Saer On the Making Of “Walk The Line”
What was the initial spark or idea that led to the creation of "Walk The Line?"
Have always been a great fan of Cash's and love his later cover interpretations. I read a story about how “I Walk The Line” began as a ballad, it was a promise to his wife to remain faithful during his time on the road. I believe it was the record company at the time that wanted to make it more upbeat. I began experimenting with some chords and discovered more about Cash's darker side on tour and it led to this interpretation of his classic track.
How did you work with the producer or engineers to bring your vision for "Walk The Line" to life?
It's all me in a studio. I'm fortunate to have a close collaborator who produced the video for the track, we're often able to discuss what is working and areas for improvement. We try to stick to three points of improvement and then look to sign off. This really helps me in getting productions over the finishing line and ready for release.
What has been one of your favorite memories along the path to making "Walk The Line?"
The first time seeing the video creation from Paul Griffin. I went round to his house and he'd been working away at rigging a CGI cat through animated scenes giving lots of nods to Cash's life and experiences. I was blown away by it and feel incredibly fortunate to have such a creative collaborator.
Can you share a bit about your musical background and the journey that led you to where you are today?
I've always been into composition and even in school, I'd base myself in the music block, mixing everyone’s projects, and just loved creating. This has stayed with me and I now work from a studio in my garden, slowly building up a hoard of random instruments and synths!
In 2018 I was fortunate to perform a blind audition on the Voice UK and couldn't have imagined it going any better. This gave me a boost to record more, collaborate, and explore music further as a career through performing and composing.
How do you approach collaborations with other musicians and maintain creative synergy?
It always depends on where the project starts as to who has the main idea. I think it’s always good to have mutual respect and a lack of fear of an idea being a bad one, especially in the early stages of creation. I've improved at that over time. With some early experiences, I've possibly been a touch reserved and have come away annoyed at myself but the more you create with other people and the more you make independently you get more of an idea of identity and sound and what you can bring to the table.
WickerMan On the Making Of “Shoot You Down”
What was the creative process like for this particular "Shoot You Down?"
For this song, it was inspired by the John Lee Hooker song which is an old blues song and I've always loved that graspy blues-sounding vocal so I wrote the song around that.
Can you talk about the recording and production process for"Shoot You Down?"
With all my songs, I write and produce them completely by myself. I have a little studio I created in my spare room and I shut myself in and get myself into a creative space and then it just flows. I like to start with a hook and then write the song around that single idea. As it builds up, the song slowly changes and by the time it's complete, it's usually very different from how I first envisioned it.
What are you most proud about this track?
I love the intro when the vocals first kick in, it has a real sense of the dramatic in it. The ending as well I think is quite cool!
Can you tell us a bit about yourself and how you got started in music?
I first started writing music when I was around 14 or 15 and created my first band in college. I was in a metal band for 6 years and we even played a download festival in 2006. When that ended quite badly due to falling out I realise I was so dependent on other people to write the music so I started teaching myself how to write and produce by myself. I did this for a while, quite badly, and around 7 years later I joined another band, a funk rap rock band, and loved getting back into playing live and writing in a band again. Then COVID came and took that all away so this is when I decided to build my own little studio in my house so I could create whenever I wanted and WickerMan was born.
How do you stay inspired and motivated to continue pushing boundaries in your art?
I've always been a very motivated and inspired writer. The way I think in everyday life is in a musical way. I am constantly writing notes or making sound notes on my phone of little ideas I have. Then when I get time to shut myself away in my studio, I'll look back at these ideas to keep the creative thoughts flowing. I write music for me, this ensures I don't overthink things. As my sound doesn't fall under one genre it's quite hard to fit in anywhere but if I was to try and fit in, it wouldn't be as original and as authentic as it is.
Lilac On the Making of “Touch”
What was the initial spark or idea that led to the creation of "Touch?" Were there any challenges or breakthrough moments during the songwriting process for "Touch?"
It was written during the first COVID lockdown. I'd (Beth - lead singer) just started writing music again after my previous band had split the previous year. I had already written It's Illusional which I had sent over to Lewis to work on with the production side of things and he seemed to get the sort of vibe I was going for with this new stuff. “Touch” was written in a classic 'Beth' fashion where I find some chords that go together, add some lyrics to the chords for a verse, and then get stuck with where to go for a chorus. I remember getting stuck for the words in the chorus but Lewis came up with 'you always crave my touch' which just worked and then the rest came to me. I can't say the lyrics were anything particularly meaningful to me but I think they come across as powerful. I think the major challenge when writing this song was the fact that me and lewis weren't even in the same town. It all had to be done remotely.
Were there any memorable or standout moments during the recording sessions for this single?
This was our first track recorded in a studio. Me and Lewis spent the day in Liverpool at the Motor Museum with Ben Harper which was such a cool experience! Ben had worked on The Mysterine's tracks and that gritty guitar sound that you hear in their music was exactly what I wanted for this song. The last chorus of this song reflects that gritty distorted sound that we wanted to achieve. “Touch” is a darker floral indie tune with an atmospheric verse and a gritty anthemic chorus which suits the song that has more anger and lust than previous Lilac releases. It features one of Lilac’s most iconic ‘in your face’ guitar solos! Fun fact about the guitar solo - the solo you hear in the track is the original demo guitar solo that Lewis recorded very early on. He's never quite been able to replicate it to sound exactly this way so we decided to keep it in.
What inspired you to pursue a career in music?
I've written music since I was about 10 years old. Music was always going to be something that I dedicated my life to. I am at my happiest when I am surrounded by music. With Lilac, something within the music feels right. I think we've created almost a mini subculture of floral indie and we aspire to share this with the world.
What do you enjoy most about performing live and connecting with your audience?
Playing live is the best part of being in a band. Nothing brings me more happiness than being on stage in my own little rockstar bubble. I've spent my life watching live music and going to see my favourite bands no matter how big or small they are and that connection that I have with all my favourite bands is something I can only hope that one day people will have with us.
Justin Levinson Releases ‘Collamer Circle’
VERMONT SINGER-SONGWRITER JUSTIN LEVINSON IS DUE TO RELEASE ‘COLLAMER CIRCLE,’ HIS FIFTH FULL-LENGTH ALBUM— AND FIRST SINCE HIS RETURN FROM A FOUR-YEAR STINT IN LOS ANGELES.
JOINING FORCES WITH FELLOW VERMONT-BASED SONGSMITH BEN PATTON, THE PROJECT MARKS THE FIRST OFFICIAL COLLABORATION BETWEEN THE TWO AWARD-WINNING SINGER- SONGWRITERS, STRENGTHENING A MUSICAL BOND THAT DATES BACK TO THE DUO’S HIGH SCHOOL YEARS.
THIS COLLABORATION FORMED THE GROUNDWORK FOR SEVERAL OF THE SONGS ON ‘COLLAMER CIRCLE,’ WHICH TACKLES THEMES RANGING FROM THE COMPLICATED SIDE OF RELATIONSHIPS (“BURN YOUR WHOLE WORLD”, “MADELINE, FOR THE WIN”), IMPORTANCE OF SELF-AWARENESS (“I WASN’T CAPABLE”,“THEN AND THERE”), AND READINESS TO ACCEPT LOVE (“SHE SPREADS SUNSHINE”, “LEAD ME TO YOU”).
THE RECORD IS TIED TOGETHER BY JUSTIN AND BEN’S MUTUAL KNACK FOR MELODIC HOOKS, STRONG HARMONIES, AND AMBITIOUS MUSICAL ARRANGEMENTS, REPRESENTED IN THE UPBEAT POWER POP AND EMOTIONALLY-CHARGED BALLADS THAT HAVE ALWAYS BEEN PRESENT IN THE DUO’S RESPECTIVE SONG CATALOGS. IN ADDITION TO HIS LYRICAL CONTRIBUTIONS, PATTON SHARES CO-PRODUCING AND ENGINEERING DUTIES WITH ADAM POPICK, ANOTHER LONGTIME COLLABORATOR OF LEVINSON’S. AT THE HELM FOR MIXING AND MASTERING IS STUDIO WIZ AND 8084 FRONTMAN ANDRÉ MAQUERA.
ZerO On the Making Of ‘SMIL@Y’
What was the initial spark or idea that led to the creation of 'SMIL@Y?'
Actually, it was quite simple. I was listening to a lot of punk rock or heavy metal rap like " City Morgue" at the time ‘SMIL@Y’ was created. Then I sat there and thought I also want to make such an album. And this is how "SAVAGE MUSIC IDEA LAUGHS AT YOU" was created
Can you share any interesting or unique musical elements or production techniques used in 'SMIL@Y?'
Yes, I can. For example, "A BOY WITH A DREAM" was created during a live band jam session. That was really a funny coincidence. Then I heard the drums playing and knew ok I have to make something out of this. The rest of the tracks I recorded at home in my home studio.
How does this album fit into your overall artistic vision?
‘SMIL@Y’ fits right into my artistic vision, man! It's like the raw energy and rebellious spirit of punk rock distilled into sonic mayhem. This album embodies my unapologetic attitude and passion for breaking the mold.
Every track is a middle finger to conformity and a shout-out to individuality. And the sound? It's a sonic riot! From blistering guitar riffs to pounding drums, it's a sonic rebellion that's unapologetically me.
’SMIL@Y’ is a wild ride through the heart of punk rock, and it's the purest expression of my artistic vision. It's all about embracing the chaos, flipping the bird to the establishment, and wearing that ‘SMIL@Y’ badge with pride.
Can you introduce yourself and share a bit about your journey into music production? How did you become a producer?
Yo, what’s good? I'm ZerO the mask producer. My journey into music production started at the age of 10 years when I learned to play the guitar. After that, at some point, I got to know the program Fl Studio. I was immediately fascinated and discovered my passion. I immersed myself in synths, learned sound design, and experimented with genres. The white mask represents my focus on the music itself. I've had amazing collaborations and performances, and I'm excited to keep pushing boundaries. I want to create something that will outlast me. Thanks to everybody who listens to my music and supports me.
Are there any unconventional techniques you've experimented with that led to interesting results?
Definitely! I've explored unconventional techniques, like incorporating field recordings from everyday life into my music. As an example, I recorded the beginning of the intro in the forest. Then you hear two people talking and birds chirping it creates a gloomy but at the same time exciting mood. It's brought unexpected textures and a personal touch to my tracks, creating a deeper connection with listeners and expanding my creative horizons.
Firebird Union On the Making Of ‘Higher Ground’
What was the creative process like for this particular ‘Higher Ground?’
Matt: Usually I’d have an idea start from putting chords or a riff together on a guitar, so it was different to how I’d typically write. Ross had the demo lying around and said “Do you fancy doing something with this” so I started working out lyrics and a melody. We went back and forth on those and the structure of the track, and we kind of panel-beat it into shape.
Ross: Yeah, it was a true collaboration. Often we’d individually write a full song and present it to the other, but this time we both kept piling on smaller ideas until we had something that worked as a whole.
What was the initial spark or idea that led to the creation of ‘Higher Ground?’
Ross: I had this demo knocking around, largely just the drums and bass that I didn’t know what to do with. Pretty much on a whim, I sent it to Matt to see if he could write a topline. He came back super quick, which was amazing considering there isn’t the usual chord-based backing to latch a melody onto.
Matt: Lyrically, halfway through the track there’s this little melody that repeats and I had this line ‘we could move to higher ground’ that fitted it. It was interesting to explore what that meant and it ended up leading to a reflection on the climate crisis, rising sea levels, and how we’re basically torturing nature even though we’re a part of it.
What has been one of your favorite memories along the path to making this single?
Matt: The first time we realised we had a song on our hands that was unlike anything we’d written together before was quite a provocative moment. It was a bit of an epiphany in terms of thinking we don’t need to approach songwriting in a typical fashion.
Ross: Realising we could do something stylistically different that still fits into our sound world. It opened up the door for a lot of the things that are to come. Most people know us as guitar-based songwriters, so it’s nice to challenge those assumptions.
What do you find most rewarding about co-writing with others?
Ross: It’s nice to be able to elevate someone else’s ideas, and have them knock you down a peg if what you’re doing isn’t up to scratch. Also, it halves the workload!
Matt: It’s always good to be creatively challenged, and when the other side of the equation is your brother, it means you have to up your game!
Do you have any memorable on-stage moments or performances that stand out to you?
Matt: Probably our last gig in our previous band. We’d sold out the Fly in London, and halfway through the set one of our amps blew out and one of the sound techs had to come on stage and repair it. When we were younger, we’d have freaked out and it would have totally thrown off the set, but we just carried on as normal, the amp was back up and we continued. We’d gigged loads so nothing fazed us at that point. That moment was where I felt we’d hit a real maturity in live performance but also as a team.
Ross: I’d always enjoy Matt’s comedy routines while he tuned his guitar. Or when he tried to count-in in Spanish, only to realise he didn’t know the Spanish word for ‘Four’.
Ocean Rivers On the Making Of “St Christine”
What was the creative process like for this particular "St Christine?"
With 90% off our songs, Dan our Vocalist writes the lyrics and comes in with the idea and a bunch of chords and melodies. From there it tends to be Dan and Ollie our drummer really getting a structure and rhythm nailed down. From there we tend to work as a full band on all aspects of the song. Jack on guitars brings his own unique flavour to the mix and Keiran is our chief Violin player and strings composer. He writes his parts last when the main body is there. We tend to bow to his superior knowledge and skills! Ha!
What was the initial spark or idea that led to the creation of "St Christine?"
St Christine was a song born out of lockdown during the pandemic. As with most of our songs, there is a story to tell in the first instance. Dan tends to concentrate on writing about real issues or experiences, whether it be personal or just something he's witnessed and wants to write about. The selflessness of this particular individual and her sacrifice was something that just sat and resonated, along with the loss. It was something that needed to be written about. Christine was not alone. Many others went bravely to work every day and gave their all.
What did you enjoy most about making this single?
The same as all the others we have recorded, to be honest. We get to hang out as a group of long-standing friends and make music! The whole process is fantastic from start to finish, but hearing the demo and then our finished mixed and mastered work is always a highlight at the end!
How did your band members initially come together?
We all met kind of serendipitously on the Leeds music scene over the last 20 or so years. Most of us go way back and have played in various bands and projects together before this one. Dan and Jack started jamming when flat sharing about 8 years ago and really started to refine the idea that became Ocean Rivers. With Ollie being the latest addition to the lineup and the youngest, fittest, and probably best-looking! He is also Dan's eldest lad and has been drumming since age 7 (16 at the time of recording).
What are your future goals or aspirations as a band?
To be able to reach a larger audience really. To have the ability to keep growing and making music together. Touring would be incredible too! We are a way off yet but as the fan base builds we'd love to get out there and meet some of our fans and see the world!
Eric Cohen On the Making Of “On The Edge (choir Version)
What was the creative process like for this particular "On The Edge (choir Version)?"
I spent a lot of time reflecting on the pain that I have lived in most of my life. To me, even through the midst of the suffering. It led me to call out to the One who is able to Yeshua.
Were there any memorable or standout moments during the recording sessions for "On The Edge (choir Version)?"
I am not a vocalist, so laying down vocals for this song will be something I always remember. I stepped out in faith on this release, but have been blessed immensely for it.
What has been one of your favorite memories along the path to making this single?
How it has been received since the release. This was a heart cry of transparency for me. So there was a bit of worry.
What inspired you to pursue a career in music?
A past of darkness that led me to a Creator of love and light. I have been through many things that were meant to take me out of this world. Instead, those things were used for the purpose of a testimony to spread the glory of God.
Who are some of your biggest musical influences, and how have they impacted your own sound?
Pink Floyd, Stevie Ray Vaughn, Led Zeppelin, Jimi Hendrix, Mac Miller, Bone Thugs
I grew up listening to everything but had an affinity for classic rock and blues. I think this led me to contemplate lyrics in a different way than many others in my genre.
Alexia Vegas Releases “There's No Way”
Sometimes being honest with yourself is the hardest thing to do when a relationship fails. It's especially difficult if the fault was yours. In "There's No Way", Alexia Vegas admits that she continues to be obsessed about her lover and fears that "there's no way" she'll ever get through her day without him. She sees him and hears his voice everywhere she goes. The worst thing of all is waking up every morning when, as Alexia sings, "The silence tells me that you're really gone."
"There's No Way" has a dark, steady and melancholy beat. The verses carry the listener through Alexia's day as she copes with a broken relationship, then the chorus breaks free, with Alexia's engagingly sweet and wistful voice souring high with heartbreaking honesty.
Alexia Vegas’ music has been called "melodic masterpieces disguised as infectious pop tunes!” She is new to the music scene but not new to the music world. At 23 years old, she is already an industry veteran with more than seven years of experience.
Mr. Thank You Releases “Project Graham”
Bonding over a shared love of the obscure, and a mutual desire to make dynamic, multi- dimensional genre-hopping music, Mr Thank You formed in 2020, before spending the next two years honing their craft and perfecting their idiosyncratic sounds until they were ready to unleash themselves on the unsuspecting music scene of their native Manchester in the January of 2022.
Indeed, latest single ‘Project Graham’ is no different either, five minutes of suitably swimmy and psychedelic experimental alt-rock, the band describe it as being “inspired by a sculpture of the same name (also known as Meet Graham), which depicts what the human body might look like if it had evolved to withstand the impact of a car crash. The song is sung from Graham's perspective, and he considers himself to be a strong, superior being”.
A fitting narrative from a band who aren’t afraid to shy away from the weirdest aspects of life, ‘Project Graham’ is a collaboration in the truest sense of the word. “Each member of the band threw ideas into the mix as it was being written,” the band explain, “ the resulting track is a song that takes a number of sudden left turns as the listener descends further into Graham's ego.”
Five minutes of the wonderfully weird and the charmingly irresistible, ‘Project Graham’ is the second taste of a band both beguiling and batshit crazy.
MAMA BLUE Releases “Mother Of The Night”
Hey there! It's Kate. MAMA BLUE is my musical project that I created through the love of singing and performing. Born and raised in Athens, Greece, I always had interest in alternative but yet original sounds. Originally, from Asia Minor, digging through my ancestors beautiful culture, I got super intrigued by the mythical legends, the nostalgia and of course my grandmothers, the witches of Smyrna. I said: "I have to do sth about that". I wanna continue their legacy by honouring them through my alternative progressive tunes and electronic melodies. These tunes are gonna be soon released , starting with my new single "Mother Of The Night" and hopefully all the beautiful little witches around the world are gonna enjoy and vibe with them. I hope MAMA BLUE will be discovered soon so she can continue creating her musical witchcraft.
Voyager On the Making Of “green fields”
What was the creative process like for this particular "green fields?"
It was fairly different from how I usually approach production because it didn´t take very long, I was in my room on a sunny Sunday morning with the rays in my face, and with no thought coming across my mind "green fields" passed through me.
Can you talk about the recording and production process for "green fields?"
As I just mentioned it was fairly straightforward, I happened to have sounds and drum sounds that reminded me of those 8-bit arcade sounds and it kind of went from there, the melody that comes in was the final touch and I think it brought it all together perfectly.
What do you like the best about "green fields?"
I would definitely say it´s the nostalgic feel that it brings, due to the melody, sound selection, and the overall progression, it really provides that surge of emotion and warmth that represents the environment I made it in.
Are there any particular skills or techniques that you have been working on lately?
Recently I´ve spent most of my time making hip hop beats, as well as some ambient electronic music, which I´m planning to release a project of in collaboration with many artists I´ve met online, which I´m really excited for, in terms of skills or techniques a lot of my productions are sample-based, so I´m always improving and finding new ways to work with and around that when I´m not designing every single sound from scratch.
Cult Of Indigo On the Making Of “Without”
What was the initial spark or idea that led to the creation of "Without?"
Eloise (lead singer/guitarist) wrote the song when thinking about how obvious it felt being in love with someone but not explicitly saying it. 'I am standing before you' 'I am screaming out' indicating like 'Hello I'm right here!!'... it turned into more of an exposition about being addicted and obvious about it to a person/thing/concept, but that's where it all grew from originally.
Were there any memorable or standout moments during the recording sessions for "Without?"
julian did an awesome job of smashing out the drums in just a few takes in a little studio under a flightpath. we had to stop every now and then if a plane was flying overhead so it didn't pick up on the recording. Honestly, he's just wicked talented and it was amazing to witness. there was a bit of a break in between that and then guitar/vocals so it was really fun coming back to it after a few months to revisit and 'remember' how it all went.
What do you like the best about this track?
this song is a really good synthesis of everyone's writing styles and abilities, i think we all put our own spin on the parts we play so it's a pretty good view of how everyone in the band is and what we all like. the guitar part which comes in the 'breakdown' section and again at the end is also really fun to play and just an awesome aggressive little section.
How did your band members initially come together?
originally Eloise (vocals/guitar) met Sarah (guitar) back in 2010 at a music summer camp as teenagers. we hung out over the years quite a lot and then at Eloise's 21st birthday party she asked Sarah if they could start a band because she had already written a bunch of songs. julian (drums) was Sarah's housemate at her previous place and Harry (bass) answered an ad on Facebook!
What do you enjoy most about performing live and connecting with your audience?
getting up on stage is just such a good release of energy and there's something so special about looking out at a crowd and knowing they're there to listen to real live music. The industry these days just seems to be shrinking and connecting with people who are still out to support it is really wonderful and I'm so glad to be part of it. getting to spread songs about things I (Eloise) experienced or care about is totally special too because it's like a little part of my brain/soul that now all these other people have.
Kelsie Kimberlin On the Making Of “Armageddon”
What was the creative process like for this particular "Armageddon?"
Thank you for the interview. Ukrainian President Zelensky urged artists at the Grammys to use their music to speak about Ukraine so I started writing many songs about the war. With “Armageddon,” I wanted to write a song that would reflect the horrors of the war while also being hopeful about Ukraine’s ability to win till final victory. So I was very cognizant that the lyrics should reflect both while the music should have tension. The orchestration was done by a famous Ukrainian composer named Yurii Shepeta, and the song was mixed by Grammy winner Liam Nolan and mastered by Grammy nominee Stuart Hawkes.
Can you talk about the recording and production process for "Armageddon?"
I spend a lot of time in the studio, at least two days per week and so we recorded the drums, bass, and guitars first, and I recorded a scratch vocal all here in the States. Then those tracks were sent to Kyiv to Yurii and he added the orchestration and then I recorded the vocal tracks again but I was not satisfied with them because they did not have enough intensity. So my dad, who produced the song, suggested that he sing an aggressive track underneath my vocal which was affected a bit during the mix process with a Decapitator plug-in, and then I re-sang my vocal once again to match that intensity and get what you hear now. And we added the deep-tuned down vocals in key spots to give it a sense of fear.
What has been one of your favorite memories along the path to making "Armageddon?"
Well, the making of the “Armageddon” video was harrowing because we filmed it during martial law, in military-restricted areas where the worst atrocities occurred around Kyiv. There were air raid sirens sounding all the time and attack drones and missiles were being shot down overhead. We had to get permission to film and the army was always close by. I am the only artist to be allowed to do this since the beginning of the war. It was very dangerous because we were filming in places that were bombed and everything was littered with debris, shrapnel, glass, spent ammo shells, and dust. It was also extremely emotional for me because I knew that families and children died right where we were filming and I saw so many personal belongings such as burned family photos, melted children’s toys, mangled swing sets, and broken plates from an interrupted dinner. I met victims who lost loved ones, and women and girls who were raped and tortured after their husbands and fathers were shot and left on the street. Many times, it was just too unbearable and I just lost it, but I had to focus on my work so I could bring these stories to the world with my music.
What inspired you to pursue a career in music?
I have always loved music and my dad started taking me to concerts when I was just a toddler. I was in children’s choirs and then the church choir and always tagged along with my dad to the studio. So I always knew that music was my life. I was also brought up listening to the Beatles and saw how they used music to change the world so that’s what I want to do.
Can you recall a particular moment, artist, or experience that had a significant influence on your music?
As I noted above, I relate to music at a very deep level and I understand how it can both change and inspire people while also healing them in times of crisis. And the thing that defines such music is that it conveys emotion that is able to connect at a primal level. So I try to tap into that when I am writing music that I want to inspire. This is different from the music that I write to entertain. And the Beatles were able to do both so they have had a profound influence on my music. As far as particular moments, I can’t say that any one thing had that “ah ha” influence. I am influenced by everything I see and hear, whether it’s a bird chirping or a homeless child in the subway begging for money—I hear it all on the palate of a musical score just waiting to come to life in the form of a song.
Bvrden Releases “Indigo”
“Indigo” is Bvrden’s fifth single, an energetic rock tune that draws inspiration from both early 2000’s alternative/punk rock music and modern rock ’n’ roll, merging powerful instrumental arrangements with uplifting lyrics into a dynamic track that tirelessly grows from beginning to end.
The song is formed by both acoustic and electric instruments, varying from acoustic guitars that lay the melodic structure of the whole to electric guitars and bass that reinforce the explosiveness of the sound, as well as a fast-paced drum’s performance and a tight melodic work between lead vocals and harmonies. Contextually, “Indigo” is about fighting for one’s own purpose and finding the strength to build the desired path, while not being led off course by judgement and fears of others.
BVRDEN ARE A POP/ROCK DUO BASED IN LONDON, UK.
ORIGINALLY BORN IN ROME IN 2020 FROM A LONG-TIME MUSICAL FRIENDSHIP, BVRDEN AIMS TO BLEND PASSIONATE AND DYNAMIC ROCK TUNES WITH HEARTFELT LYRICS, INSPIRED BY SEVERAL GENRES AND INDUCED BY AN ABSOLUTE LOVE FOR SONGWRITING.
BVRDEN PROPOSES AN OUTLOOK ON THE EVERYDAY LIFE’S FEELINGS, JOYS AND ADVERSITIES, PLACING THEMSELVES IN VARIOUS PERSPECTIVES OF STORYTELLING AND DELIVERING BOTH FAST-PACED POWERFUL RHYHMS AND PLEASANT ACOUSTIC MELODIES.
Natalie Clark Releases “Late Train”
Have you played any notable gigs, festivals or other events? Likewise radio or TV appearances?
At the request of Richard Branson I performed at the BBC Radio 1 Academy sessions, appeared on the Voice capturing the attention of Blake Shelton and Christina Aguilera.
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?
Natalie was chosen as KTLA artist to watch, performing at The Roxy and Greek theatre in LA.
Where was the single/EP/album recorded and who was involved in its production?
The sing was recorded in Los Angeles with Producer Todd Spadafore
Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?
I brought the song idea to Todd and then we worked through the production to try and create a powerful, fierce atmosphere
Please provide a one or two-line personal quote that can be attributed to a band member, about either the band themselves or the release. Obviously the more eye-catching this is the better.
I wanted a really tough and strong sound to reflect the lyrics and empower the listener.
Tommy All Along On the Making Of 'Things I Wanna Do'
What was the creative process like for this particular 'Things I Wanna Do?'
So much stuff goes on my mind on a daily basis that it’s hard to describe how I came up with the EP. There would be days when I’d be able to think or say some clever line, and I’d think, “Hey, this would be a good lyric”, and then build a song around that. Other days, I’ll have this melody stuck in my head, and do sort of a trial-and-error thing to see if it works better on a synth or on a guitar, and then the rest follows. And then other days, it’s a beat or a drum pattern that I get fixated on and see what type of chords work over the beat. There are also times when I’d watch some music theory video about chord progressions, and then I’d pick up my guitar and see how I can apply the things I’ve learned. The common thing with all these methods is I wanted to make sure I was writing songs based on my personal experience. That way, I can convey my thoughts and feelings through my music in a 100% genuine manner.
Can you talk about the recording and production process for 'Things I Wanna Do?'
Everything was performed, recorded, and produced from my bedroom (except drums and mastering). It’s messy. I don’t have a particular workflow, and I think going forward I should have one lmao. But for this EP, there wasn’t a standard process for each song. A song that had a synth melody come first (like the title track ‘Things I Wanna Do’) had a different workflow than a song that had the guitar riff come first (‘Roxy’). I’d start with whatever the main element of the song is, then I’ll add stuff in layer by layer until I have a rough demo track. I’d then send this to my drummer to record the drums. Once I get the drum track, I’d re-record anything that needs to be glued more to the drums (usually the bass and rhythm guitar), and then add some more elements to the song, such as lead synth and guitar parts. The mixing is the hardest part, as I’m not very good and I am still learning proper mixing techniques for the style I’m going after. Once I feel that the mix is done (and there have been many, many times where I thought it was done, but felt the need to adjust something anyway), I’d send it to the mastering engineer for the final output. I think due to the lack of a proper workflow, the entire process became more difficult than it should, but I gained a lot of knowledge and experience over the course of the EP’s production. No regrets, just lessons learned. I can still say it was a fun experience.
Which song do you like the best and why?
It’s got to be the title track ‘Things I Wanna Do’. I think it’s just a very in-your-face declaration of “Hey this is what I want”. I’m particularly also proud of that guitar solo (I know, it’s simple but I like it anyway), as well as the line “gotta feel how they feel, take what they take”, a reference to one of my favourite songs from The Chemical Brothers. I think it’s also a good summary of the album – all of the songs talk about things I enjoy or miss doing. The cherry on top is that I also get to drop an F-bomb lmao!
What inspired you to pursue a career in music?
I’ve been a musician for close to two decades now. Started in high school playing nu-metal stuff, went on to college playing keyboards for our reggae band, and in my early 30s, a bit of psych-flavoured reggae. This was also around the time when I started listening to indie music, courtesy of a local radio station that played these songs. When I moved abroad, I lost my sense of musical identity, if that makes sense. I tried playing reggae with some friends, and we got lucky to land a few local gigs. But then the pandemic happened, and everything came to a screeching halt. So I thought, “I’ve got nothing to do, and I really love how Real Estate, Beach Fossils, Turnover, Tame Impala, Mild High Club, Tennis, and all these other indie bands. They’re my heroes, and I should follow my heroes’ footsteps”. I picked up a cheap Squier offset from the Facebook marketplace, and Tommy All Along was created. It’s really just a continuation of my musical exploration from the past few years; a personal purpose renewed.
Looking ahead, what are your long-term goals and aspirations as a musician?
I’ll be honest, I’m not sure I want to get so big that I’m headlining festivals and stuff. My anxiety probably couldn’t handle the fame and the pressure that comes with it lol. I just want to continue writing, producing, and releasing songs. I’m working on putting a band together, so I also hope to play some local gigs and festivals once we’re ready. Then from there, we’ll see where we end up. Maybe by then, I'll feel more confident to go take on bigger gigs, bigger stuff. It’d be also nice to release music on vinyl records lol. I just hope to be able to make music until I can no longer physically or mentally do so. For now, I’m keeping my feet on the ground and just start small, and see where it takes me.
Oddsmokee On The Making Of ‘The Good, the Bad and the Oddy’
How does 'The Good, the Bad and the Oddy' reflect your musical journey and growth as an artist?
Great question. I believe ‘The Good, the Bad and the Oddy’ really shows listeners how far I have come as an artist and individual in the last few years. I started making music as a coping mechanism to deal with my mental health and substance abuse and share my journey with others as a reminder we are not alone. Almost four years later it has turned into a dream. This album in particular means the world to me as an artist due to the storied nature of the 8 tracks following someone's struggles with getting sober, to falling back into the pitfalls of drug use. I also feel I have really grown in the sense of intermingling genres to reflect an original sound, that is never quite the same. One of my biggest goals starting out was to blend numerous genres, drawing on all my inspirations as an artist. I believe this album in particular has brought that original goal into fruition.
Can you talk about the recording and production process for this album?
Yes definitely, I decided on 8 songs for this album. I wanted to reflect on everything I have been through as detailed as possible while keeping the Oddsmokee persona and remaining my true self. I also wanted to portray a story of the pitfalls of using substance abuse as a crutch to deal with mental health or any life struggles for that matter. Once me and Augmented finalized the release arrangement I took this album to the studio. My recording process has grown tremendously over the years. The process for this album was very much planned in sequence. I always go into the studio knowing what I’m going to lay down for each individual track. I go through hours of preparation before I record anything. However, this album surprised me, new high melodies and harmonies were not planned and came out during the recording process. This was a big step in my eyes. I never want to stop growing as an artist. This album inspired new sounds and almost forced me to get out of my comfort zone. As an artist, I never want to stop trying new things to expand my reach with my music.
Which song do you like the best and why?
My favorite song is Overdosaa. This song reflects the end of a long battle with substance abuse, and mental anguish. Overdosaa is Oddy and Jozzi, “The Bad and The Oddy'' personas of Oddsmokee, battling feelings of hopelessness while looking back on their past and expressing the anger of the life they have lived, and the dreams they never accomplished. This song is purely a sad conclusion anyone with these types of demons can ultimately come to. You hear me begging god to “take me up” and “get me away from this stuff”. With a mixture of hard grimey rap, high angelic vocals, and meaningful lyrics this sound in my opinion is very much original and one of my best pieces. I am beyond proud of this song.
What role do you feel emotions play in your music, and how do you channel them into your performances?
Emotions play the most significant role in my music. Without emotions life is meaningless. However, one thing I will say is my entire life I have had a very hard time dealing with negative emotions. The only thing that has ever truly worked, has been expressing those emotions into music through my lyrics. In terms of performances, I bring my full self to the stage and try to connect to my audience while delivering my musical truth.
Can you share a valuable lesson or piece of advice that you have learned along your musical journey?
Despite life’s challenges, we can all learn something from ourselves and the positive influences that are brought into our lives. I have recently grasped the true importance of having a “dream” or passion, and how important it is to hold onto that, and never let go.
Dom Malin Releases “Fever”
The lyrics intricately unravel a tale of profound attraction and intense longing, casting a vivid portrayal of two souls entwined amidst a frosty winter's night.
Dom Malin has built his life around music. From acquiring his first electric guitar at 12— it was written in the stars, he was meant to be a musician!
He has on several occasions, been the artist of the week for BBC Introducing Lincolnshire and gained support from numerous blogs: Indie Music Centre, Mahogany, and RGM.
Malin intrigues and allures you to his introspective landscapes by crafting music from the world around him. With sensual poetry, notes of nature, and tender vocals he explores the array of emotions on offer through genre-fluid melodies and dynamic instrumentation.
The Fades On the Making Of “Small Again”
Can you tell us about the inspiration behind "Small Again" and the story it tells?
It's a song about not wanting to grow up. Wanting to live your life again. Back when you were small and everything seemed to be easier and it felt like you had all the time in the world.
I was inspired to write the song after hearing a particular track from my youth on the radio and I was instantly transported back to a time and place. It made me think about how many songs can do that to you and how as you get older there will be so many more songs that have that effect.
Were there any memorable or standout moments during the recording sessions for "Small Again?"
I had written the song on my acoustic guitar and brought it into the band to flesh out. We all really loved the song, so we wanted to get in the studio and record it pretty quickly, so we were sort of still finishing it as we were recording. Stephen Gilchrist produced it with us at Brixton Hill Studios and he made a few suggestions to really help get the right feel to the track. I wanted it to have that sort of nostalgic 'slacker rock' vibe to it and I think that comes across
What did you enjoy most about making this track?
We recorded “Small Again” and the last single 'Off the Record' in the same session and it's great to be able to hear the two sides of The Fades. On one hand, you have the manic, ferocious, and weird side with 'Off the Record', and then you get the more introspective and poetic side with “Small Again.” The two sides of the Fades coin.
How did your band members initially come together?
James and I are brothers, so we've been listening to and writing music together since we were kids. Jonny went to the same school as us and we've been mates since we were very young too. Flash we met later on through work and hit it off immediately, we're all so close and you can see that come across when we play live. I think that's why “Small Again” is so poignant for us, as it is even relevant to our time as the Fades. We've been playing together for so long now, we can even get reflective about that.
What do you enjoy most about performing live and connecting with your audience?
It’s always amazing to see how songs are received and every time you play live it is different. The venue, the crowd, the feel of the band – it means that even though you’ve played the same song hundreds of times, it feels brand new. It’s amazing to get the positive energy back from the audience.