings a certain magic to the process.
Can you talk about the recording and production process for ‘Wild?’
Many songs were released during my 52-week music production challenge where I had a strict deadline of releasing a song a week for a year. So honestly those songs are a bit of a blur. I had to program all the drum parts, play bass, guitar, and synths as well as singing, oftentimes writing the song. Then I had to mix and master them as well. For those songs, some I just remixed and remastered to fit the feeling of this album. Some of them I went back and resang a part I didn't feel conveyed what I had intended with the song. The new stuff such as the song “Wild” was easier mostly because I didn't have to play all the parts. I'd program some drums and then send them to my good friend and bandmate Marc Schuster and he'd send back way better live parts. It was awesome to reconnect with my old bandmate Harmoni Kelley who laid down the bass and backing vocals. Same for “Breed,” with Marc on the drum and my boy Quizboy laying down that awesome electric. By that time I really did a little to mix as I possibly could so that the performances would come through.
What did you enjoy most about making ‘Wild?’
I'd say first it was the process of learning how to collaborate online with other musicians. It's great to have your own vision but I love what the collective talents of people can really bring to a work. I tend to like things to be very unstructured because I want to see what could happen. Sure I might have an idea but yours might be even more or take my idea to a place I didn't imagine which is magical.
Second, I love mixing and playing with sound. There are so many things to love about music and right now it might be my favorite thing. Hearing how each move you make alters the sonic landscape never ceases to fascinate me.
Can you share a bit about your musical background and the journey that led you to where you are today?
It's a long one for sure. I started playing on a couch in my dorm common area making up songs about people walking by then went to be in a weird coffee shop trio akin to the Violent Femmes which morphed into a weird little art rock noise band. Afterwards, I played in a band Workhorse, with Harmoni, which played a really weird mix of grunge and Texas country kind of like Slobberbone. I got married and stopped doing music actively for about 5 years and ended up as a stockbroker, gag, going door to door. During that time I was still writing and I ended up knocking on the door of a producer. We ended up making a record that it's hard for me to describe stylistically but I wasn't particularly thrilled with, but it got me back doing music. All of this took place in Austin over a decade ago.
I moved to North Texas and started an indie rock band which ended up morphing into a Texas country band for "career" reasons and location. That band never released an album and there was a rotating cast of members. I decided I was done with bands for a while and did the solo circuit. I would play 4-5 nights at wine bars, dive bars, and the airport to name a few places. All of them were 3 hour sets just playing and playing and playing. I recorded the tracks for the album Before This which was my attempt to fit into the Americana genre. Then COVID hit and I lost my mind trying to figure out what to do next which led to the 52 Week Music Production challenge where I decided there were no one's rules that I was going to play by anymore. When that ended my friend Marc asked if I could sing and write lyrics for some music he had written and that became the Star Crumbles who have released 2 albums and have a single on the way. That pretty leads us to hear. I feel like I covered a whole lot of ground in two paragraphs and I didn't even mention my album Country Music Jesus, but then I guess I just did.
Are there any specific venues or festivals that you dream of performing at?
You know, I went to the first 3 Austin City Limits Music Festivals so that would be a big one. Riot Fest up in Chicago always has a great lineup and I'd love to be a part of that. A bucket list thing is to tour Europe. And I'd love to be on a late-night show, SNL is probably my dream one.
Scoopski Releases ‘Halloween With Scoopski’
Can you briefly describe what the song/each song is about?
“Pumpkins Smile” is an original song about a young couple falling in love on Halloween night. “Monster in the Mirror” is a cover of a Sesame Street song. “I Put a Spell on You” is a cover of the classic Screamin Jay Hawkins song, but done in the style of the movie Hocus Pocus version. “Spooky Scary Skeletons” is a cover of the song by Andrew Gold. “Ghost in the Foyer” is an original song about a couple being afraid to leave their house because they believe their foyer is haunted, so they feel trapped and die in their house together (thus creating more ghosts to haunt the home).
Where was the single/EP/album recorded and who was involved in its production?
The EP was recorded over Summer 2023 in our home studio, produced and mixed by Scoopski.
Who are the band members and what do they play?
Scoopski - Guitar, Bass, Vocals Mrs. Scoopski - Piano, Synth, Vocals
How and where did you get together?
We're a married couple who first met as bandmates in 2011. We have been married now for 7 years and started making new music in this project in 2019.
Have you played any notable gigs, festivals or other events? Likewise radio or TV appearances?
We have been featured multiple times on Little Steven's Underground Garage on Sirius XM as well as many college radio stations around the US.
Mira Sthira On the Making Of ‘A Fix’
What was the creative process like for this particular ‘A Fix?’
Ultimately this song is about an addictive process, something that I have a lot of experience with as I do addiction counseling for my employment and additionally in my younger years I struggled with addictive patterns around substances particularly stimulants. With great pride, I feel I have done a lot of work on sitting with my own discomfort, working on healing, and not seeking the same sort of external validation or intensity. The process for this song was a bit different than my usual but a process so authentic to my overall method and reason for making music. Making this song came to me as an emergency of sorts and also as a lighthouse and marker of my own deeper recovery work. Encountering this emergency, I immediately started connecting with my ongoing music producer Mikheil Music to see what work he ALREADY had available for me to topline. Prior to this work, I hadn’t worked in this way, but this song about addiction needed to be created with urgency for me as a form of catharsis. I found an instrumental track that Mikheil had available for me to use and which I felt resonated with how I was feeling. I felt that the music and the sounds and melody mirrored how I was feeling inside. What I was feeling was some significant emotional distress around the loss of a person whom I found to be intoxicating at the time. I don’t feel this song is representative of that person as quite honestly this person is one of a long line of intoxicating situations. I found that I had difficulty doing ongoing healing and recovery work around these relationships and I had not yet done much in-depth work here. I was interpreting my use of people in this way as only fair and that perhaps by being available and supportive I could bring about change in other people while ignoring my own needs and further injuring myself. My thought was that I was helpful. The reality was that I was addicted to this “idea” of myself as a helper and “deep knower” and was seeking love where there was only abuse, intensity, volatility, pain, disconnection, and being harmed at a soul level. The thought that I’m “strong enough” to tolerate it more than others because of my ability to sit with troubled people as an addiction counselor, could make me feel simultaneously special, important, magical, and also martyred. However, the end result is that it did NOT make me feel this anymore and the only feeling was always soul collapse. Additionally, these patterns kept me at a distance from TRUE intimacy which had begun to feel scary to me from a prior relationship, so the avoidance of intimacy kept me stuck in the cycle itself where I would intentionally feel comforted by those I KNEW were not fully available in order to avoid intimacy of who I could feel a sense of intensity from believing that was intimacy. This is all the pattern of addiction. The problem was and is entirely internal for me and myself to own and I think with addictive processes it’s important to take self-responsibility. I can proudly say that I am no longer engaged in these patterns for a long while and that this song was written years ago. (:
What do you like the best about this EP?
I love its menacing and manical manner that I can actively characterize addiction by the two conflicting parts in one’s mind who is in an addictive process. People engaged in an addictive process aren’t bad people or helpless people they just have conflicting challenges in their minds and are also lacking self-confidence to make the needed changes and get their needs in a different manner. I love that this song characterized my addiction through a character named “Violet” who is impulsive, a bit manical, and a bit sneaky. She also really doesn’t believe in herself as much, perhaps she is also very child-like, pleasure-seeking seeking, and needing care. Violet and my higher wise-self started to communicate and the wise self encouraged Violet that it’s okay to sit in one’s own feelings even if they bring the realization of how injured in pain one is. That this is how wounds heal harden and scab. You can’t keep picking at it or reinjuring yourself by filling the wound with what just wounded you. My favorite thing is the message. An important one. I also love the Georgian Armenian and Eastern sounds in the production which I matched my vocals to.
How do you feel this ‘A Fix’ represents your artistic identity?
‘A Fix’ I feel represents my “shadow-self” expressed through music which takes a lot of bravery to share. I can’t count the times that people have been surprised by the content of my music let alone my life as sometimes people think I look a certain way on the outside. My artistic identity is one where I’m increasingly developing an authentic relationship with myself and best representing that through my art. I don’t believe in only making happy art, I believe sometimes the most uplifting art helps bring people through the darkness to the other side. And all of that is authentic. Mira Sthira means Ocean Strength in Sanskrit which to me means emotional strength. I think this song really ties into my emotional strength, the work I do on myself and my vulnerability in sharing this.
Can you tell us a bit about yourself and how you got started in music?
Well apparently according to my mother, I was writing vocals as a toddler. I do remember some of my earliest positive memories are me laying down on a red carpeted floor as a toddler looking at a toy box with various animals on it and singing songs about them. I have always been a creative soul and it’s taken me well into adulthood to be confident in sharing my music. I began writing little songs consciously in elementary school which were pretty silly at times. I recall in high school wanting to write vocals for bands that guys were in and being excluded because of my gender but also because I had dated some of them and obviously no one wanted that involved in their bands. In my 20’s I began writing songs on the guitar but I never saw myself as a musician. I always compared myself to friends who were much more skilled and trained and at that age it caused me to not believe in myself and my own ability to develop. I had some artist friends who offered me support and guidance and other best friends who I had a codependent relationship with where I followed them around, again as their “helper” who rode on their coattails. In my 30’s was when I was finally able to let this go more and just do what I want and to see everyone’s creative journey as sacred and beautiful. With this attitude I carry now I have great empathy and support for BOTH myself and others. I absolutely LOVE to support all artists no matter where they are on their journey and believe in art at a SOUL level.
Where do you find inspiration for your songs or musical ideas?
My inspiration is from my own healing powers and the soul of the Earth and consciousness itself I suppose. I have a deep spiritual connection with things particularly the Earth but also with alchemizing my own emotions through art, poetry, writing, and music and this connection I have with myself and my desire to grow and also serve others is my inspiration. Music is a healthy way that I can heal myself while also being of service. (:
NickGCherryDot On the Making Of ‘The Perfect Storm’
How does 'The Perfect Storm' reflect your musical journey and growth as an artist?
I suppose looking at it in the context of where I've come from it is much more than just a culmination of 4 years. I feel this is more concentrated and flowing as a complete work. The songs intertwine and reflect the moods of highs and lows but maintain consistent melodies and strong hooks which are my benchmark. Whereas prior albums were more eclectic ranging from Heavy rock instrumentals (Thrash Dystopian Annihilation) to Blue Note derived Jazz (Jazz 53) so I suppose this is more listener-friendly in that you can see there is diversity but its small touches, like the jazz break solo in 'Moves You' and the vocals take more a centre stage and I love weaving their harmonies almost as much as running the frets on the bi phased solo of 'I Can'.
Can you talk about the recording and production process for 'The Perfect Storm?'
Blimey that could be a few words, ha! I would say now this being my 11th album I have a process and feel that works efficiently for me. I used to be the sort of guitarist where if you gave me 64 tracks well most of them would contain guitars so now with experience and more focus on self control in the process I can streamline this and stick to a more tried and tested regime. Thats not to say there isn't experimentation but whereas I would previously tinker with a track endlessly I now know what works so the process I suppose is more linear and efficient. 80% of my work comes from rough demos I record on a portable machine and it grows into some semblance of the finished track within a week or two.
Which song do you like the best and why?
Naturally, I like them all and there's a story behind each but to be more specific I'm immediately drawn to the opening track 'Can't Erase The Memory' as it transpired exactly how I wanted it, loads of layered harmonies and a sixties feel that's accented with a strong guitar line. Also 'Deja Vu Blues' which has so many traditional traits however I wanted to reinvigorate and reinvent the blues shuffle with a modern twist. Also 'Observations' as its Vocal harmony led and probably has more dialogue than most of my tracks it's compressed into a pop song format, it's alluring and addictive.
Can you share a bit about your musical background and the journey that led you to where you are today?
I'll keep this succinct, I have a very strong recollection of playing my sister's T Rex and Beatles records on an old player when I was 4. I started playing my first electric guitar at 15 (late compared to these days) and fell in love with the British Blues Boom guitarists from the 60’s.
My thirst for music was obsessive and is still ongoing now encompassing genres like Brit Pop, Northern Soul, Americana, Grunge, 90's metal scene, 1960's Blue Note, and Hammond organ-led groups, it's all there. I've played in so many different bands and venues but there was a break for family and I lost the momentum. This was renewed just prior to Covid where a combination of life changing events created the perfect storm that fuelled my desire to write and record.
How do you balance creativity and commercial success in your music career?
A good question! I feel my sound is highly commercial however the balance is finding that sweet spot where I satisfy my artistic/creative nature and also that of commerciality. I feel this album is pivotal given the positive media response so far. I find it fascinating how certain songs I wouldn't necessarily go to as favourites are extremely well received and I suppose with the growing body of work of circa 200 songs in under 4 years and given the range of styles I have that will continue and I love that as it excites and motivates for the next track..needless to say 2 weeks after 'The Perfect Storm' was released I have 3 new tracks at varying stages of work and their melodies are constantly playing in my mind...watch this space!
Millhope Releases “Searching”
“S E A R C H I N G” is the perfect companion for a day at the beach, or your outdoor activities, for concentration or for your idle moments. Millhope‘s instrumental music represents daydreaming, curiosity and hope. The ingredients: spherical guitar lines, catchy analog synth melodies and field recording samples, driven by driving drums.
Millhope is Cologne-based producer and musician Thomas Mühlhoff. In the last two decades he has worked with artists such as Susanne Dobrusski (nominated for the Echo® with her band Dob Russkin), Jenny Thiele, Kai Otten, Geysir, and many others. After graduating in jazz and pop music, his current focus lies on composing producing music in the chillwave/downtempo/ambient genre.
The 80s-inspired sound, with nods to classic TV soundtracks like Knight Rider and Stranger Things, is given a unique twist through the use of modern production techniques and a slower tempo.
Speaking about the project, millhope says, “I wanted to create music that captured the eerie vibe of the pandemic but also offered a sense of hope and optimism. This album is my way of processing the strange times we‘re living in, and I hope it resonates with people who are going through similar experiences.” With its masterful blend of styles and emotions, millhope‘s debut album is sure to make an impact on the electronic music scene and beyond.
Meat In Space Releases “Outta My Head”
Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?
I had an inspirational spark of creativity after listening to a few garage rock staples and hearing the guitar riff and vocal melody in my head. It seemed simple and kind of dumb but still had a hookiness to it. I've learned to never judge an idea in the early stages and at least document it, even if it goes nowhere, so I made a phone recording of me humming the guitar part and the melody. I returned to the idea and the rest of the song came together very quickly. I guess the lesson here is to let go of logical judgment and let art flow if it has a feel. Let a song go where it needs to go and do not get in the way with rational judgment. The song turned out quite loose as a result, but could not have been any other way.
Were there any notable or amusing happenings surrounding the recording/production of the EP?
As above, list whatever might be of relevance.
After a couple of passes on the lyrics, I ended up keeping the very first pass of the "Outta My Head" shout-singing chorus. The first take just had the right energy and I feel like it captured the vibe I was trying to convey. Lyrically, the song kind of grew outward from that chorus as I added parts to complement the chorus.
Where was the single/EP/album recorded and who was involved in its production?
A true bedroom recording, this was actually recorded and largely written in my bedroom on a Tascam 488 8-track cassette multitrack. I sang into a stack of guitar pedals, straight into the 8-track. Drums were recorded live to two tracks, extra distorted and crispy with cassette saturation. Mixed down to 2-track analog tape through an Allen & Heath mixer with live knob twists and fader moves. “Outta My Head” was produced entirely analog up until mastering.
Who are the band members and what do they play?
Meat in Space is the solo rock project of Bay Area multi-instrumentalist Shawn Stedman who helms guitar, bass, drums, vocals, tape recording, Casio drum machines, synths, mixing, and production.
What are the band's main influences?
I'm heavily influenced by early 90s heavyweights like Dinosaur Jr., Nirvana, and Smashing Pumpkins, as well as garage rockers like Jay Reatard and Ty Segall. I like guitar-heavy music and genre-wise I draw from a blend of punk, stoner metal, shoegaze, slacker rock, experimental rock, DIY 4-trackers, Spanish guitar, and all musicians with a strong melodic sensibility.