KAT “Rise”
KAT really impresses you with her powerfully soulful vocals in “Rise.” Expressiveness meets her naturally stunning vocal tune. “Rise” sees her further along her journey of empowerment, claiming her rightful place in the music scene. The song is an instant hit, and it grows on you as you carry it further in your life. With a blend of old school blues and souls, she gives you the power of truth and introspection. “Rise” was written during a traumatic breakup. While KAT may be hitting emotional rock bottom, the song sees the blast of rebirth. As if an empowering letter that speaks to you at different stages in life, “Rise” is about finding the strength to stand up and move on.
Even though the song was born in the thorns, it bears the bright, golden sonic palette that instantly lifts you up. You’ll find KAT’s brutally honest lyrics hitting hard as if she is speaking directly to you through the song. “Rise” doesn’t bend the truth or derive far from the truth. It captures the energy and strength as it emerges in harsh land, and that raw, authentic feeling is what makes this song really special.
At first, KAT’s vocal pulls you in, but it’s the song itself that makes you want to hit the replay button over and over again. “Rise” is full of life. It’s an empowering anthem that easily resonates with every one of us, and it seems to also inspire and evoke the same pure blast of energy to ignite once again inside you. It’s cathartic and powerful with deep vulnerability.
Read our interview with KAT and learn more about her writing process.
Punk Head: I love how intimate and honest "Rise"is. I can hear this being a rather personal project and is certainly different from what you normally do. What inspired you to write this song?
KAT: I wrote 'Rise' after a pretty traumatic break-up and when everything in my life seemed to be going wrong. By nature I'm usually a half-full kind of person, but I was struggling to see the light at the end of the tunnel. The verses in 'Rise' are my admission of this, while the choruses were the anthem I needed to galvanise my spirit, that this too shall pass. At the core of the middle-eight lies the message that the only validation you need is your own. All reminders I needed at the time!
On a deeper level, 'Rise' is about the evolution of healing. Sometimes a supportive shoulder to lean on, or just knowing there is someone there who is holding space for you is enough to spark your own self-belief. In turn, your story shared, will be a guilding light to anyone still finding their way through challenging times. It is a beautiful ripple effect we can all be a part of. I hope 'Rise' helps anyone who is struggling at the moment, as much as it helped me to create it.
PH: What was a pivotal moment in your music career?
KAT: Writing, recording and performing songs from my upcoming debut EP "Warrior Heart' has been monumental for me! Creating my own mini album of songs was something I had always wanted to do throughout my career. Suddenly, I couldn't stop writing - life was providing me with first hand-inspiration, albeit through challenging times, and a way to process some pretty painful experiences. Being able to transmute them into something healing was, with no exaggeration, life-changing for me. Leading the creative process, that had started with just a little seed of an idea, finding the right producer and musicians, trusting my instincts and believing in what I was creating, to now be at this point, finally releasing my songs! This journey has had a huge impact on my artistic evolution while allowing me to rediscover my purpose, my voice as an artist and ultimately, reconnect again with my true self through the process.
PH: What is your creative vision as an artist?
KAT: To write, record and perform songs from a real and autheticate place that hopefully will resonate. Whether that is to bring comfort, joy, to rouse or empower! I love the art of storytelling and my music videos are also a huge part of this. Music is powerful and can change the world for the better, and I'd like to play a part in that!
PH: What was your favorite moment in making the music video?
KAT: I think wearing the huge angel wings was pretty epic! I'd come up with the main concept narrative of the video a while before filming it, and the wings were the first thing I sourced! They were hanging in my house for months before the shoot, I couldn't wait to put them on! Performing at St John's Church in Hoxton, London was also a beautiful moment.
PH: What is the one thing that you’d like your fans to know about you?
KAT: I'm a big believer that our vulnerabilities are one of our greatests strengths and should be championed! It is through these vulnerabilities that often we grow more than we can anticipate and discover our 'Warrior Heart' that will get us through those difficult times.
I'd also love to thank my fans for their continous support. I am truly humbled by the love and messages I've received especially for 'Rise' - hearing about their connection to my music, and how it has helped them in their own lives means the world to me.
Aside from that... I'm obsessed with cats (it's in my name after all!), believe in angels and love the sound of the sea, with the sand at my feet and the sun warming my skin - its my happy place!
Michael Bakrnčev “Elegy”
“Elegy” opens with immediacy, drawing listeners into a grand, cinematic scenery, pulling heartstrings, intertwined with drastic feelings. Like the giant in the cover art. The melodies and soundscapes in “Elegy” evokes an almost palpable experience. But the giant also has a sensitive inner side that the artwork can’t present. There’s loneliness and agony in its atmospheric expression. Isolation, sadness, and a sense of confusion even.
Michael Bakrncev weaves an imaginary world with his composition. It immerses you immediately with the tips of your nerve stretched out to taste and connect emotionally. The “giant” in the music continues to tell you its story, through melodies and shifting soundscapes. Not a word is shed, but it’s clear that “Elegy” is a piece of music that has a soul.
The song is alive. It brings to you its whole world. The intellectual and the imaginative, the emotional and spiritual. Listening to “Elegy” is like a soul-to-soul conversation with the music. You never felt so honest and intimate with another human being, but in “Elegy,” you find this profound connection and stirringly epic experience with the music itself. Its melancholia, its struggle, and its moodiness are so naked in your ears. You hear it speaks and you feel what it feels.
Musical notes are no longer on your mind. Only stories and expression. “Elegy” is an expressive masterpiece with heart where the haunting imagery and a wonderful world lives.
Read our interview with the mastermind and learn more about the conception of this piece.
Punk Head: I love how "Elegy" takes listeners on an immersive and evocative sonic experience. What was the creative process like?
Michael Bakrncev: Thank you for your kind words about my "Elegy". I began writing the piece during Winter in 2019, however I then sidelined the piece to work on more pressing matters. I knew that I had a strong piece that would be captivating and emotionally as well as compositionally intelligent, so I saved it for another day.
It wasn't until a great sadness overwhelmed me during our multiple lockdowns that I decided to complete the piece.
PH: What motivates you as an artist?
Bakrncev: As an artist, I find motivation in many different aspects of life. One of the primary sources of motivation is the desire to connect with people on a deep and emotional level. Music has a unique power to transcend boundaries and touch the hearts of individuals from various backgrounds. The thought of creating something that resonates with someone, that can uplift, inspire, or provide solace, is incredibly motivating.
Additionally, the creative process itself is a significant driving force. The exploration of new ideas, pushing boundaries, and continuously evolving as an artist fuels my passion. The ability to express myself, share my experiences, and communicate through music is a deeply fulfilling and motivating aspect of being an artist.
PH: What has been one of the highlights of your music career so far?
Bakrncev: One of the highlights of my career was working with the Sydney Symphony Orchestra for my piece 'Hustle' - It was an incredible opportunity to share my music with a large and enthusiastic audience, and the energy and connection I felt by the musicians on stage was truly unforgettable. The experience not only validated the hard work and dedication I've put into my craft but also provided a sense of accomplishment and affirmation as an artist.
PH: Who are your biggest influences?
Bakrncev: I draw inspiration from a wide range of musical influences, each contributing to shaping my unique sound. Some of my biggest influences include artists from various genres such as classical composers like Bach, Tchaikovsky, Stravinsky, Ravel, Debussy and Takemitsu, folk pioneers like Ferus Mustafov, Tale Ognenovski, Esma Redzepova and contemporary artists like Radiohead, Björk, Cat Empire & Powderfinger. I also find inspiration from diverse cultural music traditions, world fusion artists, and electronic music producers. These influences have all played a part in shaping my musical style and approach.
PH: What is the one thing that you’d like your fans to know about you?
Bakrncev: One thing I'd like my fans to know about me is that my music is deeply personal and reflects my emotions, experiences, and perspectives. Each work is a piece of my heart and soul that I share with the world. I hope that through my music, listeners can find solace, inspiration, or a sense of connection. I'm grateful for their support and the opportunity to create something meaningful together.
Driving at Night ‘Anywhere but Here’
You can submerge and dive deep in Anywhere but Here. Every hidden flavor and shade of colors that a melody is capable of holding is being expressed fully here. No stone left unturned, and no details were muddied or altered. Anywhere but Here is a reverberant, rich album full of imagination and feelings. Driving at Night’s music feels like a really well-written book. You’re not just here to enjoy the fansy sounds but to experience a whole world, wrapped up in sounds. From the most pent-up emotions to the most wonderful tenderness to unspoken words and screamed-out exclaims, their music is full of life and soul. You want to live in the world they create, feeling those resonances from the soundscapes and melodies rippling waves of goosebumps.
With a beautiful, tender touch of melancholy. “Nylon” carries a fuzzy edge of distortion. Mood-filled melodies come in your ears in fragments, being stretched long and board in the background. The foreground isn’t something palpable, but it might well be. Driving at Night captures loneliness and melancholia in a profound way, blowing up in noise-coiled catharsis at breaking point. Even though no words were sung in this track, you can clearly a soaring scream coming at you from every corner of the soundscapes. It’s gritty and hard-hitting, even though it remains immersive and picturesque.
“For K” is a big knot of pent-up feelings. Joined by frustration and unspoken words, there’s a hint of sentiment glistening in in the shimmering melodies. “Willow Tree” then takes you to a battle field. At times, you’re at the highest of the tide, and at times, it calls upon fight, but in the end, you’ll find where you belong. The track ends on a tearful note that feels as keen as coming home after a long journey.
“Anything but Here” is a track with high contrast. An edge of avant garde and distortion thrown into a cathartic, straight-forward motion. Lens shifts between the inner and outer world, the track evokes a sense of “one man against the world” solitude, navigating a thrilling and cleasning route. The instrumental throws punches that burn in flame but as nourishing as the rain. Like a hypnotic, noise-wrapped ritual, where demons and angsts are being released in escalation.
Anything but Here is a lot of things, but most importantly, it showcases the capability and range of the post-rock band. Eclectic, picturesque, moody and immersive, the ablum is everything you wish for to be played into your ears.
Punk Head: You guys have just released a full-length album in March. Now coming back with a EP full of new materials. Tell us more about your process. Is there a connection between the album and the EP?
Driving At Night: The album we released was a collection of songs that we wrote over the past several years, some of our favorites and some of our remixes. We put out about 25 singles, and these were our favorites. The EP consisted of newer songs, we wanted to showcase some different dynamics on this one.
PH: Where did you find the inspirations?
Driving At Night: We derive inspiration from everyday anxiety and the things we all go thru. Just hope to relate to people thru various struggles.
PH: What is your personal favorite song from the EP and why?
Driving At Night: We love “Anywhere but Here.” Felt like a different vibe for us, emotions from uncertainty and fear, but with a dash of hope.
PH: What has been one of the most significant moments of your musical journey so far?
Driving At Night: Our best moments are playing together and writing new songs. Those organic moments are what we live for. Looking forward to sharing with more people.
PH: What is the one thing that you’d like your fans to know about you?
Driving At Night: We really just want to connect with people live, sharing that experience with people is what making music is all about.
WIREHOUND ‘the anatomy of a thought undone’
The anatomy of a thought undone has the marking of one of the best music in the scene. For one, from the first sound, you know this is a profound album filled with songs that deserves to be made and deserves even more to be heard. This album from Wirehound will not leave you untouched. From tear-jerking ballads to cathartic, stormy rock anthems to mesmerizing pop sensations, the anatomy of a thought undone is an album that changes you. It makes you shiver from your souls with the turmoil and pain it once walked and sheds light to long-deserted places in your heart.
Wirehound’s sound has a universal appeal, which seems even more fitting to the messages they envisioned to send and the stories they share. Every song makes you feel something. They draw you into a different state, a peculiar challenge, but no matter how impossible it seems, you can always find a way out—that’s the spirit of Wirehound and the anatomy of a thought undone. These are probably some of darkest lyrics you’ve heard, but not because they tackle dark topics. It’s the pain and weight they carry in order for them to be heard.
The contrast of deep pain and bright force of light is so brilliantly intertwined. The album features songs that evoke deep feelings in your bones and make you tear up. With these songs, you only hope they’d last longer. You can feel it in the epic turmoil and drastic the danger it once in and the loss it has faced, but no soul is lost. The darkness isn’t gazing back to you anymore. Here, the darkest has been overcome. Instead of dragging you down, the music transcends the bad and lifts you up. There’s so many worth-remembering moments in these songs that you have to experience yourself.
The mastermind behind Wirehound also has been through some of the toughest things in life. From the rolling of deaths within the family to an accident to surviving and recovering from the indescribable pain of CRPS, the album the anatomy of a thought undone walks through time to listeners’ ears.
Punk Head: I love how the songs in this album are like phoenix rising from ash and flame. Can you tell us more about the creative process?
Paul: Absolutely! Thank you so much for the great questions. There is an unbelievable amount of work and planning that went into this album. I wrote the title track and the closing track back in about 1999, when I was 17 years old. From then, I knew it was gonna be a theme album and I knew what the story was. I also knew that, to me, these songs were special—I knew I couldn’t waste them. They had to be saved for the right time and the right team.
When Jason and I were recording “sleep all day” back in 2005-06, I was planning on the anatomy of a thought undone being our second album. But with the deaths in my family and the anxiety/trauma I experienced, the album got shelved for what I thought was forever. I especially believed this after I became so disabled I could barely walk and could no longer hold a guitar without agonizing pain.
After my miraculous surgery and recovery, Jason was one of the first people on the phone, checking up on me. We have always been brothers. To me, he is family and I’d run through walls for him. So when he told me it was time to record our first real album if I was healthy enough, I told him I would work tirelessly to get ready. Jason had found Corey Zack, this genius producer in Jersey City. We could have real strings and horns. And it would be perfect.
I immediately knew this was the album we had to do. I started doing 2 hours of physical therapy, 5 days a week. I had to get myself ready—in the space of a few months I had to transform myself from someone who couldn’t stand for more than 10 minutes, unable to drive with his bad leg, to someone who could drive 3 hours and spend 25 hours in the studio, working my butt off, over the course of 2 days. It seemed impossible, but Jason and my family believed in me, so I worked harder than I thought I could.
I started putting the track order together in February of last year. I called in every favor I had from the best musicians I have been lucky enough to befriend and got Eben Seaman to fly in from Iowa to play his brand of virtuosic piano, with Rick Birmingham coming from upstate NY to provide some of the best guitar solos I’ve heard in my life. My wife, Dana Wenzel, was also kind enough to come and lend her beautiful soprano to our sessions.
We began recording on May 20th, 2022. Jay laid down all of his drum tracks and I played all the bass parts that first weekend. From then, we would meet about one weekend a month to keep putting things down. I did most of the guitar, bass, and vocals. Jason played all the drums. And then Eben did almost all the piano/keys, with Rick and Corey adding some beautiful solos. Corey also knew these absolutely incredible string and horn players who came in and added so much weight to the album. Even though I can’t write or read music, I was able to get the sound files of the parts to Eben who, as part of his genius, transcribed everything perfectly.
Needless to say, Corey was everything Jason told me and more. Together, we took these ideas that had been bouncing around my head for 20+ years and turned them into something that, I think, is timeless. Something that truly believe is one of the best debut albums of all time.
PH: This album didn't come easily and certainly a lot of challenges were faced and overcame in the process. What is the one lesson you'd like to share with your fans?
Paul: I think the lesson is simple: never give up. My CRPS is nicknamed the suicide disease because it’s a pain demon that never let’s go of you and, for the most part, there is nothing you can do—no medicine. No exercise. Nothing. You just have to watch it get worse every day of your life, and try your best to hang on. I have so much to live for, and so much to be grateful for, but I had many, many moments where my thoughts got very dark. But I never gave up. I just held out hope that, one day, something would happen. And I would get better.
And, due to a crazy series of decisions I made to make the best of my disability, I was watching TV at 1am one day and saw a commercial for a doctor. A doctor who was a specialist in my rare condition. And not just that- he was the doctor who goes around the country teaching other doctors how to do a spinal procedure that helps reset the pain signal, and reduces the pain to a still tragic, but manageable level.
I spent many hours sitting on my sofa, unable to walk to the next room, thinking about all the things I would never get to do. All the journeys I’d never get to experience. All the little moments I couldn’t help my son get through.
Looking in the abyss, seeing darkness behind you, it’s easy to quit. But I tell you this- never ever give in. Never ever give up. It may take some time. It may be subtle or only partially answers your prayers- but there’s always hope and there’s always ways to find meaning and joy in your life.
Jason: That you need to make time in your life to add things into the world that make it a better place (even if it is ever so slightly). We spend so much time chasing money sometimes that we lose sight of what the world needs more of right now. That is beauty, compassion, love etc. For some reason of late, these things have become terms related to weakness when it’s the polar opposite. If one sad person feels happiness from what we created, all that time and hardship to get this record done will be well worth it.
I would also like to add that musical trust is so hard to find as an artist. I know Paul cherishes his work and knows what he wants, while I have confidence in my playing and artistic input. Those two things can be conflicting counterproductive forces. Playing with someone and creating for more than 20 years has an extra developed trust that should never be taken for granted. I think you can hear that trust in the music. With that trust, and ego's aside, is where true beauty can be created.
PH: Who are your favorite artists and why?
Paul: For me, the greatest living songwriters are Brian Wilson and Joanna Newsom. I don’t think anyone really comes close to their depth and brilliance in every aspect of composition. My favorite band is Radiohead, for similar reasons. I love all types of music though, and spend hours a day listening to everything from Run the Jewels to Garth Brooks to Tame Impala to KT Tunstall to Fleet Foxes.
Jason: I don't think I have a favorite, but always need to refer to Bach who tempered all of modern music and then The Beatles for doing some really great song writing with it all. My musical pallet is way too diverse to name favorites and so is my actual pallet since I don't have a favorite dish. I love good food and good music and am so grateful to be in a world with both.
PH: If you were stranded on a desert island and could only take one song or album to listen to, what would it be?
Paul: I am the rare person for whom this answer is easy and immediate—if could take one album, it is Have One On Me the triple album magnum opus from Joanna Newsom. If I could take one song it would be “I Know” by Fiona Apple, though “two headed boy, pt. 2” by Neutral Milk Hotel is a close 2nd.
Jason: Its close, between Mozart's “Jupiter Symphony” and Coltrane's “A Love Supreme.”
PH: What motivates you as a band?
Jason: What motivates me is the friendship, through thick and thin, that prevails, and the chemistry that's shared that is so hard to find in anything else on Earth. We have been at this a long time and have stuck to our sound. Paul wrote some of these songs before I knew him (and I have known him for over 2 decades). The fact that they sound like they could have been written yesterday makes me realize how timeless they are and how fortunate I am to be a part of it.
Finding Corey this time around was the final piece of the puzzle, not to mention all the talent that was brought in to complete the layers. The cosmic magnet at its center to make it all happen is the closest thing to REAL magic that I have ever experienced and if that's not motivating then what is?
Paul: I have to say that I really agree with Jay and so many of the points he’s made here. For me, I’m motivated by our friendship that turned us into family. I’m motivated by these amazing musicians we surrounded ourselves with on this album—from Corey to Rick to Eben and everyone else that contributed in any way. I’m motivated by the hope that these songs will get heard and that, somewhere, there’s gonna be even one person who finds strength or solace there. I’m motivated by the memory of my dad - our three fathers have all passed, and this album is dedicated to the memory of Corey, Jason, and my fathers. I’m motivated by my family—wanting to show my sons that, when I say you have to fight and not give up, it’s not just words —their dad worked his heart out to get this done. Despite the odds. And the look on my son’s face the first time he heard Annabelle makes it all worth it
Alterlight “Free”
“Free” looks at breakup with a new outlook. Instead of dwelling on what was lost, it looks forward to the future and its endless possibilities. “Free,” with its intoxicating groove, radiating positive energy, spinning in smooth and luscious soundscapes, is an ode to freedom and marks the end for a conflictual relationship. Freeing and eccentric, the single pumps up your day and gives you something to sing and smile about.
Alterlight’s song is evocative in so many different levels. Emotionally recharging, and physically inviting—you can’t help move your body along the groove. Their captivating and humble hook get you humming without knowing. Like the sonic cocktail of summer beach party mixed with night allure, the sound of Coldplay meets Muse.
But one thing that makes Alterlight different from other pop act is the unmistakable rock edge in their sonic palette. “Free” features a sprinkle of sensuously delicious riff that pulls your heartstring. Just like the way they make you sing, you’re so lost in the music to even realize what’s happening. Their guitar riffs have a very unique and eccentric palette that feels both comforting and charismatic. They are the heart in Alterlight’s music, dancing energetically, weaving emotive intricacy into the texture.
“Free” is an immersive and evocative experience that makes you want to stay in there forever.
Read our interview with the band and learn more about their creative process.
Punk Head: I love your unique blend of sounds and how it's both edgy and captivating. What was the inspiration behind "Free?"
Alterlight: “Free” is the last track on our new EP Fragments.
It's a positive conclusion to the EP. When we go through difficult times, renewal comes. This can be after the end of a relationship, for example. Free is a positive anthem for freeing ourselves from all negative constraints.
PH: What did you enjoy most about making this track?
Alterlight: The song was written by Stephane (the drummer) and myself (paolo/singer). We started with an old demo that was very different from what it would sound like. Sharing ideas in the home studio and then working with Stromae's producer was quite magical. We think that the positive energy of the recording process is quite evident in the song.
PH: What is your creative vision as a band?
Alterlight: We created the band around my imagination, and then the band members entered this universe. Now we create with the aim of arousing emotions. We all have very diverse musical influences that we like to distill into our music. We try to bring out a coherent sound that represents Alterlight.
PH: What has been, so far, your favorite song to perform and why?
Alterlight: “Free” is a lot of fun to play, because people can sing along quite easily. There are always great exchanges with the audience at our concerts. but there's also Burial, which is quite an emotionally gripping track.
PH: What is the one thing that you’d like your fans to know about you?
Alterlight: We're passionate about what we do, and we're ready to lift mountains to play all over the world. We're people who love human encounters above all else.
Daniel de Boer ‘Out of Shadows’
Out of Shadows see a blossoming sonic exploration of the different shades of pop. From soft cottagecore ballads to forestry jungle phantom to tribal jazz and filmic epic, the album is a collage of vibrantly unique experiences. It reminds you of abstract paintings and story-soaked impressions that conveys mood, sophistication and the exchange of cultures and ideas into a sonic form. Out of Shadows is truly charismatic and mystical.
“Fly Away” spirals into the subtlety of pop and jazz. In the melodic ringing and soft groove of instruments, Daniel de Boer’s smooth and expressive is somewhere between spoken and sung words, between Thom Yorke aesthetic and Nina Simone’s soulfulness. “Closer” stumbles into the exuberant hidden corner of diverse landscapes with luscious world influences coming together. The track delivers quite a mind-opening experience with refreshing soundscapes and mystical phantoms in the recurrence of haunting, hypnotic backdrop. It’s interesting how smoothly difference influences are brought together, like a melting point, a bond is being discovered, as if an universal language that has always been in each and every one of them.
“Don’t Hold The Line” evokes a filmic, theatrical experience. The wonderful pop ballad is both cinematic and intimate. “Circles” swings back with even more fascinating jungle-esque groove. “Out Of Shadows” then tunes into its folkloric side, beaming with jazz aesthetic. “Mother Earth” returns with the familiar touch of cinematic ballad. Daniel de Boer takes you on a wild sonic adventure, yet at the same time, with so much comfort and and intimacy.
“Remember” ends on a hauntingly stirring note, threading through dance and film. Like poems made of sounds, the songs on Out of Shadows evoke those foreign yet ancient feelings that have been sleeping inside of us. Something you can’t quite pinpoint. The album delivers a mystical and shocking experience, connecting you with a side of yourself you don’t even know existed.
Punk Head: I love the diverse sonic adventures Out of Shadows takes listeners onto. What inspired you to create this project in the first place?
Daniel de Boer: Thank you so much. It had been a dream of mine for years to make an album with my own songs one day, but I never found the time for it due to my busy schedule as a freelance bass player. When the situation in the world changed drastically in 2020 I suddenly had a lot of time and in the summer of that year I started writing material for the album. The inspiration for the music came from events in my personal life and from what was happening in the world.
The vision to make a world music inspired pop album came one year later, in the summer of 2021. I had just moved to Valencia, Spain, to start my masters in contemporary performance at Berklee College of Music and that same summer I started working with Indian producer Shakthi Prasad. When I met him he told me he had just returned from being part of recording sessions for world music formation Bokanté, led by Snarky Puppy bassist Michael League, and his head was still full of the sound of instruments like oud and oriental percussion. I showed Shakthi my ‘poppish’ and ‘rockish’ demos and he suggested to try out a more ‘classy’ approach, as he called it, by for instance replacing drums with darbuka and frame drum and guitar with oud for certain songs. I liked the idea and we began approaching my musical friends from all around the world to ask if they wanted to record for us. All of them said yes and now musicians from thirteen countries play on the album, partly on traditional instruments.
PH: Is there any challenges you encountered during the making of this album?
De Boer: The process of making the album was rather smooth in general, but there were challenges for sure. We started the recordings in August of 2021 and it was still in a time of isolation and lockdowns and all that. Many of the recordings happened remotely, which in one way is convenient, but it also made it hard to create a cohesive sound for the record. Because the musicians were not in the same room when they recorded, it came down to Shakthi and me to bring all the different interpretations and sounds of the individual musicians together.
PH: Can you talk about any standout tracks on the album and what makes them special to you?
De Boer: For me, “Mother Earth” and “Closer” are standout tracks. “Closer” is probably my favourite song on the album, although it was the hardest one to finish. Shakthi and I didn’t really know where to go with it, until we had the chance to work with Nic Hard, producer and engineer for artists and bands like Snarky Puppy, Michael League and Becca Stevens. Nic suggested to keep the instrumentation very simple and add layers of tribal female vocals. We tried it and it worked.
“Mother Earth” also features a lot of female vocalists, but it has a more intimate and serene atmosphere. In many ways “Mother Earth” is the Polar opposite of “Closer.” The composition starts very small and gradually builds and opens up completely. The addition of the lyra and some subtle oriental percussion give the track a slightly unusual sound, which I like.
PH: What motivates you as an artist?
De Boer: I love being creative, whether it’s cooking, writing or making a painting. Music has always captivated me the most as an art form as it is so directly linked to our emotions and it can go straight to the heart. So, I guess the rewarding feeling of being able to express myself trough writing and playing music motivates me the most.
Besides that music has the incredible power to connect people. Even though we don’t always speak the same langue, we can all can understand the language of music. Connecting people from different backgrounds and cultures has always driven me and this is also an important facet of the Out of Shadows project.
PH: What would you like to say to your fans out there?
De Boer: Thank you so much for listening to Out of Shadows! I hope the music brings you joy, comfort and inspiration.
Trent-Jean “Cities Burning”
“Cities Burning” comes at you with its sharp edged blades of emotions, pouring down in fragments. Like a mirror’s broken, pieces scattering in all directions. The brokenness and torn is palpable in the spiraling and sprawling disorientation of sounds. Trent-Jean brings that mind-blowing multi-dimensional soundscapes into your ears, immersing you at the same time, hitting harder each time when its earworms of melodies come around, haunting you to the very core. “Cities Burning” is bleeding and intoxicating, highly addictive and heart-wrenching, carved into your brain.
As a song with magnificent, multi-layered audio-visual effect, the core strings all the way back to Trent-Jean’s brutal vulnerability. The song opens with an almost ideal, utopian greenery. Peaceful and liberating, but so soon, the storm wraps its tentacle around and hide that love and vision deeper and deeper until all there left is layers and layers of struggle and torture. Sonically, Trent-Jean constructed it all with sounds, which is quite impressive.
Inspired by a past love turned stone, “Cities Burning” is a chaotic epic revolving around the intensity of love, loss and redemption. Through sonic cinematic explosion, even in the turmoil, the soft core of tenderness is not lost. It seems to be the source of all the suffering, and it’s coiled into the melodies, being echoed throughout the song in waves.
Read our interview with Trent-Jean and learn more about the inspirations behind “Cities Burning.”
Punk Head: I love how "Cities Burning" takes listeners on an immersive and profound sonic experience. What's the story behind this single?
Trent-Jean: At the end of an early relationship of mine, as I watched the chemistry turn to unrequited love, I looked at my then girlfriend and said “this feels like my city is burning.”
PH: What do you like the best about this track?
Trent-Jean: What I love most about this track is the way Rob Grant (Poons Head Studios) masterfully co-produced, mixed and mastered it.
PH: Are there any specific musical or lyrical influences that played a role in the creation of this single?
Trent-Jean: Musically Josh Gallagher’s live drumming really ignited and inspired fire-cracker energy to the tune. Shoutout to the mighty!
And lyrically, I was inspired to using less cliché metaphors to articulate my emotions on the topic of love, loss, youth and atonement.
PH: What is your creative vision as an artist?
Trent-Jean: To create and present the best possible art I can do so in this lifetime.
PH: How is the music scene in Perth?
Trent-Jean: It is a healthy potpourri of styles. I’m fortunate that I found my tribe, which we call 9th-Dimension Records.
Tyler Kamen ‘Bamboozle Tesseract’
Tyler Kamen is a creative genius, who never ceases to surprise. With 15 records and counting, Kamen is already onto his next adventurous trilogy, starting with Bamboozle Tesseract. Filled with eccentric, polyrhythmic madness and bombastic soundscapes, Bamboozle Tesseract spirals into the storm of a wild, dystopian nightmare, a mind-opening odyssey with awe-filled sceneries, unexpected twists, illusive suspense and danger in a futuristic world. The love of technology is intertwined with 80s’ retro aesthetic. Bamboozle Tesseract creates such strange and familiar experience, placing you into a world of mirrors that gazes into danger and future, yet still entangled with the past.
“Introduction - Future X” immediately evokes a mixture of warmth, bizarreness and a sense of belonging of a distant village, delving into the thematic title song. There’s so much life and heart in the pulsing melodies and reverberant rhythms that is hard for one to set oneself apart from the vibrant life form and society that exists in this distant land. A hint of strangeness and suspense that creep from the undertone still reminds you of its illusive nature. “Gnome City Labs” gives the first glimpse of potential danger. Despite the fatal mistake, Kamen weaves a perspective of awe and appreciation that makes you linger in this otherworldly world he creates in sounds. In destruction, one can’t help but being hit emotionally along.
With his long-loved guitar-driven texture scattered in the background, Bamboozle Tesseract evokes a distinct groove and atmosphere compare to Kamen’s previous offerings. The polyrhythmic maze opens up your body and mind to new adventures. It’s stirring and terrifying at first, but it’s like learning a new language, eventually, everything just cracks wide open and you’ll see a whole world hidden in there. There’s a entire civilization living in the maze of rhythms, codes of spirituality and intelligence in recurring themes. Bamboozle Tesseract is marvelous. The album intricately draws you a series of events down the timeline, at the same time, telling you everything about Gnome Village and its sudden, unexpected downfall. It puts you on the edge of your seat, just like watching a feature film in the theatre.
Read our interview with Kamen and learn more about the story behind Bamboozle Tesseract.
Punk Head: I love how you take the listeners on a wild sonic dream through Bamboozle Tesseract. Can you tell us more about the album?
Tyler Kamen: It is certainly a wild sonic dream (or should I say dystopian nightmare)! I completed a trilogy back in 2021 called The Spectacular Machine Trilogy where I was able to truly explore the realm of progressive rock and challenge myself to push my musical boundaries. I was determined to start a new trilogy and with that, my album Artichoke Pythagorum was born in the Spring of 2022. Bamboozle Tesseract is the second chapter of what has come to be known as The Vegetable Gnome Trilogy. Set 200 years after the events of Artichoke Pythagorum, the gnome village has now become a gnome metropolis known as Gnome City. When scientists at Gnome City Labs invent the Bamboozle Tesseract to create super vegetables, something goes terribly wrong and turns the vegetables into mutants that begin to terrorize the city. With the help of Detective Sheriff, the gnomes try to restore the city back to its former glory but fail as it is completely overrun by vegetable mutants. I wanted to push myself even further with this new trilogy, basing a lot of the writing around drums, bass, piano, synth, and horn lines instead of starting with guitar as I have typically done in the past. I also wanted to move in the direction of arranged musical passages instead of too many guitar solos, although there are still plenty of those scattered throughout the album. What came to fruition is a polyrhythmic puzzle where all the instruments are tangled together, thus leaving the listener almost BAMBOOZLED!
PH: As a prolific musician with a catalog of releases, what keeps you motivated?
Kamen: After 15 albums I keep finding ways to challenge myself and I guess that is the driving component to my motivation. I want to get better and better at making these albums and my insatiable search for the perfect record is what truly keeps me going. Pushing the boundaries of progressive rock and creating the most complex, but still accessible, product is my goal. I think David Bowie stated it best, “Always go a little further into the water than you feel you're capable of being. Go a little bit out of your depth and when you don't feel your feet are quite touching the bottom, you're just about in the right place to do something exciting”. I believe that if you are reaching unknown territory with your music and it feels as if it is coming from a pure, ultimately inspired place you are doing something special. Each record has left me with this exact feeling, and it is that exciting energy that keeps me coming back for more.
PH: Can you talk about any standout tracks on the album and what makes them special to you?
Kamen: “Gnome City Labs” was the first song I made for the album. It is what set the tone for the rest of the record, so it is definitely the most important track for this project. The use of dissonance and building these songs around the drums, keys and bass were pivotal in the direction of the album. From there I was inspired to make tracks like “Splitting Atoms” and “Are You Mutant?” that followed the same kind of bombastic arrangement and soundscape. The second most important track was the title track “The Bamboozle Tesseract” which uses a few recurring themes that I bring back throughout the album on tracks like “Intermission”, “Lights Over Zezop Way” and “Conclusion – Bamboozle Reprise”. There are other motifs that pop up between tracks like “Vegetable Medley” and “Cruciferous Creepers”, but there are others as well if you listen close enough. I really wanted this record to lean into the use of recurring themes like “Lamb Lies Down on Broadway” by Genesis or “Tommy/Quadrophenia” by The Who so it would feel like a cohesive story. I think with the tracks mentioned above, I was able to reach my goal and create a mini-prog rock opera of sorts. For the final album of this trilogy, coming out in late 2023, I am pulling a bunch of inspiration from these songs so I would say they are definitely the standouts of inspiration.
PH: Was there a pivotal moment in your life when you decided to follow your path as a musician?
Kamen: My parents have owned and operated Kamen Entertainment Group, Inc. for a few decades and have been my main inspiration for pursuing music. My mother, Marina Kamen aka MARINA and my father, Roy Kamen, have published hundreds of original songs and produced commercials for many huge companies. I pretty much lived in their recording facilities since I was a young lad, so music has always been a part of my DNA. When I was 11 years old, a friend of mine had purchased a guitar magazine and brought it to school. We geeked out over all the craziest looking guitars and the rest was history. I decided that I wanted to start learning guitar and produce tracks like my parents, so after asking for a guitar, they gave me an acoustic from the studio and I began my musical journey.
PH: Who would you most like to collaborate with, if it could be anyone in the world?
Kamen: It would be difficult to pick just one musician to collaborate with as I pull from a variety of influences, but my top picks would be Ian Anderson of Jethro Tull, Trey Anastasio of Phish, David Byrne of Talking Heads, Peter Gabriel of Genesis, Ed Wynne of Ozric Tentacles and Frank Zappa.
Alec Berlin ‘Space Punk and Other Junk’
Bombastic, charismatic. Alec Berlin takes listeners to a galaxy far, far away in Space Punk and Other Junk. Vivid sonic palettes bring an 80s’ futurism in a smooth smash of vintage aesthetic to life. Retro and fantastic world-building blossoming in the captivating riff of “ba ba lum.” Like a flavorful cocktail under a night of spontaneity leading to many unexpected encounters, there’s plenty of charm and intoxicating sparks in this fictitious world of sounds.
Berlin essentially builds a society in Space Punk and Other Junk. Heartwarming and eccentric, awe-evoking and distant, but somehow, there’s a deep sense of belonging. Memories are made, connections are formed. There’s so much to love and remember on top of the swirling otherworldliness under the disco lights. “Man’s Best Friend” is an heartwarming track filled with eye-opening flamboyance, humor and fun-loving. “Beat Confabulator (All Night on the Floor)“ gets under your skin with sensory solos that remind you of killer dance moves that never cease to impress. “LaNoise” retreats into laid-back, lounge mode with bluesy notes and bending notes.
“Life in the Bog” then ventures into the dangerous underworld full of unknown and egotism. Scenic dissonance and dramatic distortion brings a shift to the view. “Flatbush Jaywalk” brings a kind of urgency, coolness and tangle from Bond movies. “President’s Day,” on the other hand, feels most personal. With foot-stomping intimacy and heartwarming intricacy, the track is entangled in emotions and thoughts.
There’s a different scene in every track and its beauty awaits for you to discover.
Read our interview with Berlin where we talk about Space Punk.
Punk Head: I love how “Space Punk” is a smash of futurism and vintage aesthetic. Tell me more about this track. Are there any images that pop into your head while you were working on creating the track?
Alec Berlin: Honestly, I thought a lot about Star Wars - the first one, that came out in 1977. I was a Star Wars kid, saw it an embarrassing amount of times in the theater, completely ate it up. I was the target audience. And I think they did a great job of, to use your phrase, “smashing futurism and vintage” - ‘cuz there were all of these spaceships (futuristic), but they were all beaten up, dented, dusty, etc (vintage). I mean - “A long time ago in a galaxy far far away” - it’s vintage right from the jump, but we’re bombarded with images that we associate with the future - laser beams and whatnot.
So I had that in mind a lot when I was working on the track “Space Punk” in particular, and on all the songs on this record in general.
PH: Can you talk about any standout tracks on the album and what makes them special to you?
Berlin: Not really. They all surprised me, at each step of the way - writing, performing, recording, mixing. The thing I kept an eye (and ear) out for was if I found myself thinking “You know what would be cool? What if I tried THIS?” If that thought arises, that’s a pretty good indication that you are tuned in to your muse, you are reaching for things that feel true and honest and exciting to yourself. I definitely had that experience on the song “Man’s Best Friend” - the section in the middle that sort of references the Jackson 5. Or in the weirdo chord changes on LaNoise. Or the high-pitched, whistle-like melody on “Patchen Avenue”. Or the layered guitars at the end of “What I Wish I Had Said”. I could go on, but those are all examples of times when I listened really closely to my instincts - and it paid off!
PH: How does this album reflect your growth as an artist?
Berlin: Well. The previous 2 albums that I released both had lyrics and singing. And in fact I wrote a 3rd album that I didn’t actually record - it too had lyrics and singing. I might get around to recording some or all of that material some day. But for whatever reason, when I set out to write this music, I wanted to simplify the creative process, so I just bypassed the step of writing lyrics. I think a lot (most? all?) of these songs COULD have lyrics, but I wanted the challenge of creating a listening experience that is every bit as compelling and diverse as if there were a singer - except I didn’t want to have a singer.
So in that way, it’s completely different from the previous records that I made. (Well, I also made a jazz record, called “Crossing Paths” - that too is an instrumental album, but in that case I really approached it like a live performance. In this case I didn’t want to do that. And I didn’t want to adhere to a particular idiom.)
PH: Can you tell us more about you as an artist?
Berlin: Sincere. Either lazy or driven, depending on the day you ask me. I have a tremendous amount of faith in my taste. That’ll steer your ship through all kinds of rough seas.
PH: What would you like to tell your supporters out there?
Berlin: Listen to my music! Space Punk and Other Junk has 12 songs, they’re all available on all streaming platforms. Check them out, click “like”, “follow”, etc, and TELL YOUR FRIENDS! Thanks!
Mary Knoblock “Mustang Runners”
Mary Knoblock is a bit of a mystery in the avant garde scene. For one, she brings something quite unexpected aside from the experimentation of genres and form. “Mustang Runners” is about the experience of walking alongside a friend, who’s in critical condition, but it has less to do what what we know rather what we don’t. Heartache, pain, tragedy, joy, death and life becomes intertwined together in the four walls of a hospital—“Mustang Runners” is at the crossing. There are simply so much that come through the blend of sonics, in the form of electronics, pop, classical and even goth. Like the flashing of life, Knoblock’s intricate, hypnotic sonic loops and illusive soundscapes trigger a string of imageries.
“Mustang Runners” sees a deeply stirring way of fragmentation and repetition in relationship to the motion of running and meeting one’s destiny. Contemplation deepens through angelic yet otherwise vague vocals. It leaves an impression as well as the storytelling itself. And the voice simply haunts you though no repetition is necessary. And the real fragments that are being repeated as a loop in the song leave no trace in your memory. That’s something strange and amazing that happened in “Mustang Runners.”
The seemingly straightforward song interprets experimentation in an unconventional, even mystical way. You can’t really truly understand what Knoblock did that made “Mustang Runners” so evocative and unforgettable, only that she did. And she elevates you, spiritually, somehow closer to the greater force that many call it god, destiny, or universe. There’s something unexplainable in her music, a phenomenon that can’t be explained by logic. She makes you think about avant garde music in new ways—a form that is essentially about the unknown.
Read our interview with Knoblock and learn more about “Mustang Runners.”
Punk Head: I absolutely love how unique your sound is and how "Mustang Runners" have evokes a spectrum of emotions and imageries that I don't get to be in touch with normally. What draws you to avant garde music in the first place?
Mary Knoblock: Thank you so much Katrina! Wow, I love that it helped you access a spectrum of emotions and images. You know it’s interesting you said that. I have had another friend who swore they saw floating triangles in the sky while listening to another one of my songs. I think it’s the combination of my evocative imagery in the lyrics, combined with the melody that can trigger emotional responses more easily. I didn’t intend for that to happen, but sometimes it just happens with my music and I’ll go even further to share that as an artist from childhood, I would often paint images that evoke strong emotions in adults as well, so I think it’s part of my artistic gifting I get to share with the world.
As an avant garde musician and artist, that means a lot to me. It indicates that I’m connecting with people on a deeper level than a good tune, or great beat would for example. It’s totally normal for me to have people come up to me and share their emotional memories they experienced while listening to a song I composed, and or a piece of art that I had on display. This leads into why I’m an avant garde musician and artist in the first place.
I love exploring boundaries in sound and lyrics, as well as abstract imaging. My editor from London was always very encouraging of my poetry and helped me gain confidence in writing lyrics through poetry so I guess I just found a combination between all three avenues in my creative life that combined really well in “Mustang Runners.” I’m truly touched you liked it and can’t wait to share more in the future. Embrace the responses, is what I tell my fans, let the emotions surface and observe them. It’s healing and I hope my music can help the healing journey for all my fans.
PH: How do you stay inspired and motivated to continue pushing boundaries in your art?
Knoblock: My motivation for creating art throughout my compositions and lyrics for some, drives from a very deep rooted passion to create and express myself in ways I don’t do via normal talking. So a conversation with me as an artist is very different listening to or observing the art I create. And that conversation usually evokes strong emotions in people which I love, so that’s a motivator too, seeing the observer and listener be impacted in a meaningful and profound way for them in their inner worlds. It’s pretty special to me to have that impact as an artist.
The other motivation I have is to bring more evocative music into the world to really help humans process their deeper emotions and have some past memories or feelings resolve while they listen to my music. And to stay inspired? I talk about this a bit in my book, Unblocked - I Saw Light. I go through a process of alchemy with painful experiences and joyous experiences in life and morph those experiences into abstract neo classical works without lyrics, or songs like “Mustang Runner,” and or writing in general. It’s an outlet for me, and that motivation to express is pretty universal so I’m really grateful I can share my experiences in a way that helps others in the artistic experience. At times I’ll walk away for a break from creating and without a doubt, some life experiences will always clamour for my attention to be expressed. The motivation in that case is unending. A gift to share.
PH: How is the music scene in Portland?
Knoblock: It’s pretty eclectic! We have tons of great music venues all over. Crystal Ballroom is pretty iconic. Mississippi Studios, another amazing venue. On any given night you can find all types of music being performed all over the city. I still remember watching Sleater—Kinney in the Crystal Ballroom, front rows, in a small concert hall it’s just a more ideal intimate experience. Portland is so welcoming to all the musicians too. Definitely check it out!
PH: Can you tell us more about you as an artist?
Knoblock: I grew up listening to classical, baroque, the 70’s classic rock bands, jazz and a lot of other genres in music. We also had a ton of music instruments around so I’d be on the piano or listening to my father play the cello and violin and classical guitar while my mother practiced the flute and piano. So growing up in a musical family introduced me to music at a very young age. I also stated painting seriously in my teens. I had been an artist for years before I started music composition and electronic music production. And that helped me a ton, because being a bit of a reclusive painter gave me this internal experience and feeling of expression in art without an audience and hours upon hours alone of creating works of art. This made the switch to avante garde music very easy.
I essentially had this very deep internal artistic world where I could escape totally and just sit down and compose piece after piece of music. And those first albums became a large neo classical diary entry of sorts. It really was this expressive journey of me painting with sound. As my confidence grew more with writing, I returned to singing and composing songs like “Mustang Runners.” My background is very grounded in the Fine Arts, oil painting, drawing, and now being a musician, producer, neo classical composer and songwriter.
PH: What are your plans for promoting this single and connecting with fans?
Knoblock: I’ll be doing some Tik Tok lives for “Mustang Runners,” as well as leading up to my album Emerald Vain which “Mustang Runners” debuts on again when it’s live 9/8. You can catch the single live on all streaming platforms on April 29th. It will also be on some radio stations and a lot of press will be running for it. My book will also talk more about “Mustang Runners” so look for that in the fall as well. Finally, I’d love to have an art/music show and showcase “Mustang Runners” in an art gallery show with some of my art and do a special small performance for my fans, friends and family. Stay tuned on my Spotify for upcoming dates and locations!
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.
Calon “Matryoshka”
“Matryoshka” means “heart” in Welsh. Thinking of someone, still can’t seem to leave them behind, even the joy and heartbreak have faded in time—with gentle and reverberant acoustic guitar, Calon steps into his heart space. As memory gradually flooded back, feelings entangled, “Matryoshka” takes listeners to a warm, tender place where one’s passion and loss are preserved. “We had our fireworks but cling to the debris; I fell too hard for someone who wanted more than I could be.”
Calon’s poignant lyrics written from an autobiographical standpoint are a masterpiece themselves. Only through poetry can one articulate the intricacy and drastic. The ethereal, soft and illuminating soundscapes give it an even more sensible touch, finishing off with a beautifully well-crafted and immersive acoustic world. There seem to be wind bells chiming in the background, though they aren’t physically in the track. Calon creates such a dreamful atmosphere while his voice explores all the raw and tender feelings. “Matryoshka,” the wonderful song written from the heart feels too special to end.
The first half of the song gives you a kind of fragility and innocence, but passing the chorus into the second verse, the lingering feelings deepen so as the story unravels even more—a mixture of nostalgia and loss, heartbreak and acceptance.
Calon’s music always has a versatile and almost minimalistic quality to them. There are hints every now and there that remind you of commercially successful songs. There’s always the possibility for his music to adapt another form, like combining it with delicious electronics or sensuous synth or making it more modern, but Calon remains true to this intimate, genuine form, with a soul-baring voice and a guitar, a man and his story are enough. In the end, there’s no other form better than the one we’re already listening.
Read our interview with Calon and learn more about the story behind his single “Matryoshka.”
Punk Head: I love the vulnerability and intimate storytelling of "Matryoshka." Is there any challenge or obstacle that you faced while making the single?
Calon: I guess the writing process was pretty challenging in all honesty, this track (and the upcoming EP) is about the same person. I had written songs from an autobiographical point of view, but never with such honesty. I felt that with "Matryoshka", I didn't hold back, so as a result the emotions are quite raw.
PH: What do you like the best about this track?
Calon: I would say the melody of the chorus, also some lines really stick out to me, especially the first verse. It sets the tone for listeners, and I'm sure there are people that are able to relate to it. Overall I like that I was honest during the writing process.
PH: What is your creative vision as an artist?
Calon: I'd say I write from a place of vulnerability, a lot of my songs come from a place of honesty and also have a sense of desire behind them. I want to write songs that don't hold back. "Calon" actually means "Heart" in Welsh (I'm from Wales originally), and I feel that's exactly where my songs come from.
PH: Who are your biggest inspirations?
Calon: Great question! I'm a huge Jeff Buckley fan, he has some really great chord choices and that has influenced me a lot. Other than that, I'd definitely say there's a bit of Elliot Smith, Nick Drake and Radiohead in there. For some of the more summery songs I write, I definitely add a bit of Jamiroquai in there.
PH: What is the one thing that you’d like your fans to know about you?
Calon: That I'm recording my debut EP! It'll hopefully be out around late-2023. It will feature 5-6 songs, and the concept is based on aspects of a past relationship. Other than that, you can stay in touch with my journey through my social media, where I will post information for upcoming gigs and other music news!
EKKAONE ‘Pamplemousse/Tsuna’
Pamplemousse/Tsuna introduces you to the introspective, moody sonic world of Brighton-based artist EKKAONE. Letting the neon-colored intoxicating modern retro soundscapes catch you when your thoughts are drifting away, being somewhere a thousand miles away, watching the tips of your feet as you walk. It’s the kind of vividness, almost exotism in his touch of sound that really brings perspective to the genre of garage and hip hop.
Like a collage of instant photos putting together a somewhat familiar, still yet ever-sprawling motion, Pamplemousse/Tsuna draws you into its sensitive drastic worlds of atmosphere.
“Pamplemousse” envelops you into a state of mood. In the recurring sounds, the thoughts deepen. Reflective, but at the same time illuminating and transparent. Like a mirror of deep water. Through EKKAONE’s music, you’re more than ever becoming aware of your thoughts and understanding their emergence. There’s a kind of spiraling continuation between sessions in “Pamplemousse,” a subconscious level of engagement. Between obscurity and clarity are the lighter fleeing sonics and the swinging vocals. “Pamplemousse” is a mood and a space of mind.
Compare to “Pamplemousse,” “Tsuna” is more sensory and intriguing with all your senses heightened. The track places you in a night you don’t want to forget. Solitude, but not loneliness—an experience you’re fully committed to, and at the same time, know that it will not last forever. It’s the taste, the smell in the air, the light, the state of mind, and the in-between of reality and illusion that is worth capturing. There’s a distance between the physical world, like an out-of-body experience under the gentle shifting of light under the night sky.
Being on the move, in the groove, and in the thoughts. The track captures the motion and the introspection of a night walk. Contemplative and sense-awakening.
Punk Head: I love the diversity of styles in this EP and how effortless and fun it sounds. What was the creative process like?
EKKAONE: Thanks! I listen to a lot of instrumental hip-hop as well as more upbeat stuff. I love them both but I felt that modern 2-step can veer a bit too far from its cheap and cheerful roots sometimes. I thought it would be nice to combine that sound with the horns and vocal cuts of instrumental hip-hop to create something new.
PH: With Pamplemousse / Tsuna being your debut EP, I'm sure you have a lot to say about it. Tell us one thing that you've learned and one thing that surprised you.
EKKAONE: I used to make a lot of music a few years ago but didn’t put much out. I would let my expectations get in the way and worry about whether the sound fit what other people were doing. With this EP, I made a conscious decision not to do that and just let my ideas and inspiration move. I’m really pleased I did as I think I’ve created something much more unique because of it.
PH: Can you tell us a little about the "B-side"?
EKKAONE: The bulk of “Tsuna” was created during a single session late at night, combining 2 disparate sample sources with a melody on keys you only hear half of. I wanted the track to encapsulate a mood and an atmosphere, rather than tell a story like most music. I like music that makes you feel enveloped in your own thoughts and I hope I got somewhere close to doing that.
PH: How is the music scene in Brighton? and What motivates you as an artist?
EKKAONE: I grew up in Brighton and have only just moved back. Back in the day, there was a big underground scene here, but I haven’t had much time to see as much as I would like recently. We have a lot of great record shops here and there is a great community within that scene. In terms of motivation, I remember seeing an interview with DJ Shadow once, where he talked about sampling being a way to breathe new life into music from a forgotten past, it always resonated with me, so when I find a new sample, I get excited to see how I can reimagine it into something new.
PH: What is the one thing that you’d like your fans to know about you?
EKKAONE: There’s more to come so keep an ear out!
Emily Mac “Kills Me To Love You”
Emily Mac pulls the hard punches in “Kills Me To Love You,” loaded (pun intended) and fire. With darkly satisfying explosive-sensitive percussion and hard-hitting lyrics, “Kills Me To Love You” is wickedly empowering with sinister guitars crawling in the background, not without a hint from Mac’s haunting blues phantom.
Her words are sharp, like swords piercing through pages of lies. “Kills Me To Love You” is disillusioned, channeling the inner bad girl, pointing a middle finger at the ex. From punchy beats, dirty guitar licks, to sexy sassy punk allure, “Kills Me To Love You” unleashes two mountains of burden. Though flamboyant and black in color, the vulnerable lines in the track hit harder than ever: “I died in your arms,” “It kills me to love you.”
The imagery of dying is fully accompanied by gunfire in the sounds. There’s violence and darkness in “Kills Me To Love You,” but it’s not there on its own. Instead, it originated from a trauma that one seeks to put behind. In a way, “Kills Me To Love You” is bleak, much like the way how early blues documented the truth in the barebones of a song. Perhaps there’s no proper way to vocalize the dark places that one journeys to after having endured something traumatizing, but “Kills Me To Love You” understands it. The track gets there through vivid sonic symbolism that hits where it hurts, so that it may heal.
Mac offers a much-needed catharsis and closure to an unfortunate end. Sometimes, when the hurt is deep, forgiveness isn’t enough. There’s a need for resolution, a need for justice and fairness, a need to tell one’s story. “Kills Me To Love You” punches through the anger and hurt. And with Mac’s eerily haunting blues in the mix of hard rock, she gives listeners a moment alone, punching a hole through these dark thoughts.
Punk Head: I love how you explored darker themes such as toxic relationships and heartbreak in "Kills Me to Love You." The intimacy and the lyrics hit me quite hard. What was the creative progress like?
Emily Mac: It means a lot to me that my lyrics connected with you. Writing and recording “Kills Me To Love You” was intense, I was working through the trauma that past relationships had left on me and realizing that my desire for love had led me down some dark paths. Being a very empathic person it’s easy for me to take other people’s energies on as my own. So with this song, I gave that darkness back and took my power back. I feel like no matter what hard stuff you go through in life you can always walk away and start over.
PH: Hitting 50K stream with your first 2 singles is quite an achievement. How do you feel about this initial success?
Mac: It makes me so happy to see that so many people around the world are listening to and connecting with my music. It’s wild ‘cause when I was recording this album we were still in a partial pandemic lockdown and the world felt super small. I look forward to reaching even more people with my music and getting to meet them at my live shows.
PH: Can you tell us more about you as an artist?
Mac: When I’m the best version of myself, I’m channeling my experiences into art. The world is both beautiful and broken and a lot of things don’t make sense to me… but what does is music, connection: humanity. Sometimes I find it hard to express everything I want to say in my day-to-day life so I put it in a song. Rock is the perfect outlet for my emotions because it's raw and rebellious at its heart.
PH: Who are your biggest inspirations?
Mac: There are many. Some of my classic rock inspirations are Heart, The Rolling Stones and Stevie Nicks. I’m also really inspired by Dorothy, The Rival Sons and Beware of Darkness.
PH: What would like to say to your fans out there?
Mac: You are not alone, everything about you is ok; the dark parts, the weird parts and the sassy sexy parts. Be your free wild self and on the days that life feels hard turn up the volume on your rock music and let it lift you up.
Saline Grace “Bar Moon”
Following the release of The Whispering Woods, Saline Grace highlights the massive impressive “Bar Moon,” unveiling a previously unreleased track, “Yearning.” Guitarscapes shower down, carrying beautiful melodic sensibility with a touch of sorrow. Yet the darker undertone evokes vivid imagery of bleak, barren lands and cliffy shorelines. “Bar Moon” remind you of birds fluttering their wings across the ocean and sacred chants echoing amongst walls.
With permeable strummings of strings that weave into picturesque natural scenery, “Bar Moon” is cold and isolated, but at the same time, refreshing and free. Between freedom and restraint, the modern poetic embrace of feelings and medieval goth aesthetic, “Bar Moon” talks about deception and revelation, the duality embedded in our human nature.
“Yearning” continues the drastic immersive drive down the shoreline, but in the reverberant stringscapes, the track longs for the distant shore, the unknown. As eager as it is inevitable, drifting away while moving forward. There’s a kind of Western determination in the mix of deep sounds. Secrecy and more stories are being whispered through the beating rhythm. “Yearning” is a flow and a burning, an overwhelming force and a gentle embrace.
Read our interview with Saline Grace where we talk about artistry and “Bar Moon.”
Punk Head: I love the post-punk aesthetic of “Bar Moon.” Can you tell us a little bit about the track?
Saline Grace: “Bar Moon” is about truthfulness or better said “missing truthfulness.”
We all play different roles in our short life, representing a kind of person that is requested by institutions or people within our society, a mask you can say. Due to group behavior, we are liars to others and to ourselves. Betrayal and hypocrisy define mankind’s daily routine, I would say. But the question is: Who is the real person in that human body? Do we know her or him?
Thinking about the original idea of “Bar Moon,” I have to go way behind our early years around 1997. In a different version, the song was the opening track of our very first demo tape. At this time I had a singer for my songs, we called us Nobility Of Salt and lived in London. Actually, the song was still part of our second tape in 1998, which received recognition from Holly Hernandez of Holly’s Demo Hell in the English music magazine Melody Maker. It was a funny review...Then I wrote more songs, we made albums and the idea was forgotten somehow, but from time to time it came up and I was haunted in a way. And now, almost thirty years later, I finally nailed the piece. By the way, the same story happened with “The Evening Prayer”... But these are exceptional cases in songwriting for me.
PH: As a prolific songwriter, what do you enjoy the most about music making?
Saline Grace: Writing, composing and arranging music. I do like to describe the process in similarity to painting. There is maybe an initial idea that forces me and pushes me into the process of writing and composing. After that, by luck, I have a skeleton of a song like a pencil on paper. And then begins the process of arranging and I can fill the song structure with colours like painting a white canvas. In the end, I feel, that the song’s life is completed. The piece dies and will be buried gracefully with other pieces on an album...This is the way I usually see it.
PH: What motivates you as an artist?
Saline Grace: I have no choice, it is a need, a compulsion! My albums are the remains. Resting musically for a longer time makes me definitely ill. And this is often difficult being bound into invidious jobs to earn a living.
PH: Who are your biggest inspirations?
Saline Grace: Leonard Cohen, And Also The Trees and Nick Cave, I suppose.
PH: What is the one thing that you’d like your fans to know about you?
Saline Grace: I don’t like people, most of them talk too much; I hate small talk. Mankind makes so much noise for nothing. But when you are a beautiful cat, either a big cat or a house cat, you are welcome and maybe you will get an autograph...
SIR-VERE ‘Lovescope’
SIR-VERE evokes a variety of perspectives with their latest album LOVESCOPE. Released on their own Bongo Tronic Label, the electronica post-punk phenomenon throws a ruthless sonic confession in acid noir aesthetic, riding high on gritty industrial and monstrous electronica. From the first sound of the album opener, “Angel of Death,” their minimalistic hypnosis of a bassline has stamped the album with a kind of artistic seriousness.
The clanging, metallic funky tape of “Angel of Death” evokes an illusive blend of house, post-punk and funk. Inside the melodic shell of a mesmerizing phantom, the track is only the very beginning of a drastic sonic kingdom. Like spiraling into the abyss, “PEER PRESSURE” draws a raw but futuristic noir aesthetic, while the swelling, quelling “MISOPHONIA” explodes in a haunting 80s vibe. The Smiths meet Nine Inch Nails seems to be a bizarre yet welcoming phenomenon of what’s happening. With the inflating buzzing repetition that swells up against the walls, electronic streams pour down mid-track like being inside a world of digital waterfalls.
SIR-VERE stirs such a wild audio-visual ride with this record. It’s dirty, rebellious, sexy, and a little evil all at once. Like inhaling fluid paintings through your ears. So many bizarre influences and memories are intertwined, blurring the line between reality and illusion. In a distant, cold retro color, pieces of magazines, strange shapes, and hints of something and something are taped and overlapped. There’s that childhood curiosity and raw instinct in their experimentation of sounds. Through chaos and mess came their unique garage aesthetic, DIY, experimental, and spirited, and a little evil-minded.
How SIR-VERE manages to create these visual sounds would probably remain a mystery, but something else emerged by the time they get to “LOVESCOPE.” But even before then, the trace of a new perspective is already visible. “DESTROYA” brings a sexy driven pattering percussion with characteristic riffs and twangy, atmospheric rhythmic guitars. Shooting up streams of water and dirt everywhere, “DESTROYA,” like a carefree teenage boy who gets messy, dirty and sweaty, but there’s something so special about him.
“DESTROYA” and “LOVESCOPE” open your ears to hear that each song on this record can be tasted through a vivid portrait of a character. Disobedient, flaring, nasty, and unapologetic. There’s something stubborn in these songs, in the way they stick to minimalistic melodic repetitions. Like nostalgia, like holding onto something. And the emotions and vibes there become moods hard to shake off. It’s in the melodies, permeating the scenic soundscapes. “LOVESCOPE” is the most haunting yet because here, the music gets personal from sense-triggered immersion to being in a kind of mind and heart space.
Read our interview with SIR-VERE and learn more about the album.
Punk Head: I love the authenticity and unique styles in Lovescope. Can you tell us a little bit more about this album?
SIR-VERE: Well the idea the concept has always been no barriers no restrictions on our sound. I'm a Punk at heart and always have had a carefree attitude to what we do. Gary my main writing partner in the band is a true funkster. Stevie is an Alternative House Rave machine. Ian is a real indie rock-loving kinda guy. So put that all together and we have our unique sound. Lovescope shows this in many ways. Truly happy with this project.
PH: When did you first come up with the idea of writing this album?
SIR-VERE: It started in Lockdown with Gary making many demos which got my lyrics flowing. We soon realised the sound was changing and these tracks would go well together. Lovescope became the banner of the message we wanted to put out there.
PH: What are some challenges you've faced?
SIR-VERE: We all face challenges. That's what makes us stronger and makes us human. We have a great way of riding them out with positive actions.
PH: Who are your biggest inspirations?
SIR-VERE: My inspirations are varied but Adam Ant's early times, Ramones, Nine Inch Nails, The Clash, Soulwax, lcd Soundsystem...Gary, very much Radiohead and Stevie Wonder. Stevie is the Prodigy, Ian the Pixies.
PH: What would you like to tell your supporters out there?
SIR-VERE: Let's all unite be as one be yourself be proud be happy…Cheers Craig
Nobody's Wolf Child “Nobody's”
Belonging to no one and everyone is a state of freedom, where one is embraced by its surroundings and embraces back, and something deep inside one is being awakened, like remembering that all is one and one is all. “Nobody’s” marks the final chapter in Nobody’s Wolf Child’s Hexalogy, but it feels so much like a beginning. There are still conversations to be continued, voyages await, but at the same time, there’s a sense of resolution and peace throughout the track.
Being true to herself and her creativity, “Nobody’s” sees the blossoming of her primal, earthy roots meet intuitive world building. Instead of a certain landscape, the ever-changing sonics in the track resembles the alchemy of five elements: water, fire, gold, wind and wood—the essence of life. With ancient totem burned into the undertone, “Nobody’s” feels like a rite of passage, where one’s sense is being reawakened.
Like finding a piece of a missing soul, the final chapter of Nobody’s Wolf Child’s Hexalogy is subtly magnificent. It’s certainly a journey that changes you. On the imagination level, it’s fascinating how the world inside a song feels more real than the one we live in. There are truths underneath the genre-fluid, immersive odyssey, and to find them requires solitude and a pure heart.
Read our interview with Nobody’s Wolf Child where we talk about her brilliant “Nobody’s.”
PH: I absolutely love the earthy yet intuitive blend of elements as well as the immersive, multi-facet aspect of your music. Is there a place you find yourself most inspired or write your music at?
Nobody’s Wolf Child: Thank you….Well its a mixture of far far far away amongst the expanses of my inner world or mooching about in this one by the wild seas, the woods or the meadows.
PH: Tell us a little more about the meanings behind “Nobody's"
Nobody’s Wolf Child: Well beyond the blurb it would be over-explaining it and I don’t like to do that as I think while every song has a very specific meaning to the artist it should ultimately fall subjectively upon the listener’s ears. I like to encourage imagination not control it.
PH: What was your favorite moment in making the music video?
Nobody’s Wolf Child: Being a full Wolf child and performing the dance to the music. It was enjoyable to physically express that song.
PH: What’s your goal this year?
Nobody’s Wolf Child: I have many but the main one pressing on my thoughts is live show. Having a very elaborate imagination can be a double-edged sword when it comes to…this reality.
PH: What would you like to say to your fans out there?
Nobody’s Wolf Child: Awooooooooooooooo
Static Null “Void”
An intricate blend of warmth and coldness immerses you in the spiraling, sprawling soundscapes of “Void.” The tapping, seemingly emotionless recurring of sonic fragments manages to stir something deep inside you. Contemplating technology and humanity, the track has a side of soulfulness beneath its smooth, silvery surface. How one piece of music can be so cold yet spine-tinglingly evocative is beyond us, but the storm of sounds in “Void” sees the unusual intertwine phenomena of nature, soul, and machine.
It’s extraordinary, yet sad at the same time, for destruction and creation are two sides of the same coin. In the rise and rest of sounds, “Void” evokes those fleeing thoughts in you as complex emotions well up in your chest. Introspective and scenic. So magnificent yet intricate. It’s everything in one, like a universe of its own creation. In the end, it all comes back to the void.
Static Null is an ambient/electronica producer, and “Void” marks the Sweden-based producer’s fifth release. Static Null’s eclectic creativity and the spirit to embrace conflicts while pushing the envelope of music is something that you don’t see every day. Melancholia but bright, hopeful but saddened. The duality is so delicately handled in his music. With a new EP coming up, be sure to stay tuned to Static Null’s music journey.
Check out our interview with the producer below where we talk about “Void” and his upcoming EP.
Punk Head: I love the duality in "Void." What is the inspiration behind it?
Static Null: I worked on an EP for some time and when it was almost done I decided to not release it. I experimented a lot on it but I felt it wasn’t good enough. So I gained experience but lost the EP. And it left a sort of a void but at the same time, it felt good to make the right decision. So I made this track with the concept of losing something you worked on but still gaining something. Life goes on. The concept was a void, cold yet emotional if that makes sense.
PH: Were there any challenges that you encountered while making the track?
Null: The challenge here was balancing the warm analog sounds with the cold digital ones. But I’m happy with it. (As happy as can be that is) :) You always hear stuff others don’t.
PH: Can you tell us more about you as an artist?
Null: I work with Ableton Live and analog gear in my home studio. I live very close to nature and the forest and it inspires me a lot. I make music inspired by nature, humanity and technology. I also love the concept of man vs. machine but also our collaboration with each other. I love machines but can also see their potential for destruction. It inspires me to write pretty dark music sometimes. :)
PH: What do you aim to accomplish in the near future?
Null: Right now I’m working on an EP. So my goal right now is to finish it. One thing at a time right? One thing I would love is to play my music live around the world. So that’s my long-time goal.
PH: What would like to tell your supporters out there?
Null: Thank you SO much for listening to my music! I’ve gotten so much love it’s insane. It makes my day when I get a comment on a track or I get some streams. It always brings a smile to my face, no matter how shitty of a day I have.
Nishy “Memories From A Vinyl”
Memories From A Vinyl feels like a 16-minute sonic film that makes you forget about time and space. In between time and space, Nishy’s pulsing lo-fi aesthetic evokes nostalgia, while the hazy, floral soundscapes in the EP spiral disillusion and awakening with a touch of melancholia. Brewing an intimate, illusive late-night ambiance, her sexy, multi-lingual dialogues allure you with hushy whispers, late-night phone calls, and unapologetic confessions that dissolve into the airy, romantic atmosphere that is both smoothly luscious and rough-edged at the same time.
The melodies in the songs are deliciously addictive. As a debut release, Nishy certainly leaves a memorable impression, but Memories From A Vinyl is more than just a collection of songs. Nishy builds a world in Memories From A Vinyle with non-linear storytelling.
It feels so surreal, yet at the same time, disillusioned. Memories From A Vinyl revolves around a journey into a woman’s inner world—her sensuality and innocence, her strength and determination are all intertwined together. The EP is no doubt intimate, not just the raw-edged intricacy in its production, but the honesty and depth of the character. From the perspective of pain and struggle, Nishy explores the topic of self-worth, which makes listeners feel every slice of her heart pulse when the woman in Memories From A Vinyl share her voice.
Read our interview with the artist below where we talk about all things Memories From A Vinyl.
Punk Head: I love the intimate yet immersive atmosphere that you draw listeners into in Memories From A Vinyl. When did you first have the idea for the EP and how has this idea evolved through time?
Nishy: As far as I can remember, I think the first idea of Memories From A Vinyl came to me just before the lockdown in March 2020. I was inspired by the people around me and what they were going through at the time. Then one night, I felt a strange energy in the air and I couldn’t sleep at all. So, I put on some sweet Lofi-type beats and ASMR to sleep. Then I heard the sound of a vinyl scratching and in a flash, it came to me. I had like a vision in my head. It was the story of a woman remembering her own worth thanks to a romantic disillusionment. Then I could hear the melody of “MMT” in my head with the lyrics. I already had other melodies for other songs before but I didn’t know they would fit this project. So, when I finished assembling all my ideas, Memories From A Vinyl was born.
Through time, I replaced some songs with new ones because this project evolved a lot. I’ve been working with my co-creator Aryh Love Baker. He allowed me to dive deeper into the artistic aspects of Memories From A Vinyl and worked on all the technical aspects. It took some time to develop this project because I was going through a hard time in my personal life. And because of the global situation we were living in, we had to work from home for the creative process. Sometimes it wasn’t very easy but it gave me the last narrative aspects to nurture my debut EP.
PH: What are you most proud of about this EP?
Nishy: Oh, I love the immersive atmosphere of the project. I wanted my music to sound cinematic. The feedback I've had confirm this, so I'm very happy with it. A lot of people who listened to Memories From A Vinyl told me that they love the sound of the spinning vinyl. So do I, because I think it’s a very soothing sound and it is also the main element of the Lofi Aesthetic which creates the immersive ambiance. Also, I believe that the way I added spoken verses, whether it is in “Hello? It’s me...,” “MMT” or “Phase,” reinforces the intimate atmosphere. So, I’m very proud that I was able to do that.
PH: Can you tell us more about you as an artist?
Nishy: Well, I was born in France but my parents are from Mauritius. So I grew up listening to various genres of music ranging from French Chanson to Bollywood music. Also during my teenage years, I listened to a lot of American music including Pop, Hip Hop, and R&b. But one day as I came home from school, I discovered Nina Simone and I felt a deep connection with Soul music and Jazz. From this day, I knew that music would be a great part of my life. So, I started writing poems around the age of 15 then my very first songs at the age of 18. I have always been inspired by everything around me including the people who crossed my path. Their stories would inspire me with songs in which I could explore their emotions. In the beginning, I would compose melodies on the guitar or the piano. Then later, I discovered Logic Pro X and I understood that I could take my compositions to another level thanks to music production. Which is great because it allows me to give a cinematic atmosphere to my songs. I love to turn human experiences into musical creations. When it comes to music, my favorite part is the creative process. This is why I consider myself a music creator.
PH: Who are your biggest inspirations?
Nishy: As I mentioned in the previous question, Nina Simone is definitely one of my biggest inspirations. I would also listen to a lot of Alicia Keys in my teenage years. But at the moment, I’d say British singer and her eponymous band Sade. I love their musical universe, the arrangements, the soft vocals, and the ambiance... For Memories From A Vinyl, Sade remained one of my biggest inspirations. I was also musically inspired by Selena Gomez and Sabrina Claudio. Because before the creation of this project, I used to listen to the album Rare from Selena Gomez and I discovered Sabrina Claudio with her song “Stand Still” and her album Truth Is. Also, I discovered the Lofi Aesthetic and listened to a lot of Lofi beats on YouTube. So, I have many inspirations and the artists I’ve named are the ones who musically accompanied me during the creative process for Memories From A Vinyl.
PH: What is the one thing that you’d like your fans to know about you?
Nishy: Well… the one thing I’d like you to know is that it's been almost 3 years since I've heard the silence because I have tinnitus. This is the consequence of a noise trauma. I was working on the production of Phase which is the 4th track of my EP and I accidentally got hurt. I almost lost my hearing. But luckily, I got medical treatment in time and was able to fully recover my abilities after taking a break from my musical projects. It was a bit hard not to make music anymore because I felt like I was being deprived of what I loved doing the most: creating. But thankfully, all this was just a phase because now I can make music again while being careful. And I was finally able to release my EP Memories From A Vinyl last February. So today, I feel very grateful for everything because this experience allowed me to grow and evolve. This phase of my life taught me that no matter what is going on in life there is always hope. Always…
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.