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.
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. (:
Zanne Hanna On the Making Of “In My Dreams (Ft. Austin Atlas)”
What was the creative process like for this particular "In My Dreams (Ft. Austin Atlas)?"
I wrote “In My Dreams” at the beginning of this year as a way to process my breakup from a five-year relationship. I kept a running list of observations in my notes app on my phone. These were mostly random thoughts that I had that felt like they truly came from my own mind and not an outside source. I was visiting the beach often and observing the tides and literally looking at my own feet and realizing they were attached to my body. In a conversation with my best friend, we discussed what it felt like to experience a breakup. She said how it was weird to feel like you were grieving someone who was still living. She said “to lose someone but not in death” and now she has a writing credit for the song!
Can you talk about the recording and production process for "In My Dreams (Ft. Austin Atlas)?"
This song is my first collaboration with another producer. I reconnected with my friend Andrew (Austin Atlas) at this popular hometown bar over the summer, and we saw it as a great opportunity to finally work on a song together! I sent him an acoustic demo of the song first which I had envisioned as having a more EDM feel to it (his specialty). Then I recorded my own vocals in my home studio and edited, comped, and tuned them. I sent over an Ableton session with some guide tracks of basic demo sounds to give him a sense of how I wanted the song to feel. From there he sent back demos of the instrumentation he produced, and then we moved on to mixing and mastering from there! Andrew is an incredible talent and truly brought this song to life from a vision that only existed in my brain.
Were there any challenges or breakthrough moments during the songwriting process for this single?
Typically I write a song from start to finish in a few sittings, editing along the way and revisiting it before I record it. This was my first attempt at collecting lyric ideas over a period of time and practicing some real patience. Once I had the hook line, “in my dreams I’m always right,” I realized I wanted this song to be a collection of psychedelic observations into one huge revelation: I lost someone who thought very little of me, and that was an objective fact.
Are there any specific themes or topics that often find their way into your songs?
I tend to write a lot about my experiences with loss and grief, and about how I perceive myself in my own body and in social situations. In this song, there are themes of delusion and my experiences with OCD. I tend to infuse a lot of my writing with ocean imagery since I grew up in Florida and spent my college years missing my hometown. I tend to miss the places where I’m not and have a hard time being present in my own life.
How has studying at Berklee College of Music made an impact on your music career?
At Berklee, I chose a very technical path, studying audio engineering, sound design, audio electronics and acoustics, and even music cognition. I fully expected to be working in a recording studio or a technical space for the rest of my career. More recently I’ve reconnected with my creativity and recognized that while my technical expertise is a HUGE help as an artist, it was really feeding my ego and a strange desire for academic superiority that I developed from being in a magnet program in high school.
Mesmershade On the Making Of ‘Echoes of Elegy’
What was the creative process like for this particular 'Echoes of Elegy?'
M. Munigant: As Juniper and I are living thousands of kilometers and several time zones away from each other, a lot of the creative process for this EP is asynchronous. Our general workflow usually involves me writing multiple versions of each song and letting Juniper choose which version she most likes. We then work out ideas through rough mixing and arranging until we come to something that clicks.
Sometimes I’d write things that I love but couldn’t imagine how vocals could be put over it, but then I’d be getting back something that did what I thought was impossible. I like to think of the entire creative process for our EP, Echoes of Elegy, as a continuous series of overcoming the impossible.
Juniper Jow: It’s funny to hear that M thought of it as impossible, because for me, it sort of felt like an incredibly natural process, like we were absolutely aligned and completely on the same wavelength from the very beginning. We basically met over the internet, formed our band, and wrote our first six songs together over the space of a few weeks. That initial excitement of forging an immediate connection was just an incredible creative rush – we were trading work back and forth at a fevered pace and finishing new songs in a day. Everything seemed to come together so smoothly – it sounds like it shouldn’t have worked, but it felt like it was just meant to be that way.
M: That’s not exactly how it went! I think we may have put things together over a period of weeks, but that was followed by a long series of tweaks and rewrites and remixes to make the final EP what it is. So the basics of the songs were there almost immediately, but the final product took nearly 6 months to put together correctly.
Could you discuss the lyrical themes or messages conveyed in 'Echoes of Elegy?'
J: I would say that the Echoes of Elegy EP has an overall theme of lost love. I wrote the lyrics for “Moth” on the day after my grandmother passed away at the age of 93. On that morning, the first thing I saw as I walked out my door was an enormous black moth, which in Hawaii is believed to be the spirit of a loved one returning to say goodbye. The same species of black moth is also considered an ominous portent of impending death in other cultures. That strange difference in potential interpretation fascinated me, and this song is what came out.
“We Don’t Have To Wait” is kind of about that frustration that bubbles up when you feel like you are in a job where you’re no longer appreciated, which is kind of a love lost, in a way. “Vicissitude” and “The Best That I Could Invent” both firmly fall into the category of classic breakup songs, about the devastating self-doubt that hits in the face of unrequited love. “We Sleep” was actually inspired after I attended a town hall meeting where I heard a native Hawaiian rights activist speak – and while it might sound strange to describe that situation as a lost love, I do think the wounded feelings that linger in communities reckoning with the long-lasting effects of colonialism are very akin to a bad breakup. “Death’s Lover” is technically a love song, but the kind of love that you know from the start you shouldn’t want because there is no way it will end happily – the kind of love that can only end in a tragic loss.
M: What I find amazing about this is that Juniper managed to almost read my mind in terms of what I was thematically thinking for each song. When I’d get back her lyrics and vocals, I’d always be blown away, not just by how good they sounded, but by the way she seemingly picked up on the exact theme of each song without me explicitly telling her. I knew we were a special kind of match when that started to happen.
Which song do you like the best and why?
M: For me personally, my favorite song on the EP is “The Best That I Could Invent.” It’s short and melodic but experimental in a lot of ways, partially using Sega Mega Drive generated drum sounds and a lot of discordant layered synth sounds that are beautifully brought together by Juniper’s vocals. Overall, it has a certain relatable pathos to it that I still feel every time I hear it, which is in no small thanks to the beautiful singing.
J: My personal favorite is “We Sleep.” The drums and creepy horror soundscape Munigant wrote for that song are just so good. When I was writing the lyrics, I swear those beats haunted me in my dreams, but in the best way.
Can you recall a particular moment, artist, or experience that had a significant influence on your music?
M: I’m mainly influenced by three things: 80’s horror movie soundtracks, especially movies like David Cronenberg’s and John Carpenter’s movies, which is most apparent in “We Sleep,” which is almost a sort of call and response to They Live; a wide variety of hardcore/screamo music, from which I tend to be influenced by things like discordant chords, driving noisy parts, and the time switches you’d find in bands like Rye Coalition, At the Drive-in, Hell No, Les Savy Fav, Universal Order of Armageddon, and the Murder City Devils; and dark, gritty sounding hip-hop production like you’d find from producers like the RZA, Mathematics, and Blue Skies/Black Death, which gives our songs their somewhat hip-hop sounding beats. It’s a weird combination of influences, which leads to somewhat experimental sounding tracks.
J: OK, this is a funny one. I think I have to say that my primary influence, in terms of my vocal style, is jazz, like the great American songbook of the first half of the 20th century. But Munigant hates jazz! I don’t know how he ended up with me!
Was there a pivotal moment in your life when you decided to follow your path as a musician?
M: For me, my start as a musician began after going to a battle of the bands when I was 13 years old. The bands were mostly punk and hardcore bands, and I fell immediately in love with the raw sounds and DIY spirit of the whole punk/hardcore scene at the time. I knew on that day that I wanted to make music. For the most part, I’ve been making music ever since that point, playing in multiple hardcore/screamo bands throughout the years in both the U.S. and Japan.
Obviously, it’s been a long, strange, winding trip from my punk roots to the music that I’m creating now, but I still feel like the general essence of all of the songs still has a punkish influence. This is the first project I’ve ever been a part of where I write all of the instrumentation, so it’s been exciting to be able to fully express myself musically and also to meet and work with Juniper to make this EP a reality.
J: I really only started writing music a few weeks before we formed the band. Before that, I’d spent decades trying to write novels and poetry and always felt dissatisfied with the results. But I took to writing songs in a way that I never could with any other form of writing. I love how music enhances the story in a way that words alone can’t – so songwriting is the only way for me, going forward. When I stumbled across Munigant’s dark edgy instrumentals online, I was immediately inspired and knew that I would be able to write lyrics if he wanted them. On a bit of a daring whim, I reached out and asked if he wanted to collaborate. It happened by chance, but it’s completely changed the trajectory of my life, for the better.
Personal Use On the Making Of ‘A new era’
Can you share any interesting or unique stories or perspectives in 'A new era?'
Perspective is a word I like a lot, I would start with this: the name of the project "Personal Use" and the title "A new era" reflect a need precisely "personal" i have a very varied background, i have been playing and producing music since 92, i have worked as an electronic musician in England, italy, Norway with more or less experimental projects, even getting to remix Peter Gabriel with the project at the time, for 4 years I produced soundtracks for German cinema with a composer, then I dedicated 8 years of my career as a sound engineer and producer for Italian mainstream discography working with many Big artists of the scene and receiving several platinum records and in the last years as a manager for cutting edge music production facilities. .. this is to say that I have apparently achieved considerable goals, but I felt a disconnect between my need to make music and the world around me. The market has always been divorced from music, no problem about that, I simply felt it was back to the time for me to freely experiment with the musical form. This record is the first chapter toward this Old/New World that I want to reclaim.
Which song do you like the best and why?
May I give a "stereotypical" answer? Every song is like a child, you love it differently... Having said that maybe I would say, "Lullaby" because it is the piece from which it all started, it was composed and arranged in 90 minutes, on the spur of the moment, after a total stop to music of almost 2 years. from there I realized that a little bit at a time something was being born.
Have you noticed any particular interpretations or connections that listeners have made with 'A new era?'
It is still too early to tell, the project is really just born and, consequently, still very unknown. From the first live shows I have to say that the feedback from people has been very, very positive. and anyway, not being a mainstream project, I don't expect big numbers, my interest is to build an international community that will allow me to be able to play in Europe, in places and festivals that deal with this kind of music...
Can I add one thing? The live shows are very special because the project is a duo, but not a musical one, as the second man is a video artist, so live we offer a very immersive experience based on music and videos made piece by piece ad hoc and reinterpreted live every night, all seasoned with a double player of projections. I am very proud of the work done with Marco Usuelli, the video artist.
Can you tell us a bit about yourself and how you got started in music?
For me music was a thunderbolt, at 7 years old I wanted to do this and at 12 I had my first "concert" with my first band. I was born as a drummer and have always been fond of technology, in fact, my older brothers had a rehearsal room in the house, and one day wanting to do like the "Beatles" and record with 4 tracks, I thought of disassembling 2 of their cassette recorders to connect the tape transport motors together and thus synchronize two tape machines. of course, it didn't work and I was banned from the rehearsal room for a long time. but that approach is still very much alive in me and from there I put things together by becoming a producer for other artists, from 1995 to 2018.
Have you ever encountered resistance or pushback when experimenting with your art? If so, how did you handle it?
Always! and I realized one thing: listen only to your belly and your heart!
Making music is a painful process that exposes you to many emotional and mental frailties, at least for me it has always been that way. Working for other artists, even big ones, I understood how to separate this emotional thing from the rational because in that case the "ass" was theirs and I couldn't afford mistakes.
Too many times in the past I have been influenced by the judgments of friends and colleagues, only to find out later that, as always, you can't please everyone. Now I simply choose to listen to the subtle voice of my heart and gut, make "my own use of it," and make mistakes myself!
Nerdhappy Releases ‘15913’
Can you briefly describe what the song/each song is about? If you are releasing an album then either describe the thinking behind the project or choose a couple of lead tracks to focus on.
Each song is a story in my mind. Barca vs. Bayern is about a folksy girl who meets a techy guy at a bar during a soccer/football match. Bossk Dreams is an electronic interpretation of a dream/nightmare in the mind of the galactic bounty hunter. Be Yourself, Tamiko is about a girl on a playground who gets dissed by someone who she thought was her friend, so she summons the Japanese God of the Sea to splash her with water.
Were there any notable or amusing happenings surrounding the recording/production of the EP?
Writing songs has always come easy, but learning to produce music was very difficult. In order to make sure everything sounded right I began to mix/master songs in my car to make sure they'd sound right on the radio.
Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?
The title of the album is 15913, which is a reference to hitting the kick on the 1, 5, 9, and 13 on a drum machine. The original inspiration was to make songs that thump, but along the way, the weirdness snuck its way into each song.
Are there any other interesting or amusing happenings – no matter how small – that the band has been involved with that would be of interest to those who like your music?
I live in Red Hook, Brooklyn (Mitski just recorded her music video here :), and when I'd get stuck I'd just walk around listening to my tracks again and again in my headphones, and let the sounds of my neighborhood chime in with other ideas. A bus or a laugh or a police siren provided tones and ideas that sometimes fit perfectly.
What are the band's main influences?
The first influence has to have been Depeche Mode, and in more recent years bands like Daft Punk, Kalkbrenner, Odesza, Moderat, trentem0ller, Extrawelt.
Anjalts On the Making Of “Code Blue”
What was the initial spark or idea that led to the creation of "Code Blue?"
The spark was more like an alarm I heard while visiting my high school friend at the hospital. And while I was waiting in the ER, it was intense to see the panic attacks and anxieties cause after someone experiences cyber bullying at school and getting treated properly before it’s too late. “Code Blue” was addressing that kind issue and sounding the alarm similar to how hospitals call it out when someone’s getting a heart attack.
”Code Blue” started the first song from my second album that’s currently in the works.
Can you share any interesting or unique musical elements or production techniques used in "Code Blue?"
When I was writing the song, I wanted to add an acoustic guitar movement despite the dance beat happening in the background just so the lyrics can come through in the verses. I wanted a melodic feel to the music to create a balance or harmony during the chorus with slight reverb. And it was the same thought when I played the electric guitar parts. As if something is coming towards you from far away.
What impact do you hope "Code Blue" will have on your audience ?
The impact of trying to remember how our actions can affect someone. As in the case with cyber bullying, I saw how everyone just bottles the pain up until it’s too late. We don’t have to “choose” to be so mean towards each other, when you can instead dance, have a party, crank up ‘Code Blue’ and get into the experience instead. Life is too short to add more regrets!
Can you tell us a bit about yourself and how you got started in music?
My grandfather was a natural at playing many instruments and he saw me watching him play on the piano and at 4 years old, I would mimic what he did. So he realized I could just play instruments like he could, and having that in common. we would play the piano, guitar, sitar, drums whenever we could before we were told to stop making so much noise in the house. I grew up with my grandparents in the Caribbean country Guyana, South America where 87% of the land is covered by Amazon Rainforest, so many people live along the coastal areas. It’s one of the main inspiration for my first 15-song album project released last February 2023 called “Air to Fire”
Who are some of your biggest musical influences, and how have they impacted your own sound?
I tend to gravitate towards film composers like Joe Hisaishi (love anime movies), James Horner, Hans Zimmer, Tan Dun, Danny Elfman and so many more. The balance they create in their songs are so awe-inspiring. I also admire artists who passionately writes and performs their own music like David Bowie, Pink Floyd, Fleetwood Mac, ABBA, Prince, Freddie Mercury, Carpenters, Dolly Parton, Journey. So yes, the list is long for these incredible artists I love so much.
Henka “Caught Up”
Henka explores the depth of emotions in the epic new single “Caught Up,” unraveling the darkness and heartache of betrayal. With thundering bass intertwining heart-stopping melodies, a love that is destined to be crumbles to meet its tragic end. Heartwrenching vocals stir a ripple of dark waves in the wake of truth and clarity. Beautiful harmonies in echo with instrumental swells.
“Caught Up” is therapeutic and cathartic. It’s for anyone who has gotten their hearts broken and left to lick their wounds alone. Henka proves that the process of healing can be empowering and powerful. Instead of being the victim, she rises up and takes control of her story, and in the process, she creates a song as drastic as the tides and as intimate as a diary can go.
She brings listeners together, through tearful moments, facing the deepest and hardest truths and healing traumas from the past. “Caught Up” is one of the best offerings from Henka yet. Her own brand of dark synth and metal rock evokes epic visualization of picturesque soundscapes and profound emotional connection.
Naked Face “Eyes in Love”
Emotions soak up the luminous pop soundscapes in “Eyes in Love.” Steve Silk’s heart-wrenching vocal tells a story of heartbreak, betrayal and addiction. Inspired by his own struggles with a tumultuous relationship while battling severe post-surgical addiction, “Eyes in Love” dives into one of the darkest moments in his life.
Sometimes, knowing that you’re not alone can save a life. The Australian pop duo Naked Face tackle a heavy topic in “Eyes in Love,” but despite the weight the track carries, the sonics are woven with a sensuous light palette. There’s so much hope in the luminous skyscape, while the eclectic, bombastic groove is simply contagious. With the swirling synths and ethereal backing vocals pumping energy into your blood, it’s impossible to not feel the heaviness being lifted off of your shoulder an inch.
That’s the beauty of Naked Face’s music. They are not afraid to tackle the hardest topic, but as they utilize their experience and creativity to vocalize the unattended feelings and tough situations, they not only create tracks packed with feelings that make people feel less alone but also deliver a positive note to help them cope with the hardship.
For a drowning man, hope is everything.
“Eyes in Love” is soul-baring no doubt. It’s a cry for help and a cry for understanding. People so often judge by what they see, but they have no clue what another person is going through. With this infectious, raw and hard-hitting single, Naked Face sheds light on mental health issues and raises awareness of the danger of post-surgical addiction.
Read our interview with Steve Silk and learn more about the behind-story of Naked Face and the song “Eyes in Love.”
Punk Head: I love the mood and aesthetic painted in "Eyes in Love." I read that the track was composed during a particularly harsh time. Can you tell us a little bit more about that?
Naked Face: "Eyes in Love" was composed during a challenging period in my life, marked by a toxic relationship with my ex-partner and post-surgical opioid addiction. Unfortunately, I was overprescribed lethal amounts of oxycodone, which resulted in a dangerous overdose. I was not provided the support necessary to taper off the medication and was forced to go cold turkey, leading to a difficult and painful experience. The withdrawals left me with severe medical trauma, suicidal thoughts, and an ongoing battle with PTSD and anxiety disorders.
Despite the negligence of the doctors and hospital staff, I was able to use my experiences to create "Eyes in Love." The track serves as a powerful reminder of the difficult period in my life, and I hope that it can offer comfort and inspiration to those who may be going through similar struggles.
PH: What are you most proud of about this track?
Naked Face: I'm most proud of the fact that this track captures the pain and emotion that I felt while writing it. It's a very personal and honest reflection of that moment in my life, and I think that comes through in the lyrics and the overall vibe of the song. This track was a way for me to cope with some of the most difficult experiences of my life, including addiction to oxycodone, a painful breakup, and extreme anxiety and suicidal thoughts. Despite the challenges I faced, I was able to channel those feelings into something positive and creative. It's a reminder that even in the darkest moments, there is always a way forward. I hope that this track can serve as a source of inspiration and comfort for others who may be going through similar struggles.
PH: Can you tell us more about you as a duo?
Naked Face: As a musical duo, we share a deep connection that goes beyond just a love for music. We are like-minded individuals who share a passion for creating and performing music that resonates with our listeners. Our friendship is built on a foundation of mutual respect, trust, and a shared vision for our musical career. We are committed to working together to achieve our goals and to continue pushing ourselves to create music that is both authentic and meaningful.
Our unique blend of musical styles and influences creates a sound that is truly our own, and we are excited to share it with the world. We draw inspiration from a wide range of genres and artists, from classic rock to modern pop and everything in between. This shared musical vision allows us to work together seamlessly, bouncing ideas off each other and collaborating to create something truly unique.
Growing up, we both faced significant challenges that helped shape us into the people we are today. These experiences have given us a unique perspective on life and have taught us the importance of perseverance, hard work, and determination. This shared resilience and determination is reflected in our music, which often deals with themes of overcoming adversity and finding hope in difficult times. We hope that our music can serve as a source of inspiration and comfort for others who may be going through similar struggles.
PH: Who are your biggest inspirations?
Naked Face: As a songwriter, I draw inspiration from a diverse range of musical genres and artists. Some of my biggest inspirations include legendary bands like The Beatles and The Police and contemporary artists like Twenty-One Pilots, The Weeknd, and David Guetta.
For me, a great song is like a well-crafted piece of art. I'm constantly analyzing the structure, melody, and lyrics of my favourite songs, looking for ways to incorporate those elements into my work. I'm particularly drawn to songs with a strong emotional impact, whether through the lyrics, the melody, or the overall production.
One of my most significant sources of inspiration is my father, who is also a songwriter. We've been collaborating for years, and our shared experiences and perspectives as both family members and musicians enable us to create something truly unique. Over the years, we've developed a deep understanding of each other's strengths and weaknesses as songwriters, and we work together seamlessly, bouncing ideas off each other and collaborating to create something truly special.
In addition to working with my father, I also have perfect pitch, which has been a tremendous asset in my songwriting. It allows me to quickly identify the key, melody, and chords of a song, which helps me to write and arrange my music more efficiently.
As I continue to develop my craft, I'm always on the lookout for new sources of inspiration. Whether it's discovering a new artist or revisiting an old favourite, I'm constantly seeking out new ways to push myself creatively and develop my unique sound.
PH: What would you like to say to your fans out there?
Naked Face: To all of our fans out there, we want to express our deepest gratitude for your continued support. It's truly humbling to know that our music has resonated with so many people, and we're incredibly grateful for the opportunity to share our work with the world.
As musicians, there's nothing more rewarding than seeing our fans connect with our music on a personal level. Whether you're singing along to our songs at a live show or listening to our tracks on repeat at home, your support and enthusiasm mean everything to us.
We want to assure our fans that there's much more to come in the near future. We're constantly working on new material, and we can't wait to share it with you all. We're committed to pushing ourselves creatively and exploring new musical territories, and we're excited to bring you along on this journey.
Once again, thank you from the bottom of our hearts for your support. We couldn't do this without you, and we're grateful for every single one of our fans.
ŁUКΞ “Divine”
Even at the young age of 22, Luke is already making a name for himself in the world of electronic music. With raw talent and razor-sharp instinct, the young producer steps outside the box and seeks for a grander view in his music creation. Never afraid to experiment and break what’s been established, “Divine” is yet another track pushing him further to the top. With infectiously soaring melodies and ground-shaking grooves, “Divine” is here to introduce you to a talent that you need to know.
Music speaks louder than words. He may be younger than most, but he’s just as serious and dedicated to his work as any other producer in the game. His craft prooves that age doesn’t matter, only that he has time to achieve even more. Ambitious but humble, hard-hitting but emotive, there’s something special about this guy. For he doesn’t take any less than what he deserved. With more domestic and international venues lined up, Luke is fiercely infiltrating the night scene with his adrenaline-fueled, bombastic shows.
Luke has plenty in store for his fans in 2023. Stay tuned and keep an eye out for this young, but a rapidly rising artist.
Remus Rujinschi “Tears In The Club - No Tears Mix”
Like a sonic shower that immerses your entire existence, filling your eyes with awe, “Tears in the Club - No Tears Version” finds a booming drone that fades and swirls, stirring a cinematic, sensuous, sultry atmosphere. It’s soundscapes are refreshing. Epic, heartfelt and intricate, with every layer and sound addition tuned to perfection. Remus Rujinschi is an artist. He creates an immersive listening experience with wonder and intrigues, placing you under a night-infused canvas.
“Tears in the Club - No Tears Version” doesn’t sweep your feet off of the ground, but it pulls your heartstring and stirs butterflies in your blood and soul. Sensuous, smooth vocal rise and sink in the evershifting, swirling storm of shimmering sounds, flirtatious and visually vivid. Then it transitions into a fluttering, fuzz-edged gentle blow up. The contrast is there, but the sensibility and intricacy remain.
Compare to the original version, the remake is heartfelt, sonically complex and multi-dimensional. Rujinschi explains that the original song was designed as an opening for live show, while the remix calls for a vibrant studio retouch. “No Tears Version” scales effective and imaginative world-building.
Read our interview with Rujinschi below and learn all things music composition and production!
Punk Head: I love how you experimented with the original “Tears in the Club” in the “No Tears Version.” It certain breaks free from the original format. Can you tell us a little about your experience doing the remix of this song?
Remus Rujinschi: I have started a new project and at one point I urgently needed an opening song to have a structure which should fit my needs for my future shows, so the original song is not structured for the online audience nor for the radios. It is meant to reach a younger and larger audience, but not a clear genre, so I was looking for EDM sounds which could fuse with trap high hats or other percussion elements. This version leaves the impression it has been made simply in very few chords and some elements, but in reality it is not, the harmony has been intentionally open for live additions and the theme response has been moved to percussion samples for more space, despite the voice sounds commercial, or the song is underground and experimental.
The remix version started with a new ProTools session opened ad-hoc where I have removed few elements from the previous song—elements which I have considered unfit for the large audience, like for example, the high-pitched voice on refrain and the mix. I have re-processed and mixed the previous sounds and created a list with the results of the mixing and mastering workflow and then sent it with a few guidelines to Metropolis Studios—practically it was my first experience with Metropolis.
PH: What do you like the best about this track?
Rujinschi: What I really like is the voice and the execeptionally touch of this track which belongs to the mastering engineer Andy 'Hippy' Baldwin. Andy has worked with a number of his musical influences including The Who, Blur, The Orb and UB40 and an impressive number of other artists. You can listen online the High resolution and the CD version of this song which sounds better than the streaming version at remusrujinschi.com.
PH: What do you aim to accomplish in the near future?
Rujinschi: I really feel like I need to close the gap of this new project which turned out to be a never-ending chain of a plethora of components which are anything but music composition and production. Most of them are related to project management and specific label activities. I would like to focus on my music in a way that can mean something special to the others.
PH: Who are your biggest influences?
Rujinschi: I have been performing during the years across various genres, but the next 3 songs will include elements of style with a sound inspired by electronic music producers and artists like Ninski, Oliver, Avaion, Illangelo, KSHMR, Rob Late, and Chainsmokers.
My next 3 songs can be described as Pop with guitars and a uniquely fun and funky sound, but in the essence they will contain EDM soundscapes and addressed to live performance.
PH: What is the one thing that you’d like your fans to know about you?
Rujinschi: They should know that I really work hard, and I'm constantly learning and improving my abilitie to provide them quality sounding songs—not the first versions of the songs but professional, experienced releases possible for theirs satisfaction.
BSP ‘In my garden’
On the debut alum, In my garden, BSP drops listeners into the creative dimension of a sonic garden. Like a secret place hidden in the modernistic urban surroundings, In my garden is its own universe. The unique album journeys through the different phases in life. Like a sultry, mysterious, futuristic but ancient ritual, it transforms our experience on earth. Consisting of nine tracks, the London-based multi-faceted artist brings her own artistic vision into her debut alum along with producer Lee Oakley.
The album opens with two deeply conscious tracks that dive into insecurity. As if slicing something wide open and feeling it bleed, the vulnerability in them feels immediate and palpable. BSP’s sonic palette is just as wild and extraordinary like the way she uses color on a canvas, the recipe of her sonics has something intuitive and magical in it. The punches, the ambient pads, the synths, the bass, and the electronics are all conscious and very much alive, enriching her garden like the organisms, plants and animals—the souls.
BSP’s voice is stunningly sensuous and delicious. Listening to her singing could get your ears pregnant. Her melodies are infectious and irresistible, filling listeners’ ears with pop-infused dreams. “I Think” walks into a darker landscape with deep bass lurking around in the dark. The thicker track evokes a sense of an introspective head space inside the turmoil and chaos that call and response in repetition. BSP’s voice is the only thing you could grab onto. Like the guide, she journeys you across dangerous water. Like a mirror, she invites you to see a side of yourself you were afraid to see.
“Why You Loose,”on the other hand, shows a relatively emo and destructive side of her voice. The confrontational piece gets bold and bloody as the track unravels. “Let it down and fight for it.” It’s powerful and epic as it is emotive and sensitive.
As two center pieces located at mid-alum, “Bamboo” and “Mayday” are two sides of the same coin. Starting with the immersive “Bamboo,” place listeners inside a flourish green, the track explores the metaphoric side of self and bamboo. “Mayday” continues the storytelling in a retell, but from an insider’s perspective, more emotive and insightful.
“Piece of Me” tastes like growth. The nuanced track is full of light and strength. Revolving around a Zen-like melody, everything falls into place. Resonating guitar and water droplets are mirroring together as well as completing each other. The beautiful track is touching, “See the piece of me lost in you.”
Savior “Paralysed”
The dance of lust and love is a dangerous one, where temptation, heartbreak, pain, passion and love twirl into a whirlwind. It keeps on spinning, trapping you inside. Inspired by the time when Savior first moved to London, looking for love in all the wrong places, his third single “Paralysed” explores a darker tone while even deeper into his sensuous, danceable electronic pop phantom.
Fierce beats and monstrous bass paints an unescapable nocturnal charm. Soft, flaming gasp in the background draws you into that sweaty, sensational scene of passion and love. The combination of spoken and sung words experiments different aspects of sonic narration. Savior’s immersive and non-linear storytelling provides listeners a unique experience in which all their senses and feelings are being highlighted.
Savior also excels at creating vivid imageries with his music. “Paralysed” seems to be testing the limits of just how much a song could convey a deeply personal experience. Like a mini film that explodes in your ears, journeying through various scenes in which the loneliness, desires, and hurt are all being exposed fully, “Paralysed” is able to do all that under 4 minutes.
Vulnerability here is explored through a synthaesthetic lens. It beats and breathes into your ears, all the emotions that exist in this experience, but the music itself isn’t isolated. Through Savior’s darkly satisfying, almost palpable sonic palettes, the track powerfully tells a story that so many could easily relate to.
The Other Colors “Vivre (Radio Edits)”
“Vivre (radio Edits)” invites you into a dark entrancement where the untamed, tribal ceremonial energy tangled with Marie Möör’s sensuous, feminine vocal.
The Other Colors Unleash Entrancing Darkwave“Vivre (Radio Edits)”
Photo credit: LAC
“Vivre (radio Edits)” invites you into a dark entrancement where the untamed, tribal ceremonial energy tangled with Marie Möör’s sensuous, feminine vocal. Industrial sonics meets synth-pop and darkwave and form a bitching hypnotic sonic vortex.
Marie Möör’s deeply emotive and blossoming vocal contrasts and confronts the explosive, dominating soundscape as if the opposite force of yin and yang completes each other yet stays abstractly different. Her voice illuminates the sound and the colors and light emerge from the dark.
The Other Colors is a French electronic dup by Marie Möör and Laurent Chambert. Their music is fused with organic sounds, literal texture, and rich emotions. “Vivre” is an extraordinary track that gives you a unique, out-of-this-world listening experience.
It amazes you with its captivity and complexity while sonically creating a world so fresh and untamed. The extended radio version also features a unique monophonic improvisation recorded during a public performance by Laurent Chambert in Paris, France.
Written by Katrina Yang
The Vanities ‘2001’
Feature
The Vanities Deliver Fierce Retro Album ‘2001’
Photo credit: Craig Oats
The retro vibe in 2001 is charged with madness and passion that simply sounds so timeless. Citing their inspirations and loves from 90s grunge and 80s synth-pop, the electro-pop duo, The Vanities gives you goosebumps, reliving the glorious time in an elevating modern production in which they explore themes of love and war, madness and mortality.
The album opener, “Dropping a Bomb” instantly spirals down the timeline and takes you into a different flow of time. The poised captivity and heating vibe permeate your sensation and send you a familiar yet brand-new invite into The Vanities’s sonic vortex.
Spinning and splashing electronics vibrates in the air like a disco light. Featuring a jazzy saxophone in the intersession, the track has a flavorful expression that isn’t bound to definition or genres.
Adhering to the grand, warm sonics, The Vanities showcase emotive storytelling through written and unwritten words. Working with sonic symbolism and imageries, 2001 gives you something different in each and every song.
“Love is the News” surrounds you with magnificent call and response in the vocals. “Stars” has the light hopefulness and glistening distance embedded into its electrifying soundscapes.
“This Ain’t Love” echoes “Love is the News” in a more evocative, vulnerable manner with a soaring, freely-improvising saxophone in the background. “London” deepens the emotional expression with intimate and dark contrasts.
Written by Katrina Yang
Dandelot Unleashes Eclectic Debut Album ‘Sounds For The Young’
Album of the Week
Photo credit: Chris Bogard
Some artist is born to roar, and there’s no doubt that Dandelot is one of them. Sound For the Young might be the most perfect, smooth, and eclectic mix of classical, R&B, hip-hop, electronics, dance, and punk-rock you have ever witnessed in your sonic journey.
The project, Dandelot, by the young visionary, perfectionist, Kevin Shoemaker challenges your expectations with his endless imagination where he effortlessly swirls in between genres and influences, the past, present, and future.
The artist’s untamed, adventurous spirit is charged with raw, edgy power. Dandelot’s sonics surprise you in many ways. Every song is its own perfectly unique masterpiece and a challenge to find out what is underneath. “
Capital” delivers a strong statement of Dandelot’s outside-the-box, refuse to be defined attitude. The swooping, electrified track creates a golden dark glare in its smokey, distorted rap, mixing electronic with an unconventional hip-hop feel. The lush, addictive mid-track hook contrasts with the flashing explosiveness of the rest.
Mending his classical background into modern production and songwriting, “Beauty” lays down a classical piano passage that calmly flows in the background of a heavy R&B, indie-pop soundscapes. The track creates an elegant, yet brand-new sonic experience.
“Americana” leans heavily into electronics and hip hop with Dandelot’s uniquely edgy wordings while adhering to his poignant hook. The sonics paint a very distinct atmosphere, putting the vintage, nostalgic reminiscence with his forward-thinking. “Tutu,” on the other hand, playfully quotes a range of electronics with string-inspired pads that cut through from the above. Electrified vocal centers the classical-inspired motif that slowly invents itself into an immortal earworm.
“Honey” swirls on the virtual-reality vibe with a futuristic touch. The robotic vocal really draws you into its unique dimension. “Prophet” weaves a waltz feel into the smooth, nostalgic R&B and synth-pop soundscapes that give the track a memorable, poignant work of art. The album concludes with “Burn” with its glorious glitch that grabs and shakes your heart with confidence.
Written by Katrina Yang
FOLLOW DANDELOT
Annabel Grace Shines Effortlessly on“Leave Early”
Staff Pick
Photo credit: Charmaine Nicole
Annabel Grace’s sexy, luscious vocal effortlessly echoes in the smooth and breathy soundscapes, stirring your heart with its magnetic charm. The captivating melodies draw you into its storytelling vortex in which emotions pulse along with the sonics.
Drawing a comparison to London Grammar, Haim, and Billie Eilish, the artist swirl between intimate melancholy with an urban-fused coolness that is simply fascinating and refreshing to the ears.
The London-based singer-songwriter offers a wide spectrum of sonics in which she was inspired, absorbed, and reflected upon. It creates a natural glow in her sound that was enriched with history.
“Leave Early” swirls between the exhilarating reminiscence of 70s rock and EDM-infused nightlight danceability where you could safely get lost and find yourself again in the ethereal electronic pop soundscapes.
“I take inspiration from the 70s' pop-rock I grew up listening to, the house and techno that got me listening to electronically produced music, and the modern pop music that I love to dance to,” said Grace,
“My identity is shaped by my constant consumption of music – before anything, I’m a listener. In terms of musicians Maggie Rogers, David Bowie, Harry Styles, Fleetwood Mac, Stevie Nicks, and Prince are huge influences. Equally so are other artists like Jack Kerouac, Van Gogh, and Sofia Coppola.”
ZøIE X Returns With Melancholy Single “sad girl thing”
Discovery
Photo credit: Raena Skyy
“sad girl thing” has a sensuous melancholy imprinted in the sonics that speaks to those lonely, vulnerable moments when someone invalidates your feelings. Through exploring and pearling deep down into those personal experiences, Zøie X brings forward a highly-relatable single that every twenty-something could easily resonate with.
Zøie X has an intuitive sense of rawness in her lyricism and sound. Co-written by Zøie X and Sarah Underwood, produced by Matt Harris, the smooth, airy soundscapes paint a light, fluid-like layer of beautiful sadness under Zøie X’s effortless, captivating vocal with a light touch of electricity.
Hailing from Nashville, TN, Zøie X is a singer-songwriter on the rising. Combining heartfelt piano chords with swirling beats, “sad girl thing” speaks directly to your heart, connecting with those early, coming-of-age experiences.
SINGLE REVIEW: JULIAN MUDD “GROWING PAINS”
Staff Pick
Photo credit: Emma Petrin, Adrienne DeFaria
Luscious and dazzling, Julian Mudd showcases his unconventional theatrical storytelling and multi-layered production with his debut release “Growing Pains.” The track continues to stimulate and restimulate your sensation with a variety of new and fascinating sonic elements. Dreamful twirling orbs melts in the wah-wah guitar soundscape, “Growing Pains” is a song that you can never get tired of.
Almost too good to be true, the captivating chorus whispers into your ear with its almost overly addictive melodies and soft, ethereal voice, planting the roots in your head. It only occurred for two times, but it hits you hard and continues to echo in your head even after the music has stopped.
Combining Julian Mudd’s background in music theatre, pop production, and software engineering, the debut release “Growing Pains” was created around the vision to merge generative music with NFTs where listeners could interact with the music and create their own version of the story. Revolving around the theme of change, where one has to take the frightening first step away from the comfortable, “Growing Pain” taps into this experience with its sonic storytelling.
