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.
greenhouse “Finally Over”
Greenhouse releases their highly anticipated single, “finally over,” giving a teasing glimpse of their well-deserved forthcoming debut album, Centre of The Universe.
Fueled by holly ghost fire and fierce creativity, the UK outfit brings heart-stirring, flawless guitar work with both volume and melodic allure. Noisy and loud, full of attitude. “Finally over” is unapologetic. With contemplative words against the backdrops that spark their story-soaked wisdom, their sound sees nostalgia and bittersweetness in the scream of something primal and hard-hitting. Having been described as the latest and the greatest, Greengouse is here to leave a mark.
“Finally over” is an instant hit. And it only gets better. 2023 marks a sensational reawakening for the British band. In the past three months, they have released two single, both are critically acclaimed and well-received by listeners around the world. “Here I Am” is described as “experimental masterclass in songwriting” with “a cutting-edge lyrical story” by Right Chord Music UK. Unlike other bands, for Greenhouse, every song is special and are here to deliver more than just some sounds and notes—they are here to make real noise. The kind that moves a crowd.
Set to be release on July 10, Centre of The Universe is mixed by the UK-based producer Barny Barnicott of Arctic Monkeys, The 1975, and Sam Fender; and Dylan Adams (DMAs) in Sydney.
Mort Jardin “Delay Decay”
Manchester-based post-punk psychedelic rock act, Mort Jardin shares a nightmarish new album. Bending the boundaries between genres, Delay Decay sees neo-psych swirling in the phantoms of jazz, swing and blues. Pieces and fragments of guitar dissolves into its impressionistic backdrop, composed of booming basslines and hypnotic drum loops. The duality of capture and escape then forms a sonic maze in the deeper dimension of Delay Decay.
As an artist, Jardin never fails to challenge and outdo what he has previously achieved. Delay Decay sees the artist masterfully leveraging his unique sonic instinct while orchestrating an even more complicated soundscape. The track swings between poetry and dream, surreality and disobedience. Psychedelic, but piercingly brutal.
The entire track list compresses of lead track “Soaked in Fever,” “The Logician,” “A Strange Nostalgia,” “Fried Ground,” “When You Are Around,” “Slow Thaw,” “Coastline,” and “Wake Up Marty.”
Check out the new album here:
High Protein “Cybele”
Rising EDM producer High Protein shares a darkly intoxicating, atmospheric new single. “Cybele,” smashed with discordant synth and pulsing industrial dreams, paints an unusual atmosphere of alluring aroma and complex sensory effects. Exotic, ethnic elements give the track a kind of otherworldliness that has listeners question where they are at the same time captivated by the scenic soundscapes.
In “Cybele,” Middle eastern influences confront oriental melodies and rhythms while being amplified by a drastic bassline that lurks and growls from the underworld. Futuristic but earthy, dystopian but ethereal, dark but euphoric. “Cybele” explores dualities in the Australian producer’s own creation of a sonic cocktail.
Without a marketing plan or any help from a label, “Cybele” has garnered over 6,000 organic streams since its release in January. High Protein lately released a new single, “Caecilious.”
If you like what you heard, be sure to check out the latest entry from the very talented composer/producer:
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.
Ann Marie Nacchio ‘it's been a day, a week, a month, a year’
Unconventional, inspired, and rebellious—Ann Marie Nacchio’s it’s been a day, a week, a month, a year features thrilling sonics and honest storytelling. The album sees the breaking and rebuilding of structure and form in dynamic, confrontational manners. Continuity and departure creates friction in between songs. “Kismet” journeys to the deep ocean of truth through a filmic lens, opening in the massive, ground-shaking sound of a grand piano. Clashing, explosive, bizarre and dark-entranced, Nacchio’s stunningly smooth vocal in contrast with that is simply breathtaking.
“Loose-Lipped Love” is simply impressive. Its industrial grunge soundscape creates such a drastic vibe, while the airy background vocals spiral and swirl through an awe-infused trance. Even though it’s ginormous in its world-building scale, the track doesn’t lack intimacy and emotional vulnerability. Nacchio’s expressive vocal pulls your heart strings. “Maybe” highlights a Phoebe Bridger dairy style storytelling with emotive, orchestral soundscapes. The dynamic “Dead Flowers” then travels back to cinematic, heartfelt piano, while “Manic” induces a hypnotic, mesmerizing experience. What channeled through her is just incredible. it’s been a day, a week, a month, a year is inspired and eclectic.
In our interview, Nacchio revealed that the whole album poured out of her a few years ago in one set. Read the full clip below:
Punk Head: I like your cinematic style of storytelling. It’s very refreshing! How was the writing process for It’s been a day, a week, a month, a year?
Ann Marie Nacchio: The songs just poured out of me a couple years back—I was feeling particularly inspired at the time. All the songs are about the same subject, and all were written within a year of each other. I teamed up with producer Adam Tilzer to bring these songs to life in early 2022, and it was almost as if it was still being written—many of the songs moved in completely unexpected directions.
PH: Since your debut album, Little Dangers, you have released two EP. That’s very prolific compare to most musicians. Where do you usually find your inspirations?
Ann Marie Nacchio: From life experience. These songs are very dear to me, and very personal. I was defintiely a little nervous to put these songs out in the world, like I was being "seen." it's been a day, a week, a month, a year is a phrase I would often say, especially at that time in my life, so I felt like it encapsulated the entire EP. This EP is actually part 1 of a larger whole called The Outward Spiral, which was just released this March 3. Both have been written for some time, it just took a little while to actually record them.
PH: What’s your favorite song on It’s been a day, a week, a month, a year? Can you tell us more about the song?
Ann Marie Nacchio: It is really hard to pick a favorite; it's like trying to pick a favorite child! If I did have to pick though, I probably have two, both which I love for different reasons. “Friend” is among my favorites because I think it is a prime example of my writing style, both lyrically and harmonically. I consider it to be the best song I've ever written (though some may disagree). I am proud of how densely packed the lyrical content is-- every line comes fully loaded with information, from the way they are said to the adjectives used. It's all very deliberate. It is also a complete and accurate retelling of the experiences that led to the writing of the entire EP. My other favorite would be “Loose-Lipped Love,” mostly because of the epic transformation it underwent. It began as a finger-picked acoustic song and Adam turned it into a grungy, almost industrial groove, which is right up my alley. It's also a fan favorite.
PH: Is there a pivotal moment in your creative journey?
Ann Marie Nacchio: I've been performing my whole life, as well as been writing songs my entire life, so neither performing nor writing anything would have been particularly pivotal for me. I would say, however, that my debut release was really important in my creative journey. All debut releases are important, but Little Dangers is a sort of greatest hits of all the songs I've written since college. I recorded and engineered everything myself for the most part. It took years to finish, because of life getting in the way, but that release sort of opened the floodgates, as I had this entire EP written before it even was able to come out. I was completely ready to go once it was released.
PH: What’s coming up next for Ann Marie Nacchio?
Ann Marie Nacchio: I'm working on some new music, doing some co-writes as well, but I haven't entered the recording stage just yet. I think my focus will be more on singles for now, and I'm hoping to have a single out before the end of the year!
Street Legal “Hair Today, Gone Tomorrow”
“Hair Today, Gone Tomorrow” dives into the subject of nostalgia and reflect on people recalling the good old days through rose-colored glasses. Change evokes nostalgia. In the neon-infused, retro-enriched sonic storytelling, “Hair Today, Gone Tomorrow,” just like its piercing title, spares no more words and tackles the highly relatable feeling of nostalgia with Street Legal’s impressionistic, minimalistic execution.
The track opens with a retro groove humbly laced with hazy psychedelic. The blend of synth and rock creates an illusive, alluring soundscape that breathes and shifts along the lyrics. The drums lead the hearts, tuning to the beating and rhythm of a lost decade. There’s a reawakening of feelings covered in dust, traveling across time into your ears.
“Hair Today, Gone Tomorrow” feels like a poetry in the sonic form with words that act the same way our memory does—like a snapshot, the recall of sense, subject, change, and taste. Like when you close your eyes, part of you travels back. But just like the body that stands in the present, its sonic palette is also fresh and exciting.
“Hair Today, Gone Tomorrow” is the debut release from Street Legal. The band teases more new music coming the way and an Australia tour, which will kick off in October. Check out our interview with the band and stay tuned!
Punk Head: I love the groove and the unique sonic palette of “Hair Today, Gone Tomorrow.” Can you tell us a bit more about the song?
Street Legal: Thank you! It’s a song about growing older and perhaps getting caught up too much in nostalgia—e.g the end of the millennium being the perfect decade to grow up in many people’s minds, when really there were probably things that people were just as anxious or fucked up about back then.
PH: What was your favourite moment in making the music video?
Street Legal: I really enjoyed working with Kris and Harry on bringing their vision to life—the only inspiration or cue I gave them was from a Protomartyr video I really liked and they went from there. I like how the film clip slowly descends into madness.
PH: What do you aim to accomplish in the near future?
Street Legal: The band have been working with engineer Colby Robertson who has worked with a variety of Adelaide bands on a new single which will come out with a film clip later in the year. Then hopefully an interstate tour. Australia is a very big place!
PH: Who are your biggest inspirations?
Street Legal: LCD Soundsystem, Icehouse, Kirin J Callinan. Lately we’ve been listening to Weyes Blood, Coldwave and Ice Spice.
PH: What is the one thing that you’d like your fans to know about you?
Street Legal: There will be no refunds available from the concession stand.
Candid “Tonight”
Emotional vulnerability meets Candid’s restless energy in a blast of sonics. Vivid, flamboyant, unmistakable, and hard-hitting, “Tonight” sees their unfiltered honesty crawls to the messy surface. Bouncing and echoing in ever-evolving sonics and massive volume, the track is as epic as it is cathartic. The wrenching conflicts in “Tonight” reminds you of the Academic and the explosion and intensity reminds you of Inhaler. With “Tonight,” Candid places you in the middle of an escalation of a party.
But they are more sensitive than Inhaler and less nostalgic as the Academic. Instead of lingering in the past, they take the best of the present and brings all they have on the table. Candid take you to where they are and immerse you fully with heart. From party scenes to introspective moments, they don’t have a set preference. Instead, they ride with the tide and dive right into the best and the worst of any given moment with no reservation. Highest high or lowest low, Candid is always real with you. Their honesty, transparency and head-first spirit is why we love them so much.
Originated from Coventry, UK, Candid is a five-piece indie rock outfit consisting of brothers Rob (vocalists/guitarist)and Dan Latimer (lead guitarist) along with drummer Alex Bonsor, bassist Sam Baines, and keyboard player Max Fisher. They are as versatile as they are impressive. With expansive sonics and piercing, hard-hitting vocals, Candid charms you with a very unique sound that separates them from the rest. At the same time, their music has an universal appeal that grabs listeners’ attention and wins them over in an heartbeat.
Dani Slovak “Drowning in Fire”
“When you see me, or rather hear me, I want you to remember that you got this and that great, beautiful, and extraordinary things can come out of anywhere.” —Dani Slovak
Inventive soundscapes and powerful sonics weave together with Slovak’s sensitive, evocative vocals. Unapologetically revealing lyrics bleed through captivating melodies, bursting into many powerful moments of catharsis and realization. “Drowning in Fire” is intense, imaginative, epic and haunting, but moreover, it’s a song that needed to be heard.
From being just a rough idea in Slovak’s head, the song poured into a demo one day and from there, it patiently waited for the right person and the right time. Many nights and days later, “Drowning in Fire” was born, along with its message. Slovak opens himself up to be vulnerable and real about the demons he faces.
“Drowning in Fire” is about self-destruction and the struggle of meeting others’ expectations, which again is wrapped up in a storm of short-lived situationships. “I wake up drenched in stranger’s odour as I’m slowly getting older,” is raw and honest. “I know I’m toxic to myself, I ain’t no angel, I’ll burn in hell,” captures the feeling of inadequacy and the frustration one has toward oneself when unable to make a change. By peeling his heart out in the open and showing all the broken and the rotten, Slovak speaks to these complicated, damaging yet humanly relatable feelings that many struggle with, silently and alone.
Sometimes, it may feel like the rest of the world doesn’t understand what you are going through, but he proves you wrong. Through vocalizing things that are unspeakable and often avoided, Slovak cracks the suffocating silence wide open. “Drowning in Fire” makes everyone who is going through the same thing feels less broken and alone, and that is the deeper message that Slovak aims to deliver through all his music. He speaks about queerness, inclusion, and transparency with unapologetic music that’s full of strength. His music is like therapy, putting feelings and experiences in perspective.
As humble as he is in his music, Slovak is as real as a person can be. “I am the same person in real life as you see on my social media or hear in my music,” he stated. “I am all about inclusivity; rather than trying to portray myself as this great artist.” Instead of putting up walls, he uses music as a medium to reach and help more people who just need to know that they’re not alone.
Punk Head: I love the imaginative soundscapes and how deeply evocative “Drowning in Fire” is. Can you tell us more about the song?
Dani Slovak: I wrote a part of this song in my head in summer 2021. I used to do this a lot (writing songs only in my head) because I did not have the skill, yet to produce or make the songs I would have in my head, but I would remember all the songs that really meant something special to me and I wanted to finish them one day. This was one of those songs. Literally a morning after a one night stand, I woke up with this melody and words “I wake up drenched in stranger's odour as I'm slowly getting older,” I looked into the mirror and thought that I could no longer recognise a person who I used to be (that's the hidden meaning behind the obvious one of me being a man-whore), immediately followed by the part “I know I’m toxic to myself, I Ain’t no angel, I’ll burn in hell.”
Then, summer 2022, I saw an advert on Soundcloud for a production contest for KIA - the task was to create a song around their synth—production-wise I went all out; I created all the sounds in the actual song, except for the snare and the guitar, with their synth, which quite frankly is not a good synth, but somehow I just followed my inspiration and I made it work. I only had 17 hours to make the whole song and I wasn’t even sure if I had the production skill to create it, but I knew it was time to finally make “Drowning in Fire”—took me about 15 minutes to finish the writing and then I spent the rest of the time on recording, producing and mixing.
I’m not even sure if those people from KIA listened to it, but I thought it would be a perfect song for one of their car commercials, so I submitted it—never heard from them. Then, in December 2022, I remember I had this track I really love, but is quite lacking that professional sparkle, so I messaged Mike Dwyer, with whom I worked before, because I knew this track would be a perfect fit for him - and it was! He just made it sound so much better and all his notes and changes made this track into a song it is today and I am very proud of both of us.
PH: Was there any challenge that you encountered while making the track?
Dani Slovak: I think, the lack of the production skill, as I said before. However, for the past year, I have made it my only priority to “feel good,” no matter what I’m doing. I I make songs that way; I just start making a song with the intention to have a good time whilst doing it, even though I have no idea what I am doing. A lot of times I am producing and I don’t even really know what I am doing, or what I’m pressing, but I just know that I am loving what I’m doing, so I just roll with it. I am so glad I started doing that and now I know there will be no challenge for me as long as I feel good.
PH: What is your creative vision as an artist?
Dani Slovak: I am the same person in real life as you see on my social media or hear in my music. I am all about inclusivity; rather than trying to portray myself as this great artist, someone unapproachable and who thinks he’s better than everybody, I irradiate a clear image of someone you would meet in a dive bar, to whom you could tell your whole life story and would feel safe around. And that’s my vision as an artist, when you see me, or rather hear me, I want you to remember that you got this and that great, beautiful and extraordinary things can come out of anywhere. There is so much beauty and potential in everyone, you just have to give people the benefit of the doubt - in people you’d never say it about, like your sibling, parent, or a best friend. So my creative vision is to connect and make music that one day could make that person on the other side of the world, who has no one, feel like someone out there, someone they’ll probably never meet, completely understand the essence of their being and will always have their back.
PH: Who are your biggest influences?
Dani Slovak: If we’re speaking music influences, it’s definitely Adele.
PH: What is the one thing that you’d like your fans to know about you?
Dani Slovak: I was raised with a mindset to put everyone else before me. It’s kind of self-destructive, when you truly think about it, albeit beautiful, but it also means, I will always have your back. We got this guys! Life is too beautiful not to fight for it. Oh, and also I’ve known I wanted to be a psychiatrist since I was 12, I think.
Canning “Shortline”
Imagine songs have a life, if so, what stories would they tell? While you’re wondering, the eclectic Chicago-based band Canning has all the answers. They have a song that has a life all on its own—“Shortline” enters the stage with Jimi Hendrix-style electric guitar lick; striking, bossy riffs that steal the spotlight. Its electrifying blues twangs charm your ears away, while the groovy, old bone of the track can’t stop grooving from underneath.
At some point, or maybe from the first note, Canning disappears. Instead, it’s all about “Shortline.” And at some point, the listeners disappear too. They have melted into the song, allowing it to take them wherever it desires to go, and as for “Shortline,” it has become the air, the atmosphere, the aroma, and the room. It’s intoxicating as it is unforgivable.
It’s a surreal experience to hear something as refreshing and spirited as the track, but you know it when you hear it. “Shortline” has an old soul, nostalgic, and a little old-fashioned, but also new and exciting because it has so many stories to tell. You could hear it in the sonics, in its energy and soul. And it speaks to the four players of Canning, who are in sync with one another. Something happened there that allowed the song to be so transparently out there for the listeners to feel it too. Collectively, Canning entered a space of conversation, and there seems to be so much left to discuss. The music can go in any direction. It’s stimulating, and it’s organic. They’re just getting started.
Even just from the recording, it’s safe to say that Canning’s live show is going to be hot. They are also working on more singles. Stay tuned! And if you’re in the area, follow them on BandsinTown and Songkick!
Punk Head: I love the bluesy twangs in “Shortline” and your overall authenticity. Where did you find the inspiration for the song?
Canning: Being from Chicago the blues has always seeped into our ears. While being a rock band, blues is closely related so one day the riff just flowed through the fingers. This version of “Shortline” is actually a reincarnation. The chorus remains the same but the blues just naturally evolved the song for the rest of it. Songs really do have a life of their own.
PH: I can hear that you guys have a wide range of sonic palettes. Basically, each song is different from another. Who would you quote as your influence?
Canning: Our influences are all over the map from classical to Bjork and everything in between...
PH: Is there any specific ethos/aesthetic that Canning adheres to?
Canning: Our ethos would be simply to continue...just playing together is all that matters in the end...
PH: Can you tell us more about you guys as a band? How did you all meet?
Canning: We've been playing music for quite a while actually in a few different bands since senior year in high school and just after. This is just something we do in life...being a band.
PH: Any upcoming live shows/releases in the near future?
Canning: We are currently working on the next batch of singles which will hopefully start being released this summer otherwise we do have a catalog of a couple of albums and a bunch of singles currently out. As for shows, follow us on BandsinTown and Songkick!
Marcus Sukiennik ‘Piano Lounge 1’
Piano Lounge 1 is a thrill to listen to. Spirited, jazzy, bluesy, romantic, and at times fantastic and nostalgic. From the elegance and intricacy of classical music to the expressive, spontaneous jazz to an earthy hint of folk impression, Piano Lounge 1 consists 12 brilliantly composed and performed tracks with world-building as epic as a ballad, as cinematic as a mood-filled scene, and as intimate as a moment of solitude. So many great adventures blossom from Marcus Sukiennik’s fingertips, leaving you with lingering melodies and unfinished thoughts.
“Atme Steele, heile -, Pt. 3” creates a massive, drastic vibe like the ocean, while “Die Baronin tanzt” sees characteristic staccatos engaging in an intense dance. The variations and repetitions of the theme seem to be in conversation with one another in its vivid sonic storytelling. The piece is so full of personalities and feelings as well as it’s filmic, with romantic trills letting out the sparks of emotions. “Smile Blues” features a fast-paced walking bass. Humorous, laid-back melodies with a lot of wits. Sukiennik’s introspective, moody improv has the same tension and contrast as in his classical pieces. With only two hands and one instrument, he’s wielding a massive jam section of a full band, and that’s not something you can hear everyday.
There’s a special relationship between the pianist and his instrument. Up till “Smile Blues,” you can hear a kind of transparency—at some point, the piano disappeared along with Sukiennik, but these vivid stories, characters, and emotions become the new reality. “Serene Contemplation” is then a thought piece. Taking a break from the palpable melodies, the piece draws listeners deeper into a state of introspection, where the thoughts are inconsistent and spontaneous, massively happening in all directions.
“Ludus S” bounces back to a thematic jazz captivity. Something you’d expect to hear in a piano lounge. It’s flirty, playful and fun. But it’s only just a beginning. “Swinging Vendome” swings in happier with more heart. Intriguing sonic lines that tell an array of feelings. “Andra” sees it deepening even more. The beautifully sensitive ballad slows the tempo down. Charming syncopation meets cinematic impressionism. It’s more about the colors and moods of the chords than being solely about the melodies.
The songs in Piano Lounge 1 have so much soul and story in them that they make you want to live in them forever. “Air Special” concludes the album on a bittersweet note. It’s a celebration of tears and laughters, a beginning to an end. It leaves you in a better place, spiritually uplifted and reignited.
Bad Indigo “DIY”
Beginning with a simple idea, “DIY” grows overnight into a sonic tree with layers of captivating storytellings, each pulling your heart string. Nostalgic, dream-like, expansive, innocent. In its intoxicating groove, Bad Indigo slow brews a vibe, in which the safe feeling of home meets the desire to explore and the fear of being lost. The genre-fluid “DIY” marks a new beginning for Bad Indigo. At heart, its indie, slight psychedelic daze sees the organic blend of electric, acoustic instruments with electronics. A hint of mystic and exoticism intrigues you to trace its footsteps. The track sees several strings of emotive storylines piece together into an immersive experience, while each layer is to be savored fully.
“DIY” floats in its own world. There’s a sense of solitude and fantastics in the sonics and melodies, but is interconnected to our experiences. At core, it tackles emotions that are universally relatable. “DIY” is a track that connects us together, through everything that makes us human. The track feels like a preservation of something pure and beautiful. The tender inquires of the feeling of lost meets nostalgia and the safety of a home and harbor. If there’s one thing that this track tell us, is that the Tel Aviv-based band is a band who has extraordinary melodic instincts and unique charm.
There’s a collective energy of something larger at play in their music. Bad Indigo never fails to elevate their music to a spiritual level. The listening experience feels like a journey and a meditation, where one can’t walk out of without feeling something.
Check out our interview below where the band talk about their creative process and “DIY.”
Punk Head: I love how original and passionate “DIY" is. What's the story behind this song?
Tsvika: I just remember playing with this simple guitar riff and singing DIY….DIY, and started flowing from there. I really enjoyed the melody, that led to the lyrics , an abstract story about the meaning of home.
Nir: We all have an idea of what home is for us, but a lot of times reality really questions that. Tsvika played this song to me while we were working or stuck on other material, not knowing that it would really open up a new tone for us. While refining it we discovered more songs, more worlds.
PH: What did you enjoy most about making this “DIY"?
Tsvika: It's kind of the first kid of the album, our first song we felt were going somewhere interesting creatively. For good and bad there are no defined rules in the world of Bad Indigo, it can go everywhere music wise , and that’s how we like it.
Nir: For me making “DIY” always had an easy vibe to it. A lot of tracks feel like simple fun in the beginning of the process, but this one managed to feel light the whole way.
PH: What motivates you as an artist?
Tsvika: Well, I always have a passion to write songs and I hope this feeling will never end. It's my bridge to this world, from my inside into this reality, whatever it is:)
Nir: For me, the same, it’s what gets me out of myself. I really like engaging and working with other people. It’s what makes music interesting.
PH: How did you first come together?
Nir: We played in different bands in the Tel Aviv music scene, and when we finally played together it felt right, we have fun recording and playing and we both love yoga, hummus and badminton.
PH: What would you like to say to your fans out there?
Tsvika: I don't know if we have fans, but if you're out there , we love you!!
Thy Veils “Upstream”
Ethereal soundscapes and blossoming sonics introduce you to the latest single “Upstream,” from Thy Veils’ forthcoming album Next Forever. Immersive and mystically expanding, Thy Veils really surprise you with their unique aesthetic. On a quest seeking the source of inspiration, they take you on a journey, downward and inward. The deepening feels like ascending, but the ascending is so grounded that at one point, you realize that the real destination is nowhere you haven’t been.
“Upstream” is a spiritual enlightening track. Through chaos and challenges, one discovers the truth. Intuitive percussion and traveling vocals become the hypnotic, fleeting fantastic traces that leave you wonder. The expansion leads you to what lies beyond the obvious. Genre-bending, the track is filled with ever-evolving imageries. Emotively, “Upstream,” is deeply evocative. It connects with something deeper inside of you—the emotions and thoughts buried underneath our superficial perception.
The unique spiritually aware sonic cocktail in “Upstream” seems to be able to penetrate those thick, worn layers inside of us and remind you of feelings and things you’ve long forgotten. It supports and enriches that original fire within everyone. The source of our creativity and imagination. The intuitive, raw core that is so often being clouded and hidden and misled by what’s happening on the outside. “Upstream” invites you to reconnect and refocus, feeling it beating and burning again.
If you like what you hear, be sure to stay tuned for Thy Veils’ upcoming album.
Robin Shaw “Yours Sincerely”
“Yours Sincerely” is the goodbye letter you keep it to yourself. It’s the goodbye letter that you don’t know you needed, but in truth, everyone needs that closure and that moment to process, reflect, and find clarity. In this letter form song, Robin Shaw strips down all the pretense. “Yours Sincerely” is concise and humble. Its truthfulness and simplicity speaks to the beating of your heart. With earthy storytelling and appealing lyricism, the track is full of potential as any full-band song.
At the end of a relationship, before taking off, take a moment to reflect on that time in life. The regrets, unfulfilled wishes, memories, mistakes, and emotions unravels as the melancholia piano chord progressions slow down time. “Yours Sincerely” is a song you can’t help falling deeper and deeper into. While Robin Shaw sings, you can picture the ballad stops the busy footsteps of passengers on the street, or in a packed stadium, where the crowds singalong with those captivating, touching and highly relatable lines.
Read our interview with Shaw where he talked about his influences and the creative process of “Yours Sincerely.”
Punk Head: I love how you mend the form of a letter with sonic storytelling in “Your Sincerely." What was the creative process like?
Robin Shaw: The creative process was actually fairly smooth. The production and recording was only a few sessions. It was more making sure we got the right emotion and concise feel of the song across. Usually I write loads for my songs but lyrically, there was less words, therefore the words needed to have more power and the structure needed to support that aspect.
PH: What do you like the best about this track?
Robin Shaw: My most favourite part of the track is the chorus. I had the lyrics of the chorus ringing around my head for months before we recorded it down. I just love the rhyming pattern in it.
PH: Can you tell us more about you as an artist?
Robin Shaw: I don’t know how to answer this. I love writing and I love wordplay. I always find the word “artist” almost a little overwhelming as it’s not something I associate myself being. Music is something that is limitless and powerful and I just try to portray songs through storytelling and imagery.
PH: Who are your biggest influences?
Robin Shaw: I am influenced by musicians and people in my personal life. Musicians such as Lewis Capaldi, Professor Green, the streets, James Bay, Justin Timerlake, James Arthur, Mumford and sons and more. I am also influenced by personal experiences, friends, relationships, family and general day to day situations. Relatability is something I want my music to have.
PH: What is the one thing that you’d like your fans to know about you?
Robin Shaw: That I play Table Tennis for a local village team. I love table tennis. It’s a wicked sport and I would encourage anyone to take the sport up haha
Sam and the Sea ‘Evil Ghosts’
Evil Ghosts is an instant love. Setting its scene in the still but ever-moving middle of the ocean, “Evil Ghosts” immerses you with its immediacy and palpable intricacy. Highlighted by its immersive guitar work, keen but intimate vocal, and poignant storytelling. Innocence weaves into Sam and the Sea’s intriguing folkloric storytelling that is both earthy and haunting. He reminds you of Angus & Julie Stone, both the child-like purity and sincerity.
“Canada” tunes into the drastic, fleeting feeling, placing you on a moving train as if heading somewhere yet not knowing where you’re headed. A beautiful undertone of uncertainty sink-floats in the background, while the warm, scenic palette vibrates on the stillness of a moment and the silhouettes of many memories, evoking feelings on so many different levels.
“Horses” tunes into a darker, greyer sonic palette. The images of concrete, sunset, midnight, and introspection come into play. Reverb, loneliness, evolution blend into this blur-edged contrasting, melancholic track. Words are not needed for the first half of this hypnotic race that resembles the steady rhythm and unstoppable nature of a fright train. Sam and the Sea’s stunning falsetto lifts this track to a new level of intimacy. “Horses” is a stunning track.
“…In Waves” feels like returning home. A Zen-feeling being awakened through the twangs of warm guitars, transitioning you into a kind of stillness before the drum beats picks up and the intoxicating vocal haze blurs the line between dream and reality, stop and motion.
Marcus Smith “Day After Day”
Life is hard, but in Marcus Smith’s music, you’ll find courage, passion, and love that heals and recharges you for the fight, today or tomorrow. “Day After Day” is a funky fusion where earthy, confessional lyrics meets world percussion and captivating melodies for a rich, groovy moment of the present. Uplifting, hard-hitting, warm and mesmerizing—everything that makes a piece of music so good are there. For everyone who understand defeat and hardship, “Day After Day” hits hard.
Although the inspiration of the song comes from a rather darker time of Marcus Smith’s life, he channels something courageous and encouraging—a piece of art that is based on life but rises above. “Day After Day” feels like a tight hug followed by a lift-up to cheer you up. In our interview, Smith describes the songwriting being cathartic and healing for him, but listening to the tune, it seems that he’s healing the world, pulping his creativity and introspection and love into a song, drenched with Cleveland’s musical landscape. The sonic world Smith created just want you to stay in there forever.
Read our interview below and learn more about the tune and Marcus Smith as an artist.
Punk Head: I love the eclectic blends of sonics in ‘Day After Day.’ Can you tell me more about your journey as an artist?
Marcus Smith: I’ve been making music for the last 18 or 19 years. My first group was in 2004 in high school. We were together for about 11 years before we went our separate ways. Those years with the band really helped to perfect our songwriting skills early and I’ve been able to use that with everything I’m doing now. It’s really cool to see the growth.
PH: What is the creative process like?
Smith: My creative process feels very accidental. What I mean is, rarely do I sit down with the intention to write a song anymore. It’s usually when I should be doing something else, I’ll hear a melody I like and hum it into my voice memos app. If it’s catchy, I’ll keep coming back to it adding little bits each time. I also have pages worth of 1 off song lyrics in my phone. I’ll wake up in the middle of the night just to jot something down. My brain works in weird ways
PH: What do you like the best about this track?
Smith: This track is a vulnerable song for me. I often put my entire self into my songwriting but this one felt like emotional release for me at the time. I remember feeling down on myself because I hadn’t really written anything in a while. I was debating if maybe this is where I end my music career. And the line in the chorus ‘day after day, I’m always moving forward’ hit me like a Mike Tyson jab to the face. The first lyric I wrote and the first in the song is ‘no matter the setbacks and steps back, I’ve just gotta press on.’ Which was the full embodiment of how I felt in that moment and that’s the coolest thing about this song.
PH: How has growing up in Cleveland, Ohio affected your music?
Smith: We get all four seasons so probably the biggest thing the city did for me is Seasonal Affective Disorder lol. But joking aside, I grew up with so much local influence from Bone Thugs n Harmony and Kid Cudi to Chip Tha Ripper and Al Fatz. We have an amazing local music scene and it continues to grow. My music is kind of a reflection of that. I’ve always gotta stay as Cleveland as I can!
PH: What would you like to say to your fans out there?
Smith: Thank you so much for your continued support. Check out the new single ‘Day After Day’ wherever you stream music. The music video is available right now on YouTube. Follow me on social media and check out my website for all the new merch I just released
Anfang “Honey Trudge”
Anfang shows you the beauty of conflicts in music. “Honey Trudge” consists a combination of things that are in their nature contradict with one another, however, together, spark wicked energy. With vocals that remind you of Linkin Park meeting Paramore and riff-heavy groove of angst and nostalgia, they draw a hard-hitting, scenic end-of-the-world epic in in their music. “Honey Trudge” is an eclectic, blood-boiling banger that leaves you a little bit haunted.
From the difficulties of a past relationship to the honey bee metaphor to the AI-created music video, “Honey Trudge” has gone through quite a journey. Sonically, the track soaks in the charisma of blues rock, energy of emo, and aesthetic of grunge, then filtered through an atmospheric, mood-filled sonic lens. The track from the Chicago-based band gives you such a high, almost the equivalent of going to a live show. Just think about how marvelous they’ll sound in live performances.
In our interview with the band, we talk about the creative process of “Honey Trudge,” Chicago, and what makes their music so awesome.
Punk Head: I love the conflicts in "Honey Trudge." Can you tell me a little more about this song?
Anfang: Thank you so much! ‘Honey Trudge,’ in a nutshell, is about trying to get to a lover and the consequences felt on both sides when it doesn't happen. The first verse touches on the anticipation, or ‘torrid fever,’ leading up to a rendezvous, while the second verse tackles the disappointment felt on both sides when it doesn't work out; ‘wind blowin’, wintry lover scorn me.’ The song was written at a time when I (Nick / Drums) was dating someone who lived extremely close to me so I'd walk to her place a lot. However, as anyone who is from the American Midwest can attest to, the winters here are unforgiving and make it difficult to find the strength to go outside. There were many nights where I couldn't bring myself to make that walk through all the wind and snow, which inevitably led to some disagreements. The resulting conflict in the relationship made for great songwriting material though!
PH: What did you enjoy most about making ‘Honey Trudge?’
Anfang: ‘Honey Trudge’ is one of our oldest songs in terms of when we started working on it. It has seen many iterations over the past couple of years and never felt quite right. When we finally nailed this structure, we had cut out about half of the original song. It went from being a five and a half minute song down to three and half minutes. We cut out a lot of unnecessary fluff and made it as straightforward as possible, all while keeping the punch that makes the song as hard hitting as it is. We've taken that approach to many of our current songs; cut out irrelevant bits but be sure to keep the parts that smack the listener in the ears and make them want to hear more. Trimming the fat of the original composition was the most enjoyable aspect of making ‘Honey Trudge’ as a song, but the most enjoyable part of working on the release in general was making the lyric video.
We all brainstormed ideas for what we envisioned in a visual representation of the song and Christian, our guitarist, was able to translate those ideas into an insane video with some Adobe and a sprinkle of AI generated art. Think Bladerunner meets Bee Movie but we wrote the soundtrack and it's three and a half minutes on YouTube instead of a couple hours in a theater!
PH: Was there a pivotal moment in your life when you decided to follow your path as a musician?
Anfang: I can't speak for the whole band, but for me personally, the pivotal moment was when I became old enough to play my mom's drum kit. My mom was a drummer but was also protective of her kit. She didn't want us touching it because she didn't want us to damage it (understandable), but after a couple years of nagging I finally managed to break her down. After my first few months of lessons I knew it would become a lifelong hobby. When you start so young it just becomes part of your every day routine. I can't imagine ever not being a musician. I still play my mom's original kit live and it sounds better than ever!
PH: How is the music scene in Chicago?
Anfang: The music scene in Chicago is fantastic. We really couldn't ask for a better place to call home. We each come from different parts of the country and have been in bands all over the States, but it's tough to beat Chicago. Some scenes in other cities are really competitive and there's a sense that the bands and people you're playing with don't want you to succeed because you're their competition. In other places, there just isn't a scene at all! Chicago's scene is the perfect balance. It's large enough where there's a healthy rock community but not so big where we are fighting with other bands to find time to play. Nearly everyone we've played with has been super friendly and we all genuinely want to help each other be the best we can be.
PH: What is the one thing that you’d like your fans to know about you?
Anfang: We're just like you! Too often bands put themselves up on these pedestals and fail to relate to their fans. We all have our shitty day jobs and worry about if we're going to do our taxes right and watch TikTok too much before bed. We just also happen to be passionate about music and were lucky enough to find each other at the right place and time to make some pretty gnarly rock music.
Shadowbanned “Lennon - McCartney”
From Shadowbanned’s The Two Towers LP, “Lennon-McCartney” reflects on the creative rivalry and 9/11 survivor’s guilt, tackling the unpredictability of life: change. The creative partnership of Lennon-McCartney is the most successful collaboration in history (by records sold), but their relationship ended with a clash. The time was good pre-9/11, but for many people, the attack forever changed their life. “Lennon-McCartney,” aligning with the rest of the Two Towers LP, contemplates on the best and worst of life.
Jak June’s smooth and charismatic pop vocal can makes you ears pregnant, but the nostalgia, introspection, and heart in the song is what moves souls. Its rich blends of influences feel like there are actual ghosts living in the soundscapes. For those who have experienced the currents of life, “Lennon-McCartney” certainly hits hard. It evokes lost feelings from the past and new feelings you don’t know that are there, while the warm and luscious sonics wash them through the currents, like the tide. “Lennon-McCartney” is immersive as it is heartfelt.
Read our interview with Shadowbanned below and learn more about the song and influences.
Punk Head: I love the smooth blend of genres in “Lennon-McCartney.” What's the story behind this song?
Shadowbanned: This one is an indie synth ballad about the creative rivalry between John Lennon & Paul McCartney, which resulted in (arguably) the best pop music ever - plus it's about 9/11 survivor's guilt. I know that’s a weird combination, but I reckon those two themes are connected. That connection is: nothing ever stays the same, no matter what we might want or fear - bad things become good, good things become bad. Then it all changes around again! Change just is, for better or worse. Live in the present, right? Meanwhile, the track definitely blends genres, I agree - and thanks for noticing! But which genres? Bieber-pop meets Prog Rock? 70’s Billy Joel meets Sam Smith? Whatever the case, genre-tension is key to the ‘Shadowbanned sound,’ for sure.
PH: What do you like the best about this track?
Shadowbanned: Jak’s voice rules. The Moog rules. Just push until you feel it.
PH: What motivates you as an artist?
Shadowbanned: Creating a little story someone else might listen to and enjoy and bounce off of. Also: thumbing a nose at genre conventions, plus loving and respecting musical genres - at the same time.
PH: Who are your biggest influences?
Shadowbanned: Joni Mitchell, Public Enemy, Everything But The Girl, Kacey Musgraves. And Lennon - McCartney, obvs.
PH: What is the one thing that you’d like your fans to know about you?
Shadowbanned: Dang, if I do have some fans, I feel so grateful and privileged?! Thank you so much for listening, it means the world to me, truly.