Manu Chevalier On the Making Of “I belong to you (feat Michael Washington)”
What was the initial spark or idea that led to the creation of "I belong to you (feat Michael Washington)?"
I think the idea came first from the song UpTown Funk from Bruno Mars/Mark Ronson mixed with some old classic bands like Kool and the Gang or Shalamar
Were there any memorable or standout moments during the recording sessions for this song?
I did everything at home and Michael Washington, the singer, was hired to perform the song. He did a great job and it was a pleasure working with him, he always tried to give his best, listening to all my recommendations.
What has been one of your favorite memories along the path to making "I belong to you (feat Michael Washington)?"
When I started to write the song I was just married, and I was really in a funky/party way, and writing the melody was a real pleasure, I felt the groove right away.
Can you walk us through your creative process when writing and composing music?
Generally, I start with the melody. I’m not a good piano player but I can play a bit. So I used to play some chords and I sang the melody that I got in mind. Then I think about the mood or the subject I want to write about. Sometimes it comes easily, sometimes not. I also think about a storyboard and I try to match some words with the melody. It might be a long way. Once the song is written, I set the instrumentation and arrangements, I generally hire a singer who fits the style, but I sing some BV’s or I sing the chorus in a higher octave to bring something. Then I mix and master, which might be the longest part.
What are your future goals or aspirations as a musician?
”I belong to you” is my second official release. I’m promoting it right now, and I’d like to give it a great exposure. Then maybe it will give back better exposure for my first single “Get on the dance floor” which I released last year and which had several radio airplays.
Then I have other songs ready to go, but I take my time and I’ll see how things go. Maybe there will be an album or an EP in the future.
My wish would be an established artist/Musician/Songwriter/producer and keep on writing some new songs.
JSDavani Releases ‘Sam Y Nona’
Can you briefly describe what the song/each song is about?
This whole album is a bit of a puzzle. The titles for all the songs all reference one another. In this way, they also serve to function as easter eggs. If one analyzes the lyrics and song titles they can see the circular and symmetrical nature to the composition, as a whole. The centerpiece to the album, 'opportunityisnowhere', utilizes elements of ASMR into an extended downtempo experiment. This track, as well as the second track (S.Winona says "why don'cha") are equally well-suited for studying/getting things done or relaxing/chilling out, all the same. the track, "overdue, phone call long" features one of Jacoby's oldest/best friends. Supreet Singh, (who also produces his own music under the name, Prince Prospero, found on SoundCloud) provided the words and voice heard on this track. The spoken word recording was then chopped up and incorporated into the track with the instrumental. There are several releases and collaborations planned to be released in the future, with Prince Prospero (Supreet Singh).
Where was the single/EP/album recorded and who was involved in its production?
Jacoby Davani (JSDAVANI) wrote, composed, produced, mixed/mastered/etc. the entire album. He is also responsible for all of his album/ep artwork/design. Additionally, one of Jacoby's oldest and best friends, Supreet Singh, (produces his own music under the name, Prince Prospero, found on Soundcloud provided the words and voice heard on the track, overdue, phone call long.
Were there any notable or amusing happenings surrounding the recording/production of the EP?
This entire production was very organic. Everything came together naturally and similar to previous releases, served to provide a therapeutic experience to the artist. He's
Who are the band members and what do they play?
JSDAVANI = Multimedia artist/multi-instrumentalist/creative, Jacoby Davani composed and produced the entire project. (Apologies if this EPK is repetitive. I copied/pasted relevant sections from a bio section and answered other questions in a more intimate interview style. Feel free to incorporate quotes, as appropriate to make a more engaging piece (if writing something up). Thank you!
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?
JSDavani currently has many exciting plans and releases lined up for the future, much sooner than later. A soundtrack for a short film to be played lived simultaneously, a photography exhibit, an art show, and more releases are all planned to occur before the end of 2023.
LUKE TANGERINE On the Making Of ‘Interstellar Radio’
Can you share any interesting or unique musical elements or production techniques used in 'Interstellar Radio?’
Of course. There are a lot of sound design behind this album. Most sounds you can hear in this album are created and designed with analog synthesizers. I used granular synthesis techniques to produce the unique sounds. For example, fun fact: the beat for the track “Enceladus” I just recorded my coffee machine and redesigned it in a drums alike sounding background beat.
What was the initial spark or idea that led to the creation of 'Interstellar Radio?’
I am a serious lover of astrophysics. The scientific literature and movies inspired me to create this album. Just imagine - if another civilisation exists in our universe, do they also love and create music? Do we able to communicate with them using music instead of language? I
What did you enjoy most about making 'Interstellar Radio?’
I tried to bring some 80s aesthetic to my album and mix it with some modern vibes. Interstellar Radio is not just an album, it is a musical and emotional journey. And I really enjoyed to tell this story using sounds.
Can you describe your typical creative process when composing music? How do you usually start a new piece?
Sometimes I just wake up and have a melody or beat idea in my head, or I just have an emotion and try to describe it in my music. I try to tell stories in my mind without lyrics using only sounds, melodies, and chord progressions.
Do you have a personal favorite among your compositions? What makes this piece special to you?
I love them all, it's a lot of work behind each piece. Maybe my favourite is “Exoplanet” - it is dark and romantic, discreet and emotional at the same time, it has some rock spirit and 80’s alike melody. Just hear this song, i am really proud of it.
Moth Releases “Ricochet”
Moth's latest single has long proved its popularity among their loyal fanbase, drawn to dingy pub basements by their guitar-driven tunes - like a moth to a flame - with an instant live reaction at every show to the signature guitar screams in the intro, setting the tone for what’s to come. Complimented by the following lead guitar verses reminiscent of 80s Motor-head. Combined with the brash and unforgiving vocal style of frontman Ciaran Brennan, creates a soundscape explicit enough to forget the sorrowful yet radio-friendly nature of the lyrics of the track.
Moth has been refining their recorded sound with the production of ‘Ricochet, the next addition to their fast-growing catalogue of contributions toward the great grunge revival. A resurgence evident from bands such as Softcult, Drug Church, and Basement, and the chaotic excitement that fills a room whenever Moth plays live.
Independent Record label Pool Valley sent Moth to Brightons prolific Metway Studios to ensure fan favourite Ricochet carries the same raucous energy from the live version over to wax, and the result is undeniably impactful.
Ari Joshua Releases “Help On the Way”
"Help on the Way" - Ari Joshua opens up the psychedelic vault, revealing an all-star version of the Garcia/Hunter classic “Help on the Way,” pairing poetry and form with Kimock, Hess, & Ladin.
Ari Joshua's forthcoming compilation of music includes a bountiful cast of incredible talent, about half dozen original compositions, and a pair of heady tributes honoring the legendary partnership between Jerry Garcia and Robert Hunter. “Help On the Way”, the latest to be shared, sparks light featuring a celestial musical cast including drummer John Kimock, bassist Andy Hess, and keyboardist Eden Ladin. Ari Joshua led the band as vocalist, guitarist, and producer.
From the expansive first notes of a psychedelic intro, ever-present is the feel of the live ensemble in the room, and then enters the vocal:
"Paradise awaits on the crest of a wave, her angels in flame...”
The warmth of Eden Ladin’s analog keyboards meld with Joshua’s lyrical guitar as their improvisations build into billowy waves full of melodic colors and texture. This is a special band — Ladin is emerging as a leading jazz pianist on the East Coast. On the low end, Hess, a favorite among NY musicians, effortlessly weaves in and around the deep pocket of Kimock’s signature drum groove. If you have seen bass legends Mike Gordon (Phish) and Otiel Burbridge (Dead and Co) on their recent tours, then you have witnessed John’s drumming live. Ari has been turning stones into mountains with a steady flurry of releases as his collaborative spirit continues to bloom.
Ari Joshua paints a picture of how musical happenstance changed his life at about ten years old: “On the way to summer camp, an older kid with a battery-powered boombox had the cardboard double-disc version of One from the Vault, it must have made an impression, I bought the cassette and CD both. I felt a connection to the muses, the angels, & the cosmic forces, all perfectly reflected into poetry and melody. Later, I saw the original band play “Help” with Garcia. It's a beautiful song. It's a masterpiece. I am grateful to be able to team up with this incredible cast to share this recording."
Tom Ciurczak On the Making Of ‘I Ain't Ever Growing Up: Volume I’
Can you tell us about the inspiration behind 'I Ain't Ever Growing Up: Volume I' and the story it tells?
The title reflects the youthful spirit still in all of us as we age, well, at least it does in me. I see many bar bands and go to a lot of concerts. There is still a lot of love for the type of rock music that I like to write and play. But, there seem to be very few new artists writing music, these days, that sounds like Bruce Springsteen, Tom Petty, John Mellencamp, Warren Zevon, etc. I could see that there was still a big demand for the high-energy rock songs I write, and I had quite a collection of them that needed to get recorded.
I released my first album “Call Me Ishmael” in 2020, right at the time that COVID shut everything down. Even though the planet was shut down, it still received great critical success and was played on over 250 Radio Stations. This encouraged me to record the follow-up “I Ain’t Ever Growing Up Volume I” I believe if there is ONE thing that keeps us all young, it’s music. Also, I believe it’s the kind of music you grow up with that is forever stamped into your heart and soul. I wanted to make sure I contributed to keeping rock alive and keeping everyone forever young through my music.
Were there any memorable or standout moments during the recording sessions for 'I Ain't Ever Growing Up: Volume I?'
Yeah, there were SO many great guest musicians that we recruited to play on the album. Having them all play on the album was such an honor. We had so much fun at the recording sessions, that I wish we would have recorded more songs. As it were we recorded two albums worth (Volumes I & II). Kenny Aronoff, who plays drums for John Mellencamp and John Fogerty, played drums on 3 songs and entertained us with behind the scene stories of working with the great ones. Richie Gajate Garcia, who played percussion on the album is one of the preeminent percussionists in the world toured with Phil Collins, the Four Seasons, and Tony Orlando and played over 80 shows of “The Lion King” on Broadway. He asked me please no “Hakuna Matata” when we record “Kilimanjaro Skies”, I told him not to worry the chant I used in the song was “Bula Matari” (you’ll need to look it up to see what it means!).
Every Guitarist on the album was fantastic and they all brought their own unique style and contribution to the record: Sarven Manguiat, Matt Hornbeck, Federico Navarro Trias, and Angela Petrilli were all amazing. Travis Carlton (who is the son of Larry...the talent doesn’t fall far from the tree) and Brett Grossman (also the primary engineer) traded off on bass throughout and both were awesome.
We wanted to bring some different sounds to the album, so we brought in a Vibraphone player, Alexander Burke, I had no idea about the important sound contributions he was about to make, but it turned out to be very significant to the album. I am so glad we made this decision. What a talented musician and what a cool instrument to hear in the mix.
We consciously wanted to stay away from sounding too much like Springsteen, so we decided to use Harmonica instead of Saxophone. Matt Lomeo, another from upstate NY who has the distinction of being the youngest artist to perform at Woodstock, came in and just blew the roof off of “The Vault.”
Aaron Durr, who played all the keys on my first album, contributed heavily again to “I Ain’t Ever Growing Up Part I”. The most memorable is the eerie bridge section in my homage to the 1970s Prog Rock track “Nights on Fire.”
The background vocalists included: Harrison Crenshaw, Jayme Palmer, Elise Lily (from year One of “the Voice”), and my secret weapon, my daughter Kelly Ciurczak.
The entire album and recording session would not have come together without the major contributions from the team of Brett Grossman and Stephen Haaker (who also played drums on 5 tracks). They handled all the producing, engineering, mixing, and mastering roles. In addition, the recording sessions were so well planned and organized by them, that I could never sing their praises high enough.
What has been one of your most favorite memories along the path to making this album?
I set out with a simple goal of making a better album than my first. Not as simple as it sounds. I needed even better songs and then I needed to execute them stronger.
The first thing I decided to do was to take singing lessons. I got together with Harrison Crenshaw, who had coordinated all the vocals on my first album. It was probably the smartest thing I did in advance of the new album and I had a blast. I didn’t think I would enjoy singing so many different “Broadway Show Tunes”, but it got me out of my comfort zone and gave me a lot more confidence with my range. He really helped me find my voice.
Also, I met with a number of different people to review many of the songs I was considering for the new CD. One of the people I met with was Richard T-Bear a producer and performer who has worked with Crosby Stills and Nash, Cher, Walter Trout, Richie Havens, and Kiss just to name a few. He listened to all my songs and simply said I needed to rewrite them all. This was not what I was expecting, but I quickly realized he was right. If I was going to make a better album than the first thing, I would need better songs. So, I spent the next 6 months re-writing and re-arranging all of the songs in addition to taking vocal lessons and working on improving my live performances.
I was unable to perform after my first album was released, due to the COVID shutdown. Once the COVID shutdown was lifted, I began the process of playing regularly out live 2-3 times per week in Orange County, CA. I wanted to refine my stage performance so that I could take the new album to the stage and perform it all live.
Can you share a bit about your musical background and the journey that led you to where you are today?
I grew up in a musical family. My father was the principal trombonist for the United States Military Academy Band at West Point, NY. The neighborhood I grew up in consisted of all the band members, so from an early age, I was surrounded by music everywhere I went. Then, what I like to refer to as, the “Big Bang” occurred Feb. 9th, 1964, when the Beatles played on the Ed Sullivan Show. I and a million other kids decided that’s what we wanted to do, so I picked up the guitar and started off on my long musical journey.
In my early teens, I discovered a true love for songwriting. To me, songwriting was an art form like no other and I have worked on it diligently throughout my life, even while working a regular job to support my family.
In 2014, I attended a songwriter’s masterclass taught by Steve Earle. I met so many talented songwriters there that I like to say I found my lost tribe. Meeting so many similar-minded songwriters and musicians turned out to be the spark to finally record the songs I had been writing my entire life.
My daughter, Kelly, introduced me to Brett Grossman, a recording engineer friend of hers in Los Angeles. He in turn brought in drummer and producer, Stephen Haaker. The three of us started laying out the plans for an album, and in 2019 we went into Perfect Sound Studio in Frogtown, CA to record my first album “Call Me Ishmael,” which I mentioned earlier. was well received, but unfortunately, I never got to showcase it live with a full band due to the pandemic.
Brett, Stephen and I got together in the summer of 2022, again at Perfect Sound Studios, to record a follow-up album “I Ain’t Ever Growing Up.” In the end, we recorded enough songs for two albums! We released Volume I on August 4th, and we plan to release Volume II next spring.
Do you have any memorable on-stage moments or performances that stand out to you?
I think the best is yet to come. This time around, I have put together a full band to showcase the material. So, I hope you can catch one of our upcoming shows in the Orange County and Los Angeles area to hear all the songs on the album performed live.
Check my website TomCiurczak for upcoming concert dates.
The music is available in all the usual places, and on Bandcamp; thank you for the opportunity to share it!
Corban Chapple Releases “Ordinary World”
A STIRRING REFLECTION ON FEELING CAUGHT BETWEEN WORLDS.
This debut was entirely self-produced, featuring Corban on trumpet, flugelhorn, guitar, bass, keyboards, and vocals all recorded at his home studio. This aspect of his production style allows for a clear artistic voice to shine through. Lyrically, ’Ordinary World’ is a bitter inner-dialogue about bravado and self-doubt, and the tension of being caught between those voices. The song ultimately sets the stage for change, foreshadowing a serialised narrative to come from future releases. This dialogue is expressed through a conversational style, making use of wordplay and a few literary allusions to enhance the story and power of its message. This results in each element of the track constructing meaning through their mutual support, cementing ‘Ordinary World’ as a whole that is greater than the sum of its parts.
Based in Perth, Corban is a contemporary-soul producer, singer/songwriter, and multi-instrumentalist. He is influenced by the vocal and production stylings of D’Angelo and James Blake, striding the intersection between analogue and digital. His voice delivers soulful melodies through sophisticated vocal arrangements, complimenting his warm instrumentation and hard hitting Hip hop production style.
ARI JOSHUA'S RAAR TRIO; On the Making Of “Kambo Wambo (extended version)”
Can you share any interesting or unique musical elements or production techniques used in "Kambo Wambo (extended version)?"
The session was held at the end of the pandemic. Trey Anastasio held an ongoing weekly concert series at The Beacon Theater where he was able to fly in his bandmates and quarantine them as the weeks went by. They raised a bunch of money to open up a rehab center in Vermont. Russ and I had spoken about doing some recording together. I love the organ trio format, and we were about to record remotely as the Beacon Jams were announced. Thanks in part to the protocols they used, I was invited to fly out to Burlington and isolate for some recording. I used the time to compose and rest up. Since then I have been out to Vermont to make music a few times, including another session there at Tank Recording. Ben Collette is the engineer in the session. He has been the audio guy for PHISH for years, so he had some of Trey’s equipment laying around and a lot of really beautiful gear. Other than that this track was basically a one-take wonder. We just played it and ultimately chopped it up to make a shorter version.
The shorter version will come out in September, but meanwhile, this version is about 20 minutes of us just jamming. It was tracked on the first day, we did about 5 days all in all. I played the melody loosely, and then later went and laid down the harmony parts on the melody. Russ is so good at this style of playing, it was a quick one to play. There are a few time changes, and the form is like a 6-bar form, so in some ways, there is an element or a technique there. Those guys are some of my favorite players, just a lot of fun to hang with. Ray had all these stories he would tell on the breaks, and Russ is like the kind of person like I felt like I knew. He has a real east coast thing going on, and having lived out there for a long stretch of time, it was really comforting to be around as well.
Were there any memorable or standout moments during the recording sessions for this release?
Waking up in the ice and snow every day and getting in my rental van and driving across town, going for walks, and just taking in the city. The music is great. There’s a whole batch of music on this release called The RaAR EP. The song for Ray was great to track because it was written for organist Ray Pacskowski. Rae of Light was written for one of my grandmothers, and Grammama was for my other grandmother. The songs really came to life in post-production and mixing. My grandmother Rae passed away shortly after the song was completed, but she had her nurses hold the phone up to her ears all the way up to the end. I packed a lot of love into the song, the lyrics were all for her.
“Rae, soaks up the sun, and smiles the rain away. Rae, even a song could never tell how much you're loved by all”. In this case, the song does tell, but she was just so loved by so many, and she had been through so much. Losing 2 sons, and her husband, and surviving cancer, all of that and still so positive and smiling. The other great moment was driving up the snowy hills to Ray’s place, and rehearsing in a wooden barn. The hours went by and the van got stuck and we pushed it out back on the road from the driveway. Good times.
What do you like the best about "Kambo Wambo (extended version)?"
The solid drum grooves, and clavinet rhythms, and the looseness of it. There are even a few mistakes in there like we were just learning the song. But that’s all good, it’s a point in time. The song was written with plant medicine in mind. It really feels like for a while we get into the jungle, and just sit there in the scenery. The sound of the crickets, and bugs, the artwork is also phenomenal for that. Martin Ontiveros did the art, and it was like I saw it, and that was it.
How do you translate your inspirations into musical ideas and compositions?
I let god do that for me basically. I just try to show up, and be present. If I was asked to write on a deadline or for a topic, I could draw from that. When there is a recording on the horizon, I get inspired by the folks I am about to work with. I write for them, for what I imagine they may vibe with. Other times I just sit down to play and the muse comes out to say hi. Most of the stuff I write never gets heard. It’s really a tip of the iceberg kind of thing. I sit down and make stuff up all the time, maybe 1 in 10 ideas gets written down. Of that maybe 1 out of those 10 may get recorded.
How has technology influenced the way you approach composition?
There was a solid 10-year phase where I used Ableton all the time. I wrote with loops, and I got pretty good and working with midi, and cutting things up on the computer. I miss that. When I get serious, I pull out my boss' looper and write sections and interlocking ideas. Other than that I guess I am pretty old school fundamentally. I have a big hard drive full of sessions on Ableton, I did a deep dive on that. I hope I can find some producers I can jam with, and compose with via the laptops thing. There is no substitute for having a band to work stuff out with regularly. I had some really wonderful periods of time where I had close musical partners. That was the best.
Blake Yung On the Making Of “Next (ft. Benny Mayne)”
What was the initial spark or idea that led to the creation of "Next (ft. Benny Mayne)?"
My friend played a few beats and once I heard this one the ended up being "Next" I knew it was special. We started writing instantly and the whole song came together in an hour. When it’s natural it usually happens pretty fast
Were there any memorable or standout moments during the recording sessions for "Next (ft. Benny Mayne)?"
It was a regular studio session nothing out of the ordinary. I was in LA recording new music and this was one of the songs during the trip I knew felt really good by the time I got back home.
What was your experience working with Grammy-nominated producer and engineer Eric Von?
Eric was the first person I met when I first moved to LA back in 2018. We've become good friends ever since and he is a part of all of my projects in some way shape or form. He’s one of the most talented people I know and I always come to him for advice about music shit.
Can you tell us a bit about yourself and how you got started in music?
I'm 32. I've been making music since my first guitar was in my hands at age 12. Singer-songwriter, artist. Born in South Carolina but now living in Portland, Oregon.
How do you continuously grow and evolve as an artist?
By being inspired by new things and always trying something new. Art always leaves room for growth. It’s a lot of fun.
Goldthrone On the Making Of “Scale It Down”
What was the creative process like for this particular "Scale It Down?"
The creative process is always the same for our songs. Our guitarists write something and then we build from that. For Scale It Down it's no different. Guitarist, Jack Curtin, wrote the chords for this one and then we all learned it at band practice. Scale It Down quickly became a band favourite from its staunchy head-banging feel to its anthemic ending.
Were there any memorable or standout moments during the recording sessions for "Scale It Down?"
Recording Scale It Down was a joy for us. Although it was recorded when the rest of the album was recorded, it still has its many demo versions before that process so it was nice to get it recorded properly.
What has been one of your favorite memories along the path to making "Scale It Down?"
One of our favourite memories is definitely playing this song live for the first time. Playing a new song to a crowd is always daunting, you never know the reaction you're going to get and thankfully, it was a good one for Scale It Down.
Where do you find inspiration for your songs or musical ideas?
As a band who are interested in lots of genres, we draw inspiration from all corners of the industry. Our vocalist, Tim, is a producer, so he added more to the track for the recording than we play live was definitely a good thing for the overall sound of the single. The song still translates its anthemic feeling during a live set.
Could you share some of your musical influences and how they have shaped your sound?
Some of our musical influences include Teenage Wrist, Turnstile, Silverchair, Sleep Token, and Audioslave. It definitely isn't limited to them, as a band we listen to so many genres, from Jazz to heavy metal, so we tend to draw inspiration from everywhere we can!
![Horizonte Lied Releases ‘Memorias de Crónicas Futuras’ [Remastered Edition]](https://images.squarespace-cdn.com/content/v1/60110aa8e6d31b0d1c32ae92/1692581595309-QD182YEE5GY44G0I00QL/Screen+Shot+2023-08-21+at+9.16.38+AM.png)
Horizonte Lied Releases ‘Memorias de Crónicas Futuras’ [Remastered Edition]
Horizonte Lied continues to push the boundaries Electronic music, with their thrilling, brooding, new record- ‘Memorias de Cronicas Futuras.’ The electrifying new album is an updated, re-mixed and remastered version for the 2023 leg of the band's bigger project - "Final Remasters.”
The record encompasses a spectrum of human emotions- from the initial unexpected but positive feeling of pure love to different phases of confusion, procrastination, deception, depression, social epiphany, and finally faith and optimism during the neverending uncertainties of life.
Horizonte Lied’s newest release offers dark industrial tones with a underlying hopeful state of mind for the listener and lyrics-wise tries to offer a similar experience. With the journey through each track mirroring a distinct emotion, this new album is inspired by some of the works by David Lynch, David Fincher around 1997-2003, and musical influences of Depeche Mode and Nine Inch Nails.
Horizonte Lied is an electrifying band that produces unique dark pop electronic and organic blend of music with industrial sound textures.
Faded Rose On the Making Of "In the First Place"
What was the creative process like for this particular "In the First Place?"
Like most of my songs, I started with a storyline, wrote the riff on acoustic guitar, and developed lyrics and melody from there. Once the rest of the band got involved, it took on a life of its own. We like it to happen organically.
What was the initial spark or idea that led to the creation of "In the First Place?"
The whole concept behind the song is to not take things too seriously when it comes to love and relationships. Sometimes the thing you need most comes when you least expect it, and if it doesn't, you'll still be ok.
How does "In the First Place" fit into your overall artistic vision and what can listeners expect from you in the future?
The first EP was really more a of breakup record than anything else. We want this record to showcase a lighter side and introduce different sounds. We felt that "In the First Place" was the perfect opportunity to do so. This upcoming album has a lot of different elements we didn't use before and we're pretty excited about it.
How did your band members initially come together?
It started with me and Tom playing acoustically. When we were ready to record the first EP, I wanted to make sure we had the right lead guitarist for our song Sober. A friend of mine mentioned her brother, Charlie, who I remembered from high school as a very talented guitarist, and reached out. We were fortunate enough to have him play on the first EP, he became a great friend and has been with us ever since. He plays the lead guitar, keys, and any instrument we throw at him. Gary came to us through Craigslist. Our previous drummer actually saw the ad and called him in for a rehearsal. He's an amazing bassist and hands down one of the most chill guys you will ever meet. Pete, our drummer, was the last to join us. He was recommended by another musician friend of mine and ended up being the perfect fit. We all love Pete and his Djembe. I feel very fortunate to create music with such a great group of guys.
Where do you find inspiration for your songs or musical ideas?
Once in a while, I will come up with an intentional concept for a song, but most of the time, the songs just come to me - usually when I'm in the shower.
Sophia Stephens On the Making Of ‘Remnantal’
Can you tell us about the inspiration behind 'Remnantal' and the story it tells?
I wanted Remnantal to be relatable, to anyone who listens. All 4 songs deal with emotions from different points in my life, that I do my best to make relatable to the listener. Because of this, the album tells the story of different phrases, which is a nod to the name ‘Remnental’, as the Ep represents different remnants of emotions I’ve had.
What are you most proud of 'Remnantal?'
I’m most proud of the song Familiar, as originally this song started out at a family pool party where my brother sat down playing the piano, and I began writing the melody to Familiar in my head. Over the years the song has progressed and sounds very different from the original. It’s taken on a new bridge, a new key, and my voice has grown stronger, all of which I can see when I watch videos of my younger self singing. Because of this, it’s very cool to see how far I’ve come from just a few years ago.
What is your personal favorite song from 'Remnantal' and why?
My favorite song is Shadowlit. It’s definitely my favorite as this song is so fun for me to sing. I also loved writing the lyrics for this song, as it includes some of my favorite lines such as “I’m no Icarus, I leave before the fall.” and “I’m the disciple you help me see.”
Could you share some of your musical influences and how they have shaped your sound?
It’s hard for me to determine my musical influences, as I could say any song I’ve heard has influenced me. Even songs I hate, those songs make me think “Well I don’t want to do this.” However the artists I listen to the most definitely include Taylor Swift, and because of that when I first started writing songs I would generally copy her verse, chorus, verse, and bridge structure, including trying to make my choruses as catchy as possible. Taylor’s songwriting pattern was what really gave me structure when I first started.
Are there any specific artists or musicians you dream of collaborating with?
My dream collaboration would probably be Lorde as my favorite album is Melodrama and Lorde is an artist I admire the uniqueness of. Her voice is amazing and to have that on one of my songs would be a fun experiment.
Moving Van Releases “Popcorn”
Are there any other interesting or amusing happenings – no matter how small – that the band has been involved with that would be of interest to those who like your music?
So we'd played some cover-based bar and restaurant gigs in 2021, but our first ticketed show was at Brick And Mortar in SF in February 2022, which was also where we first performed Popcorn. Leah, the girl Miranda wrote the song about, was there, and when Miranda name-dropped her in the first verse, she screamed really loudly, audible on the recording of the show. Ian did not hear this because he was too on the piano to notice, and it was only after the show was over and Miranda relayed this to him that he even realized that 1. the song was about a lesbian relationship 2. Miranda was bi. They had known each other and worked together for over two years at this point. Ian is not the brightest. Also, for a while, our cover sets featured an instrumental jam tune called "Fender '50s Made In Mexico Surf Green Stratocaster," named after Josh's weapon of choice at the time.
Where was the single/EP/album recorded and who was involved in its production?
Popcorn, along with a couple of other as-yet-unreleased tunes, was recorded at the studio on the CCSF campus on August 6, 2022, by Dana Rae Labrecque and her assistant Cash (actual name, not referring to money). It was then mixed by Dalton Ricks and mastered by Gary Hobish.
How and where did you get together?
We got started as an informal jam group in August of 2019 when Liam moved to San Francisco and wanted to play music with people. It turned out that the group of Liam, Ian, Josh, and Lars had some real musical chemistry, and so we decided to start writing originals and playing gigs, whereupon we ran into the small problem that the world shut down due to Covid. But then when things started happening again, we ran into the second small problem that none of the guys were more than passable singers, or lyricists. That was when Ian recruited his music school coworker Miranda to sing and write lyrics, and that was when Moving Van really found its sound.
Who are the band members and what do they play?
Miranda Shakes - vocals Ian Carlton - keys Josh Clouse - guitar Lars Aquinonez - bass Liam McKay - drums
Big No No Releases “Hold Your Horses”
You cannot step into the same river twice. After exploring '90s indie rock and skewed kraut monotony on their self-titled debut album 2022, Stockholm-based quartet Big No No return with a lighter, more sprawling, and diverse sound.
"Hold Your Horses" - the colorful first single from a forthcoming album - smells as much of American guitar noise as it does of late '70s ironic power pop. The loops whiz by and the falsetto choruses surprise. Matthew McConaughey may have thought he had achieved all his dreams when he won an Oscar in 2014, but it was almost 10 years before he suddenly appeared in 'Hold Your Horses'. It's never too late to reach higher. Makes you think.
Just like on their debut, Big No No has recorded live in the classic INGRID studio in Stockholm, with Christoffer Zakrisson (Viagra Boys, etc) as producer, which gives the organically honest sound. This is music played together - in one room. During the fall, a series of singles will be released, leading to an album in the spring of 2024.
SEPH On the Making Of “Secrets Taste Like You”
How does "Secrets Taste Like You" reflect your musical journey and growth as an artist?
I really believe that my new song showcases my vocal talents, which is an area that I’ve needed to grow in as an artist. Compared to previous releases, I wasn’t always the strongest vocalist, but this song truly shows my talent in singing without needing autotune. I will say, using autotune in the past (such as in my song “Static Crush” and others) was more of an artistic choice rather than lack of vocal abilities, but with “Secrets” I wanted to let my real vocals shine through.
Could you discuss the lyrical themes or messages conveyed in "Secrets Taste Like You?"
This one definitely has many lyrical themes and messages. I sing “Secrets taste just like you”, which personifies “secrets”.. meaning every time I reflect on my past relationship, I think of things that weren’t so great about it, including the many secrets he hid from me at the time. I also sing in the chorus "As long as I live, I don't wanna see another day without you”, showing my devotion during the length of time that we were together. I wanted to convey that despite how I was thinking this person is perfect and so good for me, there were underlying secrets that rose to the surface and ruined what was good in the relationship. After it all happened, now I'm on the other side and yet I still have both good and bad memories of this person.
Can you talk about the recording and production process for "Secrets Taste Like You?"
To start, I usually gather a couple looping synths and then I just start binge-writing lyrics, meaning I just start typing out whatever I wanna sing about at the time. I try to come up with a melody that fits the vibe of the song and sing whatever comes into my head. For this one, I wrote “Secrets” amidst the relationship I was in (written 2 years ago, July 2021). The demo was actually called, as you may have guessed, “Without You.” I re-wrote the 2nd verse and added lyrics about keeping secrets after the relationship ended to show my many conflicting emotions. The “Secrets taste just like you” robot voice actually came from a random vocal loop I found and I just thought it sounded like “secrets taste just like you”, which fit the song very well, in my opinion.
After sitting with it for about a year, I recorded it at Vaughan Music Studios, where I’ve been recording music since late 2016. Matt Hagberg added his own magic production touches to it and that’s how you can now hear the final version on streaming platforms! Shoutout to Matt for working so hard on my robot voice too… the demos sounded pretty wild…
What inspired you to pursue a career in music?
I’ve always known I wanted to be an artist ever since I was a kid. I loved drawing, painting, singing, dancing, writing, etc. However, I didn’t really get into songwriting until I was 13 though, with a silly song I wrote called “The Little Things” (It was bad…). Since then, I got back into writing songs in college. I tentatively called my “first” album “The Unforgettable High” and wrote a ton of demos in my notebook at school (they will definitely never see the light of day). Then, my twin and I decided we wanted to do some performances with our friends in a band called Mighty Kites. We called ourselves “Twinzsz” (pronounced just like “twins” but with two extras “z” letters). It was mostly cover songs at first and then I dabbled around in GarageBand. Suddenly I found so much inspiration from loops I was playing around with. I wrote this one song called “You” and thought it was incredible (it’s not…) so I called Vaughan Music Studios to schedule a session. We met Matt there and made a bunch of new songs for an EP called “Afterglow” (released in October 2017). The demos I wrote in my bedroom were absolutely terrible, but Matt (at Vaughan Music Studios) turned them into real sounding pop songs (Thanks again, Matt. You are incredible.)
Can you share a valuable lesson or piece of advice that you have learned along your musical journey?
As I’m still on my musical journey, it’s hard to say I have a lot of advice just yet. I will say though, however, that you should never give up on your songwriting. Just keep writing, writing, and … writing! Try to find inspiration through your experiences in life. The hardships, the ups and downs, and the triumphs. But never give up on yourself or your craft. Your voice matters despite the many people who won’t believe in you. And if you don’t have a lot of fans or people listening to your music yet, just know that someday there will be someone who tells you that your song really spoke to them. That’s why music matters so much and you should never give up on yourself.
Rockin’ Rich Lynch On the Making Of “The Streets of Nashville”
What was the creative process like for this particular "The Streets of Nashville?"
Well, the process was fueled mainly by anger and disenchantment. I went on the local news here earlier in the year to voice my objection to the misguided public policy being introduced in downtown Nashville. I wanted to add my voice in the best way I know how - as a songwriter. Once we established a lyrical direction it became obvious that we needed to add some actual street names to call out in "The Streets of Nashville".
What do you like the best about this track?
I actually like the syllabic utterances that begin and end the track. That is a songwriting tool and trick that I haven't really pursued in the over 40 songs we have put out to date. It might be a case of Nashville finally rubbing off on me and it is something I need to explore further in future writing sessions. I also like the consistent urgency and convincing flow of the song's three verses.
How has the audience response been to "The Streets of Nashville" during live shows?
I've gotten a lot of "Amen, Brothers" being hurled in my direction. This issue has really struck a raw nerve with the musicians and hospitality workers here in Music City. I also hope that the powers that be will feel the big helping of shame I cast their way within my catchy little protest anthem.
Can you tell us a bit about yourself and how you got started in music?
As much as I hate to say it, I am a bit of an old-timer. But, I've always felt blessed to say that the music of the 60's, 70's, 80's and to a lesser extent - the 90's - has been nothing short of an influence, inspiration and the literal soundtrack of my life. Along the way the most important male singer-songwriter types like Tom Petty, Neil Young, Bob Dylan, Bruce Springsteen and John Mellencamp became my personal role models and I aspired to create a body of work that someday could be compared to theirs. As of 2023, I am still trying... LOL!
How do you balance the artistic aspects of your music with the business side of the industry?
I am still in 80-20 mode as far as the artistic versus business relationship goes. I have spent nearly a decade getting a small fraction of the songs I've composed into recorded form for sale and consumption. Of course, in that time the business I thought to be entering has undergone several seismic and fundamental changes where the song is no longer the sole driving source of income for the independent artist. It is generally understood nowadays that best chance a musician has to make a living is to take their show on the road. But, that comes with its own set of challenges and costs. However, if a promoter wants to book my band we will happily come to your town to show you that Nashville knows how to seriously rock!
Kevin Bailey On the Making Of ‘DA NEW CLEAN BASTARD’
Can you share any interesting or unique musical elements or production techniques used in 'DA NEW CLEAN BASTARD?'
Yes. I just create man! It’s like splatters of sonics as if I was a painter! But! I looooooooove sampling ! Choppin! Da whole 9 ! I wanted it to be lit! And soulful at the saaaaame time! So put trap shit and soul shit!
Could you discuss the lyrical themes or messages conveyed in 'DA NEW CLEAN BASTARD?'
It’s about being a bastard I kno I got haters and people who probably just look at me that way hahaha, I’m a great bastard. One that is “REAL” I could never be the old dirty bastard. But I can be a new one.
Which song do you like the best and why?
All of em! Albums are a big song it’s a ride from A-side to B-Side just let it play!
What inspired you to pursue a career in music?
God
Who are some of your biggest musical influences, and how have they impacted your own sound?
Wu-tang clan because it’s impossible to get a bunch of niggas to be one. Hallelujah..
The Ari Joshua Quartet On the Making Of “and now it comes...”
What was the catalyst that ignited the creation of "and now it comes...?"
I love the jazz quartet, Drums, Bass, Piano, Guitar. I’d love to play in that format all day long. This recording started as a trio, Will and Joel and I did a lot of playing late at night. We played free alot. As a trio, the band was called 'Cadillac Arrest,' but we would all bring ideas to our practice sessions One of those tunes we played was. "And now it comes..." is an exquisite piece, it seems to breathe with a life of its own.
What fills you with the most pride when it comes to this track?
For me, being fully immersed in the moment, having that moment captured on tape. I take pride in knowing that when you're sincere and, and allowing your emotions to guide you, forging new and different ideas is something that flows effortlessly. Inspiration sprouts from a wide range of life experiences. I made a few what I would consider to be imperfections, but when you capture the emotions, those imperfections are rendered inconsequential, in fact they are desirable. I am most proud that I got to feel that way playing this, and listening back I resonate with it.
What specific musicians or non-musicians have profoundly influenced your work? How has this diverse range of influences shaped your artistic journey?
My father's record collection had a significant impact in the early years. I delved into that music like diving into the deep end of a pool. Reflecting now, I wonder if it was my way of spending time with him, I missed his presence. The divorce left me pretty sad, but he left behind an amazing stereo system, I learned about the blues. The record player had that thing with the circles on the platter; it lit up and would mesmerize me. The records featured many great guitar players, including Hendrix, Clapton, Santana, Bob Marley, and Stevie Ray Vaughan. Our shared taste in what constitutes good music certainly brought us closer. Influences have shaped my journey, but even more so life experiences, like walking along the beach at sunrise in Cape Town, South Africa, seeing the people, smelling the air, and knowing this is part of who I am.
How do you approach creating something new and different?
I grew up in a time with lots of change on the horizon. Being a kid in Seattle during the inception and peak of the grunge rock era, I saw all those bands perform live, and we all had a sense of pride around that music being from our town. I learned all the songs I loved. They came easy to me; I would buy an album and learn it. That energy was explosive, and as a young teen, the culture was changing in front of our eyes and ears. The internet was created, and the wave was breaking.
Who are some of your biggest musical influences, and how have they impacted your own sound?
Later, I discovered myself in an award-winning all-star jazz program during my high school years — the Roosevelt High School Jazz Band. Our tours brought together an incredible blend of talent, and we poured our hearts into our performances. It was a transformative experience for me. Playing Count Basie and Duke Ellington from 9th to 12th grade for 90 minutes a day. Priceless.
Atari Pilot On the Making Of “4X / 22”
What was the initial spark or idea that led to the creation of "4X / 22?"
It’s a cliche, but it’s just one of those songs that just fell into our lap , we just had to wait twenty odd years!
Onze ( Singer/songwriter ) is constantly working on songs at all stages and he was searching around for a song that was really punchy and direct and with some pounding drums in order to follow our previous singles , Train Of Life and I Took A Photo.
The main hook line “Forty something, going on 22, 22” just came out during a writing session and then with that line he had the idea to write to.
Onze loves writing songs that come from a real place, and this song is like a call to action to remind yourself that you can move beyond your age or your past or any failures or mistakes and really embrace life with the energy you had when you were younger.
The whole process from initial idea to finishing was really fast, we went with the gut feel rather than getting bogged down so it captures more of the raw spirit of the song.
Were there any memorable or standout moments during the recording sessions for "4X / 22?"
Straight away it felt like the melody and lyrics could really resonate with people, and then when we came with adding the synth solo and the massive tom rolls, we knew this song had found another level and was also going to fun to play live too!
Have you noticed any particular interpretations or connections that listeners have made with "4X / 22?"
People have mentioned how the energy of the music really meshes with the lyrics and the message behind the song, which is great.
Our music does seek to be a source of positive energy for people in their lives so whenever we hear that’ve we hit mark on that , it’s a good sign!
Could you share some of your musical influences and how they have shaped your sound?
We’ve had countless influences over the years but if we were to narrow things down then we’d say we try to combine the human experience style story telling of someone like Springsteen and mix it in with the driving type rhythms of ‘Random Access Memories’ era Daft Punk and finally combine that with the kind of inclusive singalong melodies that Oasis were so great at.
Who would you most like to collaborate with, if it could be anyone in the world?
Right now if you put on us the spot, we would love to collaborate with someone like Lana Del Rey or SZA, they both have such powerful and effortless vibes it would be really interesting to write and sing a song with someone like them to see how the styles mesh together.