Anjalts On the Making Of “Code Blue”
What was the initial spark or idea that led to the creation of "Code Blue?"
The spark was more like an alarm I heard while visiting my high school friend at the hospital. And while I was waiting in the ER, it was intense to see the panic attacks and anxieties cause after someone experiences cyber bullying at school and getting treated properly before it’s too late. “Code Blue” was addressing that kind issue and sounding the alarm similar to how hospitals call it out when someone’s getting a heart attack.
”Code Blue” started the first song from my second album that’s currently in the works.
Can you share any interesting or unique musical elements or production techniques used in "Code Blue?"
When I was writing the song, I wanted to add an acoustic guitar movement despite the dance beat happening in the background just so the lyrics can come through in the verses. I wanted a melodic feel to the music to create a balance or harmony during the chorus with slight reverb. And it was the same thought when I played the electric guitar parts. As if something is coming towards you from far away.
What impact do you hope "Code Blue" will have on your audience ?
The impact of trying to remember how our actions can affect someone. As in the case with cyber bullying, I saw how everyone just bottles the pain up until it’s too late. We don’t have to “choose” to be so mean towards each other, when you can instead dance, have a party, crank up ‘Code Blue’ and get into the experience instead. Life is too short to add more regrets!
Can you tell us a bit about yourself and how you got started in music?
My grandfather was a natural at playing many instruments and he saw me watching him play on the piano and at 4 years old, I would mimic what he did. So he realized I could just play instruments like he could, and having that in common. we would play the piano, guitar, sitar, drums whenever we could before we were told to stop making so much noise in the house. I grew up with my grandparents in the Caribbean country Guyana, South America where 87% of the land is covered by Amazon Rainforest, so many people live along the coastal areas. It’s one of the main inspiration for my first 15-song album project released last February 2023 called “Air to Fire”
Who are some of your biggest musical influences, and how have they impacted your own sound?
I tend to gravitate towards film composers like Joe Hisaishi (love anime movies), James Horner, Hans Zimmer, Tan Dun, Danny Elfman and so many more. The balance they create in their songs are so awe-inspiring. I also admire artists who passionately writes and performs their own music like David Bowie, Pink Floyd, Fleetwood Mac, ABBA, Prince, Freddie Mercury, Carpenters, Dolly Parton, Journey. So yes, the list is long for these incredible artists I love so much.
White Beast Releases ‘Suffering Time’
Can you briefly describe what the song/each song is about? If you are releasing an album then either describe the thinking behind the project or choose a couple of lead tracks to focus on.
Largely written throughout 2020 many of the songs reflect different aspects of a crumbling democracy through personal lenses. Often taking on narrative characters sometimes as a means to critique and satirize ideologies, sometimes speaking of individual experiences emblematic of larger socio political concerns and always interweaving pieces of Rettberg's own perspective and self examination in the process.
Where was the single/EP/album recorded and who was involved in its production?
Recorded in Baltimore Maryland in Jacob Honaker's basement. A longtime friend and former bandmate of Jeffreys.
Were there any notable or amusing happenings surrounding the recording/production of the EP? As above, list whatever might be of relevance.
Sam broke both of his knees, Jeff was effectively homeless writing the songs.
Who are the band members and what do they play?
Jeffrey Rettberg - Bass and vocals Sam Roberts - Drums
Are there any other interesting or amusing happenings – no matter how small – that the band have been involved with that would be of interest to those who like your music?
Much of the full length album was written during 2020 while Jeff was going through a separation hopping back and forth between Baltimore and Richmond, participating in protests in both cities hoping to settle in Richmond. Jeff met Sam in 2021 and as they began to write together and flesh out a live set and record Sam broke both knees in a work accident putting the entire project on hold for the better part of a year. Once he healed the record was finished and here we are.
Gingerjamesfair On the Making Of ‘Unreachable Peak’
What was the initial spark or idea that led to the creation of 'An Unreachable Peak?'
This album was inspired by the global disillusionment with work-life balance following the Covid-19 pandemic, where terms like 'quiet quitting' and ‘The Great Resignation’ made headlines. I was interested in how groups of people were arriving at similar conclusions about their experiences of work, despite being in very different fields of employment to one another. I was also inspired by some wider reading on similar themes such as Bullshit Jobs by David Graeber, Orbiting the Giant Hairball by Gordon MacKenzie and The Refusal of Work by David Frayne.
How do you feel 'An Unreachable Peak' represents your artistic identity?
I think it’s quite idiosyncratic, which is in keeping with much of my other work. I think it goes in unexpected or unlikely directions, sometimes successfully, sometimes less so. I think that it’s such a good description of my identity that I decided to call my production company ‘Idiosyncratic’.
What has been one of your most favorite memories along the path to making 'An Unreachable Peak?'
It’s been quite a slog making this record to be honest. I went through a lot of self-doubt about even finishing it at some points. I think my favourite memory has been the release of it, just to get it out in to the world and no longer stuck on my laptop. It is a relief and I feel energised to do the next thing!
What inspired you to pursue a career in music?
I’m not in pursuit of a career in music! My ‘professional’ life is as a filmmaker and a lecturer in university. I deliberately didn’t want to pursue a career in music, because I never wanted to be forced to create or express myself through music for the sake of an income. I wanted to preserve it as something I could always escape to outside of my ‘career’, hence An Unreachable Peak providing some kind of therapy!
Are there any specific artists or musicians you dream of collaborating with?
There are so many. I’d love to work with Damon Albarn, PJ Harvey or Sufjan Stevens. They’ve all had such successful collaborations, I’d love to experience their creative process up close.
Brassy Argentina On the Making Of “Company”
What was the initial spark or idea that led to the creation of "Company?"
The other half of Wild Dogs In Argentina, Keiko; he sent a voice note whilst he was in the car. It was what is now the hook of “company”.
How did you work with the producer or engineers to bring your vision for "Company" to life?
All credits to Keiko Argentina he is the genius behind all the instrumentals and shoutsout to the Internet for facilitating the collaborative efforts of making this music; this is a made in Denmark, Candada, Cayman Islands type of song. He sent the beat over and then we went to work. Funny story; I had written a verse for a female vocalist on the 1st verse. We were sitting in the mixing and mastering session with the engineer KR Moore working overtime to try and get these vocals to match the energy of the track. It was not going well, Keiko was like yeah this is not working hopped in the booth and in like 5 minutes we had that first verse.
How do you feel "Company" represents your artistic identity?
Good vibes and quality conversations is what I am about. “Company” allowed me the space to convey a part of my being as well as the chance to experiment with my vocal range and writing skills.
Can you tell us a bit about yourself and how you got started in music?
Zimbabwean born artist, I have been honing my craft professionally for over 15 years. Currently based in Cayman Islands, 1 part of the duo Wild Dogs In Argentina with my Toronto based brother Keiko Argentina. I have been lucky to be exposed to different cultures from Africa to Europe to the Caribbean islands. This gives me a unique approach to songwriting and the ability to place myself in a wide range of musical styles as demonstrated in my catalogue and features. As a 90s baby I grew up around hiphop heads in the family, I guess learning the art-form of rap was a way to get their attention.
Who are some of your biggest musical influences, and how have they impacted your own sound?
Missy Elliot would top that list, her eclectic style visually and sonically always appealed to me top that off with a Timbaland beat, I was hooked. From that root it is easy to see how other influences range from the Busta Rhymes, to Ludacris, and Eminem. Listening to these artists made me focus on the technicality of songwriting and catching peculiar pockets in beats.
Josh Jensen On the Making Of “Windbreaks & Waves”
Can you tell us about the inspiration behind "Windbreaks & Waves" and the story it tells?
The inspiration for “Windbreaks & Waves” came to me while I was playing my guitar on a picturesque Puget Sound shoreline and the song just came together. “Windbreaks & Waves” is an instrumental piece intended to put the listener into a place by the water where the waves lap the shore and the breeze puts your soul at ease.
Could you discuss the lyrical themes or messages conveyed in "Windbreaks & Waves?"
I like to think that the message conveyed in “Windbreaks & Waves” is one that brings the listener to their happy place.
How do you feel "Windbreaks & Waves" represents your artistic identity?
When I started getting into the guitar, I had a dear friend who exposed me to a variety of amazing musicians and musical styles. So, as a budding guitarist, I listened to a lot of fingerstyle guitar players, including D’Gary and Leo Kottke for example, and I think this song really picks up hints from many of them. “Windbreaks & Waves” definitely draws from those early influences that helped form my artistic identity.
Can you tell us a bit about yourself and how you got started in music?
I live in Seattle, Washington and am blessed with beautiful family including a wife and three kids. My kids are young, so my days are typically spent with them and then I escape to play music after everyone in the house is asleep. Music has always been somewhere I go to decompress. I started getting into music at an early age – I always loved singing and performing and was lucky that my parents enrolled me into piano lessons when I was 6 or 7. I started playing guitar when I was 13 years old, my first guitar was a Takamine acoustic guitar. Shortly after that I got a Fender Stratocaster and amplifier. I was hooked! Naturally, I continued performing and playing in bands or doing solo gigs because I have always been driven by music. In high school, my band Popular By Association got to record an album at Seattle’s famous Dutchman studio that Kurt Cobain referred to as “the grungiest place in Seattle.” We were flying so high after that experience. I have had so many unexpected but incredible experiences through music and it is something that I hope my kids get to experience someday with whatever drives their passions.
Are there any particular skills or techniques that you have been working on lately?
Lately, I have been working on bluegrass flatpicking and fingerpicking. I’ve been listening to a lot of Doc Watson, Tony Rice, Billy Strings, Sierra Hull, Punch Brothers, and other artists of that ilk. I have found that bluegrass is catchy and pleasant to listen to but is played proficiently by such skilled artists that can play fast and accurate. A lot of the recent material I have written leans more towards Americana and bluegrass, which is a bit of a departure from what I was writing with my last band, Water Felon, before the pandemic hit.
Dave Mohan Releases “Lightning On Galatea”
“Lightning on Galatea” - a soaring high octane prog/fusion instrumental with sizzling horns, keys/piano pyrotechnics, rip roaring sax leads, a positive blast of fine power drumming (and more!).
Embracing something of the sound world of classic outfits such as Yes, Focus, Sky and the like but at the same time distinctively original.
Dave on keys, an assemblage of other fine international musicians in the mix and some dynamic mastering down at Abbey Road Studios (Simon Gibson). Surefire muso therapy for all who have a taste for old school instrumental high jinks.
Introducing Dave Mohan
Principally a songwriter/composer/lyricist and recording artist rather than a front of stage performer. Whilst formatively from a classical conservatoire background, Dave’s musical outlook has never been confined by genre.
It’s music that blends folk with fusion and on to neo-classical crossover (via jazz, soft rock, soul and more). Sometimes sparse, frequently sumptuously orchestrated, always harmonically inventive and endlessly melodic.
SILENT IVY Releases “LightWork”
“LightWork” is the first single off SILENT IVY’s upcoming debut EP ‘EBB & FLOW’, an ode to the artist’s life long dedication to the hip hop art form.
Garnering widespread support in their hometown of Cape Town, South Africa for the past few years, IVY has developed a unique sound unlike any other.
SILENT IVY is an up and coming artist not easily defined by the parameters of genre. At the age of 10, they began writing songs as a form of expression deeply inspired by their admiration for hip hop. Since then, they have developed an alternative sound, a blend of genres that can only be described as uniquely unmistakeable.
Aline Deanna On the Making Of “Wildfire”
Can you tell us about the inspiration behind your "Wildfire" and the story it tells?
“Wildfire” is my favorite song on this record. It has a dark moodiness that is undeniable and reflects its lyrics perfectly. I had friends protesting the logging of the old growth forest in Fairy Creek. Their courage to leave their everyday lives to stand for something they believed in so deeply reminded me of my doukhobor ancestors. They were fierce pacifists that protested against war and violence and accepted dire consequences, even death, to stand up for what they believed to be right and true; that one shall not kill or enslave another living creature. Though these moments have decades separating them I couldn’t help but recognize their parallels. How many of us turn a blind eye to suffering just because we are able to?
Could you discuss the lyrical themes or messages conveyed in this "Wildfire?"
“Little white lies don’t mean to much, spend their time collecting dust”
This refers to the societal norms we adopt without question that do not serve all of us equally. Prejudice beliefs happen gradually over time, they are nursed through generations. Sometimes it is hard to spot but then suddenly like a plague it's touched all of us. As I learnt more about my family’s history and the Doukhobors’ culture of pacifism I’ve realized that perhaps peace is something I have taken for granted. We can not fight for it retroactively, it must be intentionally cultivated.
“But as the rust sets in it spreads through us and moves like wildfire”
This all may a little grim but if you stick with me till the end the true sentiment of the song is exposed in the last verse.
“Oh my the world is so damn dark, sometimes all you need is just one spark.”
Feelings of hope and courage have the power to spread much faster. Change can happen and we hold the gateway to it, all we need to do is turn the key and walk through the door.
How do you feel this "Wildfire" represents your artistic identity?
I used to write mostly anecdotal songs that were in reference to my own life and experience. Recently my songwriting has started to shift into more storytelling inspired by outside influence. I’m currently working on a collection of songs inspired by my doukhobor heritage. I conducted interviews and collected stories of my family history and doukhobor heritage. Throughout this process I learnt so much about myself, my family history and our country’s history. This is the first song that I’m sharing from this collection and it’s very close to my heart. I’m so pleased with the production on this song, the entire world and mood that was created illustrates my vision of the music to a tee which is just such a treat.
Can you tell us a bit about yourself and how you got started in music?
I was always enamored with music, but for me it really started with the violin. I saw someone playing at a family dinner when I was 5 years old and I couldn’t stop begging to learn. Finally after two years my mom put me in Suzuki when I was 7. It was hard to find someone to take me at the time because I was told I was too old to learn Violin! I ended up playing classical Viola until my teen years. When I was 9 someone gifted me a guitar. An Art Lutherie Parlour, I still have it and love it. I never thought much of it but slowly started to pick up chords and learn covers. I always loved to sing but I never felt that I had a worthy voice, I just lacked so much confidence. Eventually I joined choir which is where I learnt most of what I know about singing and harmonizing. It’s such a journey being a musician because no matter how hard you work if you don’t possess the confidence and trust in yourself you will never reach your full ability. When I went to jazz school in post secondary I was still so shrouded with self doubt that I couldn’t perform without almost passing out from fear, I thought I would go into production instead and work behind the scenes. But as I grew out of my shell and earned more confidence in myself my path has led me to being a fulltime musician. Maybe I’m a bit of a late bloomer compared to some, but I’m very pleased that I finally made it to a point where I truly enjoy performing and sharing music with an audience. I think the world needs music now more than ever and I’m so grateful to be in a position to share my songs with the world.
What do you enjoy most about performing live and connecting with your audience?
I think what I enjoy most is storytelling, I love to hear people's reactions to my music and stories. Once you write a song and release it into the world it’s not really yours anymore. People start to create their own relationship with your music and what it means to them. I think this is so beautiful and it really inspires me to keep going. Music has also been a really fun way to explore the world and travel. The best thing is meeting all the amazing people out there that love to support live music because they are always the coolest. I can’t believe how many strangers open their homes to us on tour to host and are just so incredibly generous. It’s really special to experience the community in this way.
Daniel Szyller On the Making Of “Summer Kiss”
What was the initial spark or idea that led to the creation of "Summer Kiss?"
Hi! Thank you for this space. The idea came when I was composing the material for The Celestial Immigrant album (my debut album). It was winter in 2022 and I wanted to feel the Summer and enjoy a picture in my head...I guess it's a poetic way to express the love for summer. It's a romantic tune that I am very proud of.
What do you like the best about this track?
I like the fact that I do an odd system for the verses and then switch gears for the chorus. It has a nice stunning effect. And obviously the ending is very romantic. I love that because it's very 60s in style.
What was your favorite moment in making the music video?
We added scenes from our live concert, which is fantastic by the way. So for me it was just about playing live and enjoying. Thibault Graillot, the video producer did a great job with the images and the synchronization. I love the part of the roler blades lol
What inspired you to pursue a career in music?
Honestly, when I was very little, I was already singing and imitating opera singers at the house. I guess I was sensitive to music. Bands like Deep Purple, Iron Maiden, Hendrix and The Doors were huge inspirations. It's like I have the need to express myself and each song is a different trip.
What do you enjoy most about performing live and connecting with your audience?
I enjoy talking between songs and having an actual conversation, It's like a therapy for me. Playing music and seeing the faces of the people attending. I tell many stories hehehe...
I'm a story teller and each song is a cinema in my head. So for me to actually do that in front of people is trully gratifying. It's the same amount of satisfaction as of sex!
Bad Ass Beauty On the Making Of “Typecast”
Can you tell us about the inspiration behind "Typecast" and the story it tells?
I was crushing on a work colleague. He wasn't the type I'm usually drawn to and I wasn't what he normally went for but for some reason we were just like two peas in a pod! I never told him tho. I'm just guarded like that. We were getting closer and really became great friends then the dude just ghosted me outta nowhere. Can you believe that shit??!!!!
Were there any memorable or standout moments during the recording sessions for "Typecast?"
Not really?? The entire recording session process for the upcoming album 4 Horsemen (to be released soon btw...) was a deeply spiritual and cathartic experience. Lots of vodka. Lots of creative freedom. And lots of laughs!! It was during a pretty rough time in my life cycle so those sessions actually saved me in a way. Gave me something to look forward to and realize that I do have a purpose and just keep fucking going...
How do you feel "Typecast" represents your artistic identity?
It's me to a tee. All me. Nothing but me. It's fucking ME. I can't get any more descriptive than that... 😆
Where do you find inspiration for your songs or musical ideas?
It just "comes" to me. It can be any time, moment or place but lyrics and melodies are floating in my head at all times. I have the attention span of a goldfish so I have to immediately write it down or sing it into my phone or else it's lost forever 😩
What do you enjoy most about performing live and connecting with your audiences?
Just that. Connecting with people and feeling their energy and being able to cast it right back to them. It's an obsessive mutual feed that I must have to live!!
Tally Koren Releases “NOT SATISFIED” – THE REMIXES
“Not Satisfied” is an edgy and sensual track, with the contrast of a vulnerably in the powerful lyrics.
Unapologetic and liberating “Not Satisfied” is an anthem for people to Stop for a moment, take a break from the social and press the like button on yourself.
“NOT SATISFIED” Written by Tally Koren alongside Phil Scales. Remixed by Xander Milne, who is getting strong support from the likes of Tensnake, Cassius, Groove Armada, Todd Edwards.
Tsunamiz On the Making Of “Kairos”
What was the creative process like for this particular "Kairos?"
This song came to me around 2017 while I was rehearsing. Like most of my songs, it happens on the spot. Between the songs I rehearse sometimes I play some chords or notes and when I figure out I have a potential song I record it to my phone.
“Kairos” was a song that I was keeping in my vault but at the same time I kept coming back to it during rehearsals which was a good sign and helped me to finish the track.
Early this year I decided it was ready to be recorded and produced.
I created a beat from scratch and recorded the guitar, bass and vocals.
It’s always a very intuitive process.
What do you like the best about this track?
I love all aspects of it, from the melody, guitar parts and beat.
Perhaps my favorite part is the chorus melody, it feels really cathartic to me and it goes beyond lyrics; it’s very primal and universal like all the music I enjoy.
What impact do you hope "Kairos" will have on your audience?
I hope it reaches a bigger audience. I am pretty sure that the fans that have been following my work will also enjoy it. They know by now that I do what I want musically and that it always comes from a place of honesty and passion.
Can you tell us a bit about yourself and how you got started in music?
My parents used to listen to a lot of music at home. As a little child I used to mimic movie characters and singers so I guess I was already getting ready to rock.
An uncle of mine turned me into Guns N’ Roses and Nirvana when I was very young.
I was always singing, not only the vocal parts, but the guitars, bass and drums.
I used to play with drum sticks hitting the mattress and boxes while singing songs from other artists and even started at that point creating my own songs.
As a teenager I got my first electric guitar, I became even more obsessed with creating music. I understood that I wanted to create my own sound, like an evolution of music, to do something that followed all the music that had been done until the point.
I formed a band with school friends, mixing hardcore with grunge and other genres. Eventually I started getting into more electronic and hip-hop aesthetics and mixing all types of genres.
That led me to eventually being able to record and produce my music on my own.
Being a solo and independent artist allowed me to move faster and be more prolific.
Where do you find inspiration for your songs or musical ideas?
Everywhere and anywhere. I listen to a lot of music on a daily basis. Any kind of music.
Inspiration may come while I’m rehearsing between songs, playing the guitar and singing, or sometimes when I sit and open Logic Pro to start to work on some beats and synth ideas.
My favorite form of inspiration is when I literally dream of a song, wake up and record it to my phone. But that’s very rare.
![[SAMPLE_TEXT] On the Making Of “Poverty Dream”](https://images.squarespace-cdn.com/content/v1/60110aa8e6d31b0d1c32ae92/1691114232098-Q2KSPXF3UVIUEJUN4SKZ/Screen+Shot+2023-08-04+at+9.51.30+AM.png)
[SAMPLE_TEXT] On the Making Of “Poverty Dream”
What was the creative process like for this particular "Poverty Dream?"
Well, in terms of writing we were heavily inspired by black midi, as well noise rock, grunge, and jazz for the guitar melodies and chord structures I'd say. In terms of lyrical content i suppose it alternates between sardonic accusations of consumerism, genuine self statements about being in poverty, and satircal statements made from the point of advertisers. My hope would be that listening to it feels a bit cathartic and coerced at the same time, because thats how i feel expressing it. Some of the elements in the latter half of the song were developed live, and honed in the studio. Some of the bass lines were written by myself, and others by our bassist jacob. Our drummer tyler and I share alot of influences, with a key difference being he's traditionally jazz trained, and also used to listen to alot of drum and bass, so I'd say upon searching for it in the music, its clear to see those elements making their way into the song as well. As a general template, I normally bring guitar parts, vocal melodies, and overall song structure to the band. From there everyone adds ideas and we sort of work together and push and pull until its something that ceases to be any of ours individually, and something truly communal.
Were there any specific recording techniques or equipment used to achieve the desired sound?
Yes. from the get go we all creatively agree (along with our producer) that "the sound of indie rock" has gotten pretty stale recording technique wise. We really wanted to get as many tones as possible from analgue gear like compressors and tape etc. That being said I have no idealistic misgivings about using contemporary methods*creatively* . So as a general rule, we tried to create and achieve all the sounds and tones analogue and with sort of older methods (lots of true multitracking, tape, real life hall reverb, etc), and then make it a modern product using modern methods within a daw just to smooth things out and make them more bigly.
How do you feel "Poverty Dream" represents your artistic identity or musical evolution?
Well, it sure as hell is a step up production wise from the past. Everything we've made prior was made in a home studio on a tascam porta studio. Or in a garage. We had a lot more intent with the stylization this time. In terms of writing it's hard to put into words, but i think all of our parts as musicians just feel more sure of themselves, and more uniquely themselves as well. Without sounding full of ourselves I've always thought our writing was pretty good, but the inspirations are hidden well enough at this point that to me it feels like there is more synthesis rather than inspiration happening. Which probably isn't the actual truth, but the fact that it feels that way I think means good things.
How do you approach creating something new and different?
Honestly, I think my main rule is being bad but remembered, is better than being good but forgettable. There is so so so much music out right now, but honestly alot of it feels scared. Like its really afraid of not fitting into a playlist, or like its dreading the "what genre are you" question. It feels like "staying relevant and competitive" has transformed into "never color outside the lines ever." The irony is there is more oppurtunity to make strange music now than ever. I'm getting kind of off track but honestly I just try to make stuff I genuinely like, and feel expresses something. I think we all make that effort. It's easy to worry about what people will think of it, and I do worry about that alot actually. I just try to keep all my REAL criticisms and creative decisions wrapped up in "what makes a song more/less good *to me*" rather than "what makes it more/less good to a random person."
Could you share some of your musical influences and how they have shaped your sound?
I can try but we have alot and I'll probably forget some. With most of our music, I'd say the Nirvana influence is apparent. Mostly just in vibe though, not really writing or tones. The one structure I default to alot that is similar however is "quiet weird verse" with "loud grungey bangin' chorus." That's about the only true similarity I see there but people pick up on it. As previously mentioned black midi, jazz, and other grunge artists are also mixed up there. Also that sort of weird post punk/post rock heavy stuff like Slint and Swans. and even impressionist classical music like Scriabin. Anything that isn't afraid to throw alot of dissonance, or just alot of notes at you at once. I try to combine the taste in harmony of all those things into a digestible sort of package, because at the end of the day I also like pop. Jacobs bass parts play well with this I think. He comes up with things I'd never dream of playing over a chord progression, but ends up feeding into that sort of jarring harmony as well, while tying it all together in a sepearate melody. I think this comes from the fact he's been a baritone part of a barbershop quartet for a long time, and ummm, just look up "barbershop baritone part solo'd" and youll see what I mean. It's rather all over the place because it's filling out the tenor and lead parts, but also trying to keep them grounded with the bass, while also trying to create it's own movement seperate from all the parts. All this weirdness in mind, I think Tyler's drum background being essentially jazz, dance music, and rock, is what really makes the weirdness and the lo-fi work without just being more experimental punk. It frames it differently. If the drumming was balls out all the time punk stuff, I think we would be more firmly in the punk camp than we would care to be. The dynamics make the punk-ier stuff feel more intentional and unique, and makes the harmony be framed in a way (I hope) where the jazz and experimental influences are seen coupled with the noise and punk ones. We all have very different music tastes, but I think what we are seeking in those tastes is the same, so I think thats why it works out.
Pronto Valid On the Making Of “'08 CIVIC”
Could you discuss the lyrical themes or messages conveyed in "'08 CIVIC?"
A: Yeah most people would think this song was about a car but I'm not too much of a car guy. The title and some of the lyrics use the different cars I speak about as a simile to my mind body and soul. The idea of the song was to speak on my growth as an artist from the time when I had this old 2008 Honda Civic coupe, to who I am now and the car that I'm riding in (red Hyundai), and where I want to be in the future (Mclaren) + my perspective constantly changing along the way.
What impact do you hope "'08 CIVIC" will have on your audience or the music industry?
A: I hope that it helps propel my career forward for sure, but in terms of grand-scheme impact, I just hope it helps someone out there find some sense of peace. It's a crazy world we live in today and people are just looking for ways to connect & understand each other - I hope this song can give them that feeling in some way.
What was your favorite moment in making the music video?
A: My favorite moment had to be when we were outside doing the drone shots for the opening scene. That night in particular was a vibe with the overall scenery of the skyline against the summer sunset, and the semi-liveliness around the area (Chinatown Chicago). Plus it was my first time having a drone shot for a music video so it was cool to see how it works. Though the part that I didn't like about it was smoking cigarettes during those scenes - I think you could tell by my face (if you know me well enough) that I was grossed out since I haven't smoked cigarettes in years.
Was there a pivotal moment in your life when you decided to follow your path as a musician?
A: It's really tough to say. I always had a love and passion for music, hip-hop in particular, and I would write lyrics at a young age. But I would have to say around the time when I was 15-16 and I decided to take music much more seriously. Originally I thought I would be a physicist or an athlete, but the urge to make and constantly listen to music made me want to completely immerse myself in it around that age. It definitely helped me through some dark times and continues to even to this day.
Who are some of your biggest musical influences, and how have they impacted your own sound?
A: Some of my biggest musical influences would have to be Lupe Fiasco, Drake, J. Cole, and Mac Miller (R.I.P.). I could name a whole list of others like Tupac and all of the other goats but I think we would be here for a long time. I say Lupe Fiasco because of his Chicago roots and the flows that he switches through + his insane lyricism. Drake influenced me in the sense of having good vocal control & tone, cadence, and overall versatility. J. Cole's music influenced me by giving me a feel for the heart and soul behind the lines and Mac Miller influenced me because of his energy and overall vibe in his music. Also, his growth as an artist for some reason really resonates with me as do all of the others I mentioned. Some songs give me a serious sense of nostalgia.
Robbie Rapids On the Making Of “In Our House”
Can you tell us about the inspiration behind "In Our House" and the story it tells?
The couple at the heart of the story pour their hearts into love, blindly without a plan. As the song progresses, their releationship turns into drama and regression, trying again and again to make it work. In "Our" House - Ours is not really shared at break up time.
What was your favorite moment in making the music video?
The animation company who made the music video used the real pictures from the house the song is about. Just someone else's furniture. Who ever lives there now will never know, lol.
What impact do you hope "In Our House" will have on your audience?
This is an old song for me that finally I said ok I'm going to record it get it out of my head. It's really a personal song for me. However, I'm starting to see a lot of people relate to the song from some good reveiws & feedback I've gotten.
What inspired you to pursue a career in music?
MTV, Poison's CC Deville. Love of the electric guitar
Are there any specific artists or musicians you dream of collaborating with?
I'm actually collaborating more and more with each release with more people and growing as an artist. This song I worked with David Levene because I knew he'd tear it up on guitar, channel the emotions and pain in the song and transfer that to the guitar. He keeps the song interesting, for sure!
Maria WeIssman “Bad” - Review
What stands out the most about Maria Weissman’s Bad is its openness and unconventional approach to songwriting and self expression. Her music is like musical meets indie songwriting meets rock n roll and jazz. She’s hard to define because she doesn’t need to be defined by anything other than her own name and brand. Maria Weissman is as honest as she is in her music as she is vulnerable and fearless.
The fact that she transforms and transcend her “not so good” moments and thoughts into pieces of music that are proudly unique and brutally honest with high aesthetics is not something we see everyday. Her music reads like journals, but they are more like expressive poems that tell you stories. She’s not shy about sharing her thoughts. Her lyrics are intimate and transparent. They speak to listeners directly with emotional depth.
Weissman’s voice is very versatile. She has no problem rocking a sassy attitude or sweetly expressing sorrow or painting a mood-filled impression. The variety and range that the songs contain within Bad are also very impressive. There are a few notable influences here. Her vocal delivery in “Bad” feels like Lana Del Ray meets PJ Harvey. “Cool Girl” and “Fool For You” on the other hand, had a little grungy Nirvana in the attitude.
“Fragments” is a stunning opening to welcome listeners to Weissman’s land of Bad. The track is acoustically poignant and atmospheric. The melodies are beautifully somber with a touch of sundown and distance. Grand and intimate all in one song. Intense and breathable. That’s very in the style of Weissman. She’s always doing more than one thing in one song.
Aza Brown “Sticky Situations” - Review
Sticky situations in life are no fun. A shift of perspective and attitude goes a long way. Partially inspired by a cat, Aza Brown taps into a tranquil, Zen-like journey while taking place in the midst of chaos and whirlwinds. He brings a unique blend of earthiness and psychedelia in this refreshing single, “Sticky Situations.”
“Sticky Situations” is a track of great contrast. The track opens with strong visual, but not without an avant garde flair. Threads of strings intertwined in dissonance. In the background, the entangled, sticky situation feels like four walls melting in liquid acid. As the unpleasantness drifts into the background, the sultry, psychedelic soundscape instantly tunes listeners to a different frequency.
Setting its scene in an entirely different vibration, the recurring warmth draw in the sun while the whispery vocal put you in a mellow and obscure mood as everything bad simply fades further away. Jingling percussions ring like the summer rain, nurturing your soul and mind. In this nuanced, psychedelic entranced sonic landscape, you’re beginning to see the light and path.
It’s interesting to how Aza Brown brings in different influences in his music. He has a very unique, spiritual blend of sonic pallets that’s sultry, nourishing and optimistic. On top of classic power rock and psychedelic fantastics, Brown incorporates a modal shift in the middle of “Sticky Situations.” Of course, the sticky situation is still there, but you can always choose to not being disturbed by it. Stillness and being undisturbed has so much power over turmoil and drama.
DRENCHED On the Making Of “Slug”
What was the initial spark or idea that led to the creation of "Slug?"
Musically, “Slug” started with the simple opening riff. I used to noodle with it as a warm-up before practice. I eventually built a chord progression around the riff, which evolved into a full song.
The lyrics for “Slug” are about being introverted at parties. The concept comes from times where I’ve been at social events and people have assumed I’m not okay because I’m not being super engaged and happy-looking. I’ve been fine and perfectly happy people just people watching, seeing what sort of crazy stuff ends up happening. I’m sure any introvert can relate to this!
Can you share any interesting or unique musical elements or production techniques used in "Slug?"
The song is pretty straightforward in terms of structure, but it’s the first song that we have written in standard E-flat tuning. We usually write in C#, for a heavier sound, but Slug, being brighter and more fun, felt right in standard tuning. It also meant we could play some nice, juicy open chords. In the studio, we really worked on building layers of guitar and vocals in the interlude to create a crescendo. It’s the zenith of the song and the record and it’s one of the most dynamic parts we’ve written.
How do you feel "Slug" represents your artistic identity or musical evolution?
Just like most of the songs of four debut album, “Slug” is a much more collaborative song than our previous releases. I brought the initial concept to the band, but we all worked on it and refined it, and I think the end product is way better than when everyone just plays the parts that I’ve written.
It also feels like a very refined song, with clear influences and a distinct sound. Slug almost didn’t make it onto the record, but because our studio time was delayed, we had a few extra weeks of rehearsal time. We managed to bring it up to a standard that we were happy to record with. After that, it has become one of our favourite tracks.
What are some of the biggest challenges you have faced as a band, and how did you overcome them?
It’s a typical story for us, being a band in a small town with a small but dedicated local following. We try to get the support slots for touring bands so we can get a bit of credibility, a few feathers in our caps. That’s been our goal for the year; release this album and get on some touring band lineups.
Otherwise, the recording of the album was a big challenge. We struggled with scheduling conflicts, personal tragedies and indecision. Because we were using a third-party space to record, we and our audio engineer basically had to go to a committee whenever we wanted to book the space, which slowed everything down, sometimes by weeks. It took several months longer than we wanted to get the release ready, and we’ve learned a lot from the experience.
What do you enjoy most about performing live and connecting with your audience?
Being surrounded by my three mates and absolutely nailing a song or a whole set is super satisfying. I love stepping on stage and seeing people smile when we play the opening riffs of our songs. Fans singing along and dancing to our songs is so wholesome, and it makes me feel incredibly validated as a musician. I also love playing with other artists, both our friends from the scene and new acts who we have never played with before. We can fit in with a lot of different genres so play with a wide variety of bands, and it’s always fun seeing new people getting into our songs.
My Name is Ian Releases ‘GO BANANAS GO BANANAS GO BANANAS GO BANANAS GO BANANAS’
‘GO BANANAS GO BANANAS GO BANANAS GO BANANAS GO BANANAS’ is My Name is Ian’s 8th studio album. The record is full of the trademark blend of catchy pop melodies, witty lyrics, and infectious energy. Songs about hating your life, loving your life, Norwegian families, coconut crabs, 90s television shows, feeling like a loser, not trusting the government, and Peppa Pig. There is something for everyone.
The album was released digitally on the 21st of July, with a limited edition run of 100 vinyl records following in late August.
Creatures of Cardiff, My Name Is Ian have already built a back catalog that would have taken The Stone Roses millennia to mirror. Since 2010 their output has dealt with break-ups, breakdowns, mysterious lion paintings, and characters from the Tom Hanks movie Big. This restless productivity has seen genres including but not restricted to lo-fi, bedroom punk, garage rock, prog, and anti-folk, all filtered through the pop-oriented cranium of frontman Reginald Foxwell.
Impressively prolific and prolifically impressive, bittersweet but unbroken, My Name Is Ian requires your immediate attention.
Motihari Brigade On the Making Of “Reality Show”
What was the initial spark or idea that led to the creation of "Reality Show?”
Motihari Brigade’s theme is Rock-n-Roll Thoughtcrime inspired by George Orwell. “Reality Show" fits right into that dystopian concept with a bit of humor and fun. For the music video we partnered with filmmaker Jovana Tomasevic of MLADE Studio who directed and produced a very creative cinematic visual story - complete with costumes and characters. She envisioned this mysterious hooded figure to represent the spirit of hope itself, encouraging people to break free from the technological filters imposed by an elite. And for a while, they are able to open their eyes, freely perceive reality, and smile, before all being consumed once again by the system. Appropriately, the video ends with a quote from George Orwell’s “1984.”
Can you talk about the recording and production process for "Reality Show?”
The recording studio was in an old brick church next to a graveyard with these bizarre gravestones, including one in the shape of a guitar - no kidding. Our engineer had this huge classic analog mixer console. Some of the great albums of the 1970s were mixed on that same piece of equipment. We scored the horns separately and then added them later. The groove is bit of Reggae, New Orleans jazz, and “Penny Lane”/rock steady.
What impact do you hope "Reality Show" will have on your audience or the music industry?
The song is about the struggle to perceive reality amidst the onslaught of corporate-state technological dystopian narrative control. We hope the music video will help us reach new fans who might appreciate that concept may be interested in what we are doing. Hopefully they will want to hear more from the album “Algorithm & Blues.” We would love to reach new people.
Can you tell us a bit about yourself and how you got started in music?
Eric Winston is the guitar-player, singer, songwriter and creative force behind the Motihari Brigade - a concept which seems somewhat relevant to the state of the world at the moment. The bass player, drummer, and keyboard player worked out arrangements and played together as a live band for the basic tracks in the studio. You can really feel the energy from the band spill over the edges in the right places on the album. Eric has been making electric guitar strings shake with hyper-caffeinated vibrato since early childhood. Some say its not just the caffeine.
What are your future goals or aspirations as a band?
We hope to find an audience of open-minded independent critical thinkers who are interested in the Rock-n-Roll Thoughtcrime concept, as well as to network with other musicians and artists who are interested in this sort of thing. Hope springs eternal. Find us at brigadem