Sonic Winter On the Making Of “UFO”
Can you tell us about the inspiration behind "UFO" and the story it tells?
Our band has just celebrated its tenth anniversary. Over the years, our music has gone through a constant process of evolution. Although we started out as a “rock band”, our repertoire actually embraces many different genres.
And I feel we have recently honed in on a signature blend that encompasses alternative rock, rap, trip-hop and electronica. “UFO” is yet another step in that direction.
The title is therefore a metaphor. It refers to our musical journey and a quest for breaking down musical barriers.
Can you talk about the recording and production process for "UFO?"
The chorus of the song says “I’ve been all over the earth, for whatever it’s worth”. Equally, “UFO” was actually recorded and produced all over the globe.
I started producing the track while I was traveling to Africa. I then sampled rap vocals from Jay Messy (aka Messy MC), based in the UK. Jean-Marc recorded his guitars in Paris, France. Finally, the track was mixed and mastered in Spain.
What did you enjoy most about making "UFO?"
What I enjoyed the most was the mixing process. The song was actually on the back burner for quite a while, until I decided it was time to release it. For me, the final stage of a song is most exciting. When a track is eventually out there, it doesn’t belong to you anymore, it takes a life of its own. That’s what I enjoy the most.
Can you tell us more about you as a band?
The band is actually a duo between myself (Francis Girola: keyboards, prod) and Jean-Marc Millière (guitars). We are a purely virtual band inasmuch as we do not have a fixed lineup. We collaborate with musicians from all around the world in order to create a type of music that is fresh, hybrid and exciting.
Are there any specific themes or messages that you aim to convey through your music?
Music is a universal form of expression. No matter where you come from, regardless of your religious or political beliefs, it can impact your soul. Ideally, we would love to spread that sense of unity throughout our music.
Morphine Ridges On the Making Of “Route 36”
What was the creative process like for this particular "Route 36?”
Andreas Miranda: It started off by introducing a trembling guitar melody to my honorable co-vocalist Vivi. We kept it very gentle at first, which consequently provided a well-rooted blueprint for everything yet to come. A handful of train rides provided me with the lyrics, along with the rhythmical steadiness felt throughout the track.
Was there any challenge that you encountered while making the track?
Indeed, with this track, there was this challenge of wanting to introduce an ambient flow without being too “soft”. I wanted it to be mostly quiet, but at the same time deliver a sense of strength and
foresight. I guess a certain balance was achieved, but in the end, I made it burst.
What did you enjoy most about making "Route 36?”
Making “Route 36” practically coincided with the creation of “Morphine Ridges”. This came with many new and exciting stages. This track was the first seed that we gave attention to in our newly
formed constellation. With that comes a remarkably vitalizing feeling of seeing how a sound evolves over time and begins to adopt a character of its own. This track enabled our gentle introduction into existence.
Can you share a bit about your musical background and the journey that led you to where you are today?
A significant step into the music scene happened when I joined the Kraut band “Camera”. After this, I played and toured with a handful of psychedelic rock acts. However, a personal turning point as a
songwriter occurred when I found myself going through chemotherapy. At that stage, I became strangely obsessed with Western music, the likes of Morricone and co, and proceeded to compose my own spaghetti western album ‘Beyond the Breath of Grace.’ This whole musical landscape is still a close companion and plays a significant role in the sound of “Morphine Ridges”
How do you approach collaborations with other musicians and maintain creative synergy?
What started off as a shout in the dark ended up in a straightforward kinship that grew musically in a fairly smooth manner. I trust in this sense of communion animated by a common affection towards
the sonic reflections that we attempt to deliver. You can tell if a musician is right from the get-go. I feel very lucky to play with the people I do, and I trust that our synergy will continue to unfold itself one track at a time. Shoutout to Vivi, Gigi, Maurizio and Juliette!
Pelikan Rogue Releases “Crawl”
The new single 'Crawl' shows the depth that new keyboard player Gavin Lauchlan has added to the band through layers of meticulously crafted synths and pumping dance piano. Manson's guitar hook is an instant earworm, culminating in a solo that reverberates through venues up and down the country.
Despite the upbeat and catchy feel of the song, audiences will find an oddly dark edge to Russell's powerful lyrics in a cautionary tale of overindulgence and bad decisions.
Pelikan Rogue are going from strength to strength in 2023 with their long-anticipated new releases. Following 2019's undeniably catchy 'Podium Queen', vocalist Scott Russells’ foot-tapping ode to his dancer wife, fans were treated to a more melancholy and poignant tune in the summer of 2023 with the release of live favourite 'The Vet', which once again saw the involvement of J.P. Reid of Succiopero & Marmaduke Duke alongside talented Ayrshire producer Tony Strachan.
Complimenting the watertight rhythm section of Andy Strachan (bass) and Adrian Chow (Drums),new guitarist Gus Manson brings soaring guitar solos and hooks that captivate audiences from Liverpool's Cavern Club to Glasgow's King Tuts to packed-out festivals.
With more music to come in 2023 and sold-out shows booked, expect the buzz around Pelikan Rogue to grow even louder!
Mourning Moon and Knight On the Making Of 'I Should Go'
What was the creative process like for this particular 'I Should Go?'
The process was very cathartic. These three songs originally stemmed from different projects that we’ve focused on at various stages over the years. At a certain point, we took a step back and realized that the three of us (Jon, Che, and Christian) were always involved in each other’s creative processes, and so we decided to put aside individual projects and join everything to form Mourning Moon and Knight. Finally getting to work on all of our stuff together was a natural evolution of our collective bond and growth as musicians, but also a ton of fun!
Can you talk about the recording and production process for 'I Should Go?'
We’re very much a DIY band. We have our own studio, and so this release was recorded and produced in-house. The recording process was pretty organic - we’ve been gigging these songs for a while, so they were recorded together live. Drew’s drums laid the foundation for everything that became the recordings, and we cleaned up any little bits that we needed to with some overdubbing. For each song, the songwriter took time apart to do an initial mix to hone in on their specific vision. But in the end, we sat together to finalize the mixing and mastering process. It gives each song a distinct feeling, while still keeping a cohesive thread throughout.
What is your personal favorite song from 'I Should Go' and why?
I think that depends on who you ask! ;-)
Can you tell us a bit about yourself and how you got started in music?
We’ve been a musical family for a long time. Che is actually my (Jon’s) father - he nurtured creativity, having us playing and performing around NYC from a very young age. We developed a very strong bond and have worked together closely for some time. Christian and I have also known each other since our early teens. We bonded over the love of bass guitar, pushing each other to grow and experiment musically the whole time. Once we resolved to start Mourning Moon and Knight, we met Drew, whose musical instincts and dry humor fit in well with our group. We weren’t really MMK until he joined the fold and completed the ensemble.
Where do you find inspiration for your songs or musical ideas?
One of the biggest things that ties our musical tastes together is progressive rock. But each of us has different roots and perspectives that influence our songwriting and approach to performance. Collectively, we really enjoy pushing ourselves to try and write music that we haven’t heard before. That manifests in us experimenting with many different genres and topics. Each of us has a story to tell, and we are working to tell those stories together
Penny Lame On the Making Of “Holes in My Armor”
What was the initial spark or idea that led to the creation of "Holes in My Armor?"
Honestly, this song took years to make. I was always the weird kid growing up. I had this secret traumatic childhood that no one knew about in school that really affected my young life. The people that I opened up to, I considered my best friends and they saw the world I was living in. Some really empathized and are my friends to this day, while others really used it against me. I never got closure on a lot of those “friends” that hurt me, and for years I tore myself down trying to understand what I did that was so unforgivable. I had tried to write every time I thought of one of these “friends”, but was so caught up in the way that I wouldn’t be able to get a word out. So finally after years of therapy and forgiveness, I was able to let it go. Let go of the fact that I would never get closure. Let go of my insecurities. Let go of their opinions and their impact on me years later. It took years. Sometimes people just aren’t meant to be in each other’s lives.
Can you talk about the recording and production process for "Holes in My Armor?"
Yes!! So I started producing about 3 or 4 years ago. I learned on Ableton and have used it since. Basically, I will make a demo as I write the song- I sing my vocals and lay out a track. I work with a band out of Nashville, Naked Gypsy Queens, who record the live drums and guitar/bass. I am from Nashville, so I will just fly home and take my laptop, and record straight to the session. Then from there, I get the song where I like it. After it is to a point where it is just mixing and mastering, I send it to my friend David Kerckhoff and he gets everything up to streaming standards!
What do you like the best about this track?
I think this song is my most danceable song. It is just an easy listen that makes you bob your head. If we are talking specifics, I love the end of the song. I added it really late after the fact and it is a nice surprise at the end!
What role do you feel emotions play in your music, and how do you channel them into your performances?
The most important role. My music is emotional. I write songs like my diary and always have some sort of emotional release making them. I grew up singing a lot of soul music, R&B, rock n roll… all super emotional genres both lyrically and in the sonics. I think that is exactly what music is for, to make you feel- and that is what I strive for. My goal is to make music that heals.
Can you share a memorable experience from a collaboration that enriched your music?
Working with Naked Gypsy Queens has been such a fun process. My favorite memory was doing a live show in the middle of the desert. We all really got our Pink Floyd Live in Pompeii fix. They have added their own flare to my music. We work together a lot, and plan on having a show together in December in Los Angeles!
REAFFINITY On the Making Of ‘Tether’
What was the creative process like for this particular EP 'Tether?'
From the beginning, I wanted to keep the process as simple and fun as I could. Over the years, I’ve tended to over-complicate writing and recording to the point where I felt like I couldn’t finish anything. I tried to remove as many obstacles as I could focus more on the creative side. I spent a lot of time trying to get the right “feeling” of the sound and the vibe, which then inspired me to try new sonic directions.
What is your personal favorite song from 'Tether' and why?
I’d have to say my personal favorite right now is “All Along”. While it’s not the fastest-paced song in the set, there are several intricacies hidden beneath the surface that I love about it. How it all came together kind of surprised me too. It has a cool groove and is such a fun song.
How did you work with the producer or engineers to bring your vision for 'Tether' to life?
Tether was actually all self-recorded, mixed, and produced. So you could imagine at times it could get heated! Loneliness aside, one very important concept was making sure all the songs fit to tell a story. Each song had to be different enough but also cohesive in feeling with the others. I really hope that this came across in the final result. Hopefully, on the next release, I will get the chance to work with some great producers and engineers!
What inspired you to pursue a career in music?
It just feels like something I’ve always had to do, ever since I was introduced to music. I think for many people who love music in whatever form it takes, it’s a constant in their lives. There are not too many things in this world that do what music can do.
What are some of the biggest challenges you have faced as a musician, and how did you overcome them?
There are lots of challenges you face as a musician (and I’m still facing new ones each day). Self-doubt, motivation, rejection, and a constantly changing industry just to name a few. It’s the music, of course at the core of it all that keeps you going.
Telling Secrets On the Making Of “Tired of Waiting”
What was the creative process like for this particular "Tired of Waiting?"
I wrote the song such a long time ago that I can’t exactly remember, but I did find the original project file. The working title was ‘boring’ because before I had the hook it was a really ambient vibe and at the time I was trying to go for more explosive, active rock stuff. It came together in the end but it was definitely one of the ones that took a bit of graft to get over the line!
Could you discuss the lyrical themes or messages conveyed in "Tired of Waiting?"
99% of the time my lyrics will be very honest and exposed to the point where the true meaning is hiding in plain sight, but somehow it ties into more than one event, theme or is relatable for other people. I think those are the best lyrics. I was sick of the fact that nothing in life is guaranteed anymore. Everyone is stressed out about something, there are millions of details to pay attention to and it can all end in an instant. It’s a conversation between two people who are close to each other with one begging the other to communicate, become vulnerable and find some sense of security and comfort to combat the outside chaos with a deeper connection.
How has the audience response been to this song during live shows?
It was crazy when we played it at the Spice of Life in London. We weren’t even headlining but we had that room packed completely. After the set, we had bands asking us to go on tour with them, random people being like ‘who are you?!’, promoter trying to immediately book us for the next show. It was like a movie scene or something. We are coming back to London at The Macbeth on 5th October and it’s a free show. The RSVP link is in my Instagram bio - It’s free, but you still need a ticket!
Where do you find inspiration for your songs or musical ideas?
Just the things you live through. Sometimes it’s an immediate spark, sometimes it can take months for the thoughts and emotions to curate. I really hate it when artists, especially in the alternative/heavier scene, sing about stuff that isn’t real. You need to live to be able to tell the story. I’ve not necessarily had hardships, in the sense that a lot of rockstars have with drugs, prison time etc, but I have lived an interesting life so far. I’ve lived in Budapest, London, Surrey, Manchester, and Los Angeles - I’ve seen a lot, I have my issues and frustrations, and I try to take them out on my songs and videos. I am not doing this for anyone. I just like to create and I plan on being up there at the top someday.
How do you balance creativity and commercial success in your music career?
I have my favorite parts of the process and then my least favorite parts that feel like chores almost. The feeling of just coming off stage after a show or writing/recording the demos is probably my favorite. There’s stuff like editing vocals that I don’t really mind but I like to take my time with it. Recording guitars is something that I hate with a passion because I get paranoid that either it’s out of tune or there’s weird noises or that something won’t sound as close to perfect as possible. My least favorite part is restricting myself from posting my content too early! I got into photo and video editing recently so for half of the singles I made the artwork. I’ve been editing short covers for a while but I recently edited together a music video that is coming out this year and I’ve been slowly making my way towards doing VFX myself as well. I do humble myself a lot, but I also take pride in the fact that I want to be like the Prince or David Bowie of this modern rock genre. Like an artist, singer, producer, and creative director and actually be able to contribute if not execute at every single stage. I am the one who writes the songs 100%, I record most if not all of it, I edit a lot of it, then I call in help for mixing, I make the artwork and a lot of the videos, I send the emails and organize the gigs and the video shoots and I try and make sure everyone is looked after and happy at the end of the day. I love every moment of it, even the ones I hate.
Shadeland On the Making Of ‘The Swimmers of Lake Baikal’
What was the creative process like for this particular 'The Swimmers of Lake Baikal?'
The plan for this album started with us wanting to simplify, and return to a more straight forward and riff heavy sound, with no added keyboard or filler, short and simple songs you can bob your head to and easily digest with no aftertaste. I definitely think we managed to maintain that initial plan, to a certain extent. But then it slowly started evolving into something on a much larger scale, albeit with a guaranteed divisive aftertaste now I’m sure. We’re all pretty open minded guys, but when I brought forward the concept, I certainly expected some push back. There was none, everyone was on board. We’ve all been fascinated with the unknown and more ethereal and supernatural parts of life since we’ve know each other, the impossible stories from friends and family and seemingly sane people we’ve never met. This album is a love letter to the never ending search and fascination with the unknown, and the people we share this passion with.
Were there any challenges or breakthrough moments during the songwriting process for 'The Swimmers of Lake Baikal?'
The challenge was not being too on the nose with the concept. I did still want this album to resonate with the average listener aside from the concept. It’s a human story ultimately, and I hope it can stand on its own without any idea of what this album is about.
Have you noticed any particular interpretations or connections that listeners have made with 'The Swimmers of Lake Baikal?'
The connections have been huge! When you actually have conversations with your friends and family, or even acquaintances, you start to realize that this is no longer a far fetched idea. Most people believe, and rightfully so, because this is real, and we’re watching it unfold in real time.
What has been the most memorable experience or achievement in your music career so far?
Wow, hmmmm, ok I’d say it’s our longevity, age is truly a number, and we’ve watched so many of our friends bands fall off the map, and we’re extremely lucky to still be playing. Right, wrong, or indifferent I can’t stop, I’m too god damned stubborn.
How do you continuously grow and evolve as a band?
You don’t stop, you challenge yourself to write outside of your comfort zone, but you also stay true to what feels good. You don’t write shit for other people, you write what is genuine from you at the time. If you’re honest with what you’re releasing, that’s the best you can do.
Lazywall Releases “Dem 3la Dem”
New single “Dem 3la Dem” by Moroccan band Lazywall is about climate change, what we can do to make a change on The Earth we inherited and the one we leave behind.
Lazywall are a Moroccan rock trio whose oriental rock/metal hybrid is a tagine of traditional Arabic time signatures and instruments and powerful altrock. Singing in Arabic, the band covers topics like climate change, social injustice, integration and corruption with a visceral intensity that removes language barriers and unites cultures.
Lazywall set out to write songs in Arabic. “We don't talk about politics because we don't care. We don't talk about religion because it's a personal thing. But singing about that underage girl who was forced to marry her rapist is tough in any language.”
The Love Ways On the Making Of “I'll See You When”
What was the initial spark or idea that led to the creation of "I'll See You When?"
MARK SHREVE (Music + Instruments) - I came at ISYW from a bunch of different angles. I think it’s less of a specific spark/idea and more of a kind of list of things that I wanted to accomplish. One of the ways James & I always discuss what we want to do is “let’s make our version of ____” and here we wanted to do something darker, a bit more serious, less easy to grasp and a lot more ambitious. We wanted something that felt different to the rest of our catalog. To get there I looked to “Everlong” by Foo Fighters, “Tonight, Tonight” by The Smashing Pumpkins (that’s why you get strings at the end), and “Change in the House of Flies” by Deftones. Those songs were the kind of beating heart of it but then the confidence to do some weirder things came from my love of Biffy Clyro. I really tried to channel them in putting together the structure. When I think back on it - I think a lot of how this came together is predicated on it being recorded at the same time as our last single, “Desire Lines”. We knew DLs would be the one we released first, we knew we wanted it to be something that registers with our audience immediately, a structure that feels familiar rather than challenging, something that felt lived-in by the time you’re in the first chorus. With that done, ISYW was here to do the opposite - I wanted the structure to be weird and confusing: a maze you’re being chased through. Something that doesn’t feel lived-in until you’ve listened through a few times; something that gets more rewarding with time. So to sum up - spark #1 was to do something deeper, darker, heavier and kind of paying homage to the later-90s stuff we like than we’d ever done before. Spark #2 was to have a structure that’s labirynthine and builds to something spectacular as the walls shrink in around you. Spark #3 is to do something we’re proud of, always.
JAMES LANGLOIS (Lyrics + Vocals) - When I first heard Mark’s initial concept for the music I was sparked a bit by both by its general velocity and its push and pull between that propulsion and a certain stillness. That then made me sit with the idea of the various emotions memory can take shape as. Remembering specific times in your life can be tempestuous and comforting. It can also be conversational. You remember the words you said and the words you wish you had. The emotion of the song came easily through that lens as I thought of the various fires, seas and comforts I’ve lived through and the words came from there.
What impact do you hope "I'll See You When" will have on your audience or the music industry?
MARK SHREVE - Difficult to say what impact I expect this to have on the music industry (laughs). How about this: if Jared Leto hears it and thinks it’s so good that he quits music (and let’s throw in acting while we’re at it) forever that’d be a win. Outside of that, I’d be thrilled if I heard another artist say it gave them some confidence to go out and try to do something ambitious. I’d love to hear someone say it made them more interested in trying something heavier, or that they grew the scope of their ambition for what they could attempt/accomplish with a music video. Or even that it made them want to do a video at all. As far as our audience, as always I think we really just hope they like it as much as we do. I’d be really happy if it makes them excited for us to explore even more new ideas and sounds. I kind of think of it like if “Desire Lines” is TLWs at our most perfectly balanced, pH of 7, etc., our goal as a band for the next few songs is to knock that balance a bit in either direction. With some of the other new songs we’ve got locked and loaded - I can say for sure that they go in different directions but none of those directions is the same direction as “I’ll See You When”. To kind of sum it up, if someone listens to ISYW and leavse saying like “damn, ol’ boys were just getting started huh I cannot wait to hear what other new ideas they’ve got cooking” or like “this isn’t what I was expecting but it’s what I didn’t know I needed”, that’d be a bullseye for us.
JAMES LANGLOIS - I mean, as far as impact, I can only really speak to any sort of connection that someone can make with the song. Do they engage with the fun of the music itself? Do they sit with any different emotion or memory the words dredge up? Can they bounce between a variety of reactions that allow them sit with themselves while also rocking the fuck out? I hope all of those things ring true to somebody and that they come back for more.
What was your favorite moment in making the music video
MARK SHREVE - (laughing) Definitely when we got back from our first full day of filming and I sat down, dumped all the footage on my computer watched it and was like “this is all un-fucking-usable we have to do the whole thing again”. Mostly kidding BUT that first day of filming (which ended up being basically a pre-production day) was definitely the best part of it. James, me and one of my best friends (Ryan) went down to Fort Tilden which is this abandoned civil war fort on the outskirts of NYC and had some loose ideas of what we were doing and we started filming. It was fantastic - we were hopping fences, breaking into these abandoned, off-limits areas, keeping watch for cops, trying to get as much footage as we could. And at the time the idea was that James & I were like BLOODIED UP so we were absolutely caked in fake blood and we were carrying around an axe and a baseball bat with nails drilled into it and ‘TRY ME’ written on the side (laughs) - like tossing it into the bushes as a police cruiser circles by. It was a day with my best friends and it was like pure creativity and ambition and ingenuity and honestly you don’t get a ton of days like that that often.
JAMES LANGLOIS - Just like Mark said, being able to pop around the abandoned buildings at Fort Tilden is always fun. The art that people have left behind over the years forms all these layers. The sediment just grows and grows. Finding that perfect Ouija board that someone had stenciled in one of the factory buildings was so awesome. Being able to poke at and find new layers in places that are close to us is so fucking fun.
How do you continuously grow and evolve as artists?
MARK SHREVE - It’s a good question and something I think about often. I believe that a lot of being a good artist comes from being a good fan. Part of that is like - take the bands and artists that you like and ask what about them makes you want to show up? Is it moments in songs, specific things they do live, what is it? And then how do you take what makes them great and special to you and translate that into what excites you about your own music. To do that you need to go to a lot of shows, you have to listen to new stuff as well as old stuff, it’s necessary that you continually show up for the artists. I also grew up listening to like hardcore so it’s pretty ingrained in me that you don’t just show up for bands you like but you show up and support the scene at large. So really that means you can’t consider yourself a good fan if you’re not challenging yourself to find new things and support new artists. Like if I say “I’m a fan of rock music” it really doesn’t mean much unless I’m looking for new artists, checking out their shows, helping push things forward rather than backward. Put another way: the number of people who “love rock music” and have access to all recorded music in human history and use that access to basically listen to like Stairway to Heaven 8 times a week is fucking soul-crushing. The other way I think about this is that I always think of songwriting as just a series of problem-solution exercises. I know more or less what I want to accomplish and there are always an infinite number of ways to get there. Evolution and growth, to me, is knowing how we’ve solved those problems and kind of paved those paths before and making sure we don’t do the same things again. I’m really proud of “I’ll See You When” because the entire song was an exercise in trying new things, introducing our listeners to some of the weirder ideas we’ve got and hoping it all works.
JAMES LANGLOIS - Always consuming new things helps me to move forward. Despite the comfort I take in listening to my favorite records, re-reading my favorite authors and re-watching my favorite films there is always some new to be dug up or thrown over or transformed by a friend or association. I find inspiration to be a mountain of references I stand on and process so I only ever want to make that pile taller.
Where do you find inspiration for your songs or musical ideas?
MARK SHREVE - For me it’s always kind of a draw between paying homage to the things that truly inspire me and being inordinately competitive with the things that don’t. Something I really love about working with James is that because our influences and ideas come from some pretty different places, whenever there’s something that inspires us both it’s a slam dunk, like full-steam-ahead with that idea. For example, our song “Wild Life” from a couple years ago was a pretty direct homage to “Dimed Out” by Titus Andronicus - we were inspired to write a song that sounds like a fucking heart attack. Even the video for Wildlife is a massive nod. For “Desire Lines”, we wanted something that felt like what we loved about early Killers stuff; we were inspired by how they showed up with “Mr. Brightside” and after one listen you couldn’t imagine your playlist without it. Again, for anyone paying attention, some similarities that flow between the videos as well (laughs). For “I’ll See You When”, as I said a little bit ago we looked pretty deliberately to early Foo Fighters, Smashing Pumpkins, Deftones, kinda that later-90s stuff that was brave and big and ambitious but also really vulnerable. There’s definitely also some Finch & Biffy Clyro bubbling in the stew so to speak. (Laughing) Listen this ain’t the first and won’t be the last time I serve you up something inspired by Everlong. So that’s kinda side one of my inspiration and then side two is that for me personally, I’m pretty competitive so I also get really inspired to write by things that I think are just garbage. For example I grew up in the UK and a few times a week I’ll throw on Kerrang and see what the like “New Rock Hits Right Now” playlist is and there’s so much there that’s just disappointing - I’m truly inspired by how abrasively uninspiring it is. It really makes me think like “alllllllright I guess I’ll just do it myself”. Or very, very much gives me a feeling of “shit, I can beat that” and then I spin up Pro Tools, send James a million texts with ideas and do everything I can to create something better.
JAMES LANGLOIS - Either listening and reading to new things or listening and reading to the old things. There’s so many times where I look both backward and foward and say “damn I need to know more” and find it easy as hell to dig in deeper and deeper. There is always some amazing music I’ve never listened to waiting for me to discover it or some novel or chapbook that’s waiting to be uncovered. It’s easy to jump down rabbit holes but it takes some discipline to document what I find and keep it all straight in my head. There’s so much of it that I want to keep with me and so I find that I’m always taking notes of my thoughts so they don’t evaporate. When I’m able to keep all that new, great shit top of mind or at least middle of mind and am able to combine it with what I am going through in my daily life, inspiration is the easiest of things to come by.
THE HYBRIS Releases “Hey, Death!”
Originally hailing from Germany, alternative rock project THE HYBRIS now stretches to the edges of the globe with members in Nice, L.A. and Cologne. For their fourth single of 2023 the band is set to release a new track entitled “Hey, Death!”. The song is a disturbing dialogue with death. Captivating, acute and catchy, THE HYBRIS have everything it takes to produce an infectious, quintessential alternative rock ballad - from their attitude all the way to their sound.
The group takes on the aliases of Ringo Rabbit, Beanie Bison and Malcolm Mandrill, three wannabe comic superheroes on a mission to save the world. Having a group to be on the up and up whilst so engaged with this conceptual aspect is a sure sign of future success. With their name itself, ‘Hybris’, refers to Greek tragedy, being a term that stands for exaggerated self-pride, arrogance, excess of ambition leading to self-destruction. The band were commenting on the current state of the world from the start and only continue to do so in their musical and lyrical content.
This song teases their second full-length album, we can only wait in excitement to see what THE HYBRIS have to offer for us towards the end of the year. A project that is so sure of itself, the band is one to watch in the alternative rock space.
Starscheme ‘Midwave’ - Review
midwave introduces listeners to a sultry swirling of turmoil-infused soundscapes. Hard-hitting, mesmerizing melodies stretch out from a kind of dizzy, expansive atmosphere that feels immediate and distant at the same time. Like psychedelic flowers that spiral out something drastic and immersive, midwave creates such a vibe that you won’t be able to get away from even when the album hits the last sound. Starscheme is proud of its unmistakable signature Oklahoma sounds which listeners can easily recognize from the very first track. The five-piece band has a lot to give.
“Act Like It” is immediately a hard-hitter and an unforgettable anthem with retro palettes that draws you into another world. Between warmth and nostalgia, the howling beast of wah-wah effects wakes up something with soul in the music. It’s a kind of bizarreness that amazes you at the same time shock you a little. Starscheme continues to contrast and contradict between tracks. Like parallels. Multi-layered. Polyphonic. Yet they never fail to deliver those sensuous, thought-provoking riffs. midwave feels surreal because such immersive, dramatic explosion doesn’t exist in the real world. Yet, they are able to create and preserve it in their music.
Then, the emotive yet atmospheric “Pick Me Up Put Me Down” feels like a timeless classic. “mimimoon” juggles the duality of light and shadow with dissonance and scenic sensation. As a band, Starscheme certainly has a lot to give.
Read our interview with Starscheme below and learn more about the collaborative, creative process of midwave.
Punk Head: I love the way you guys draw familiar influences while experimenting with sounds on your own in midwave. When did you first have the idea for this album?
Starscheme: The band and album grew organically over the course of two years. During the covid lockdown all of us, after years of playing in various bands, found ourselves in between projects. Since live music had mostly ground to a halt, we focused on growing the band and developing the songs that would become midwave. In the beginning, the band was composed of Justin, Chris, and Gabe. Kyle joined a few weeks later. Nathan joined after almost a year into the project. As the personnel grew, so too did the material and we developed a process that guided us to complete the record.
PH: Are there any pivotal moments while making this record?
Starscheme: An early pivotal moment was coming to the decision to record all rehearsals to both experiment and critique different musical ideas and sounds. Another moment was electing to work with Trent Bell at Bell Labs Studios. He not only engineered basic tracks, but he also mixed and mastered the album as well. In tandem, we chose to record all vocals, overdubs, and percussion at Cpt. Honey A/V. Our final hurdle was having to rename the project to Starscheme after discovering at the last minute that our working name Midwave was already taken. We decided to simply title the album Midwave having already played three shows under that name (plus Chris ordered a bunch of Midwave merch).
PH: What do you personally like best about this release?
Starscheme: We took our time with this release. In doing so, we gave ourselves the opportunity as a band and as musicians to truly collaborate and grow into a cohesive unit. There is an honesty to how the material was developed and arranged that made for a much better outcome.
PH: Who are your biggest inspirations?
Starscheme: Artists that continue to grow and develop over their careers instead of remaining static are an inspiration. Each one of us has a long background and unique musical story even if we have crossed paths before. By being willing to listen to other band members’ ideas, we inspire each other.
PH: What is the one thing that you’d like your fans to know about you?
Starscheme: First and foremost, this is a completely collaborative venture. Everyone has a voice armed with a chisel and hammer to sculpt or beat this project into shape. We are in it for the artistry: the joy of writing, performing, and producing music, artwork, and visuals that all of us love and hopefully others will too.
Cigarettes for Breakfast On the Making Of ‘Join the Circus’
What was the initial spark or idea that led to the creation of 'Join the Circus?'
Life is pretty crazy. There are lots of ups and downs and twists and turns. At its core, Join the Circus is a story about spiraling through life, trying to find purpose, and sometimes just trying to get through the day. Life is a fucking circus, and we have no choice but to join in on it.
Can you talk about the recording and production process for this album 'Join the Circus?'
Yeah, so I do pretty much all the production and recording myself. I play all the guitars, bass, synth, drum machine and whatnot. Tony played all the acoustic drums. We got a little fancier with it this time and recorded them with Nik Bruzzese at The Gradwell House, which was a lot of fun. Vocals were kind of a rollercoaster on this record. Originally I was only singing a few songs, but Cam and I had a bit of a falling out, so I ended up stepping out of my comfort zone a bit and becoming more of the “lead” singer. Then recording CoCo was a breeze, they are insanely talented. But yeah…this time around, we got to work with some really cool people. Jeff Zeigler mixed it, and it was mastered by Ryan Schwabe. So I guess we took a little step outside of our DIY world, which was pretty cool.
Can you share any memorable experiences or stories from performing this album live?
Aw man, our album release show was crazy! We had this segment planned pretty early in the set, where the elephant from the Join the Circus music video comes out. People were getting down and going nuts for the rest of the show. The energy in the room was unreal. This tour has been awesome so far, though. People seem to really be connecting with the songs, and it’s been cool meeting and talking to fans about it.
What role do you feel emotions play in your music, and how do you channel them into your performances?
Music is an outlet driven entirely by emotion. All the frustrations, sadness, happiness, confusion, anger, love, whatever it may be, is infused into the music. When we play live, we feel it all and let it out. It gets really magical when you can feel that the crowd feels it too.
What has been the most memorable experience or achievement in your music career so far?
We’ve done some pretty cool stuff, but I think what we’re doing right now beats everything we’ve done so far. Figuring out how to do these songs live as a 3-piece has been a super rewarding experience, and Tony and Martin are some of the best dudes around. This tour has been really incredible so far. But yeah, making this record took 3 years and through all the ups and downs, there were many times I wanted to give up and throw in the towel. It all feels worth it now, seeing how people interact and connect with it.
FULVETTA On the Making Of “Lampshade”
What was the initial spark or idea that led to the creation of "Lampshade"?
We wrote it back in the early months of the year if I remember correctly, we had written a good few slower and more dynamic songs and our list of songs at that stage was just crying out for something a bit more "in your face", something with a bit more energy and bite. So I (AJ) sat down with my guitar with that goal in mind, amp turned up pretty fucking loud, and wrote the two or three main riffs the song revolves around. It's the way a lot of our music is written, someone bringing in an idea and then the band develops it together collectively.
Can you share any interesting or unique musical elements or production techniques used in this single?
A big part of our sound is layers. Lots and lots of layers and it definitely adds to the big wall of sound we're trying to achieve. The guitars are all triple tracked, there's about 6/7 layers of synths and both sets of vocals (AJ and Grace) are double tracked too. When you've got that much going on, especially at times where theres 4 vocal tracks going on at the same time, it creates some intriguing textures. It harkens back to more classic shoegaze sounds from the likes of Slowdive. I feel that layering, which is essential to the sound, has become slightly pushed to the side in the modern heavy shoegaze scene.
How has the audience response been to this single during live shows?
We actually haven't played “Lampshade” live yet! Normally we release material we've already been playing at shows, but we thought we'd change it up a bit and have held onto playing this live until after the release. I do think it has a lot of energy, and I'm hoping it gets the crowd moving a bit, maybe start a mosh.
What has been the most memorable experience or achievement in your music career so far?
We played a show in a venue called Whelans a few months ago. After the gig, I was surprised to hear from the guy running the show that we actually managed to sell out the venue. It was a pretty big moment for us, we had never sold out a venue before. Being a band that started from the bottom, truthfully playing to 7/8 people at maximum in the very beginning, it was a nice milestone for us and really allowed us to reflect on the progress we've made as a band so far.
Are there any specific venues or festivals that you dream of performing at?
We're only playing our first festival in Belfast in August, it's something we'd like to start doing and something thats very high up on our list. You've obviously got festivals here in Ireland such as Electric Picnic and the likes, it'd be a great experience. Big festivals abroad like Riot Fest in the US and Outbreak Fest in the UK would be a dream, I think stylistically our music would fit well too. Or even just playing abroad really, it sounds cool and we'd love to get to a stage where we can do it at some point.
PUMP5 On the Making Of “Make Me”
Can you tell us about the inspiration behind "Make Me" and the story it tells?
Yes, the thing about this song; is that it has multiple origins. The obvious is the dreaded failed relationship that seems to accompany musicians and their lifestyles. However, the hidden truth about these lyrics is that the music industry and a relationship are not that different.
Could you discuss the lyrical themes or messages conveyed in this single?
Never sell yourself short. There’s something to be said about a person who never surrenders; never gives up.
How did you work with the producer or engineers to bring your vision for "Make Me" to life?
Well, Dennis Hill, the producer, we have worked together on the last two records. Andre, Drew, and I put together the rough tracks, present them to the producer and begin an arduous “hashing out”, if you will, of ideas and hammering the finite until we get a product that everyone is happy with.
How do you translate the essence and energy of this single into a live performance?
You have to be really facial, high-energy, and explosive with your delivery. Oh yeah, and Alex's leg kicks don’t hurt.
How do you balance creativity and commercial success in your music career?
Business is a big part of this and can be a hard pill to swallow. So as long as you stay focused on the only three things that matter…"the song, the song, and the song” (Quincy Jones)...everything else comes out in the wash.
The Sleepy Haunts “Peter Parker”
The Sleepy Haunts takes their alternative rock sound a little pop, with hints of Bubble Grunge dubbed in comic book references. Like The Cranberries meets Beabadoobee, “Peter Parker” is sensuous and haunting, captivating and stirring. They explores the insecurities and struggles of adolescence in relation to escapism, while Gillian’s stunning vocal takes your breath away to somewhere cool.
The Sleepy Haunts’ music never lacks imagination. Their universal appeal has a loveable quirky edge that just makes you adore them even more. Infectious melodies in pair with a bubble-inspired soundscape. Their music is 100% danceable and highly relatable. As a generation grown up on comic books, their music shares a sort of nostalgia and heroism that just hits different.
“Peter Parker,” named after the friendly neighborhood Spider-Man is a head-bobbing, bouncy anthem. Fused with vibrant sonic palettes and fandom-inspired short prose, the song is easily your new favorite.
This year, The Sleepy Haunts have scheduled twelve new songs to be released as well as a full-length album. Be on the look out for them. The Sleepy Haunts are here to claim your love.
Oceanless “Isolation”
Among all the new bands bursting into the music scene, Oceanless is one to pay some extra attention to. With a debut release of a gritty genre-bending masterpiece, the band proves to be different. “Isolation” throws you into a raging turmoil of sonics, fiercely challenging your preexisting expectation for rock and hip hop. Dabbed with grunge, introspection, experimentation and pulsating alternative sounds, “Isolation” is something new. And just with one song, Oceanless asserts themselves at a level where most could only dream of.
“Isolation” gives you something truly unique in the ever-evolving scene of rock. Their authenticity shines very brightly throughout the track, giving you an exhilarating, hard-hitting and thunderous experience. Retro and modernity join hand in the massive reconnection of hip hop and grunge. They think outside the box, and their music feels like no other.
Oceanless is easily one of most exciting new bands to watch in the scene. They are exactly what’s needed in rock and hip hop—pure talent wrapped in authentic melodic allure.
Oceanless is currently working on their full-length debut album, set to take listeners on a meaningful journey in uncharted sonic world.
Alex Lipinski “Idiot Station”
With a reverberant glam-rock rhythm under his belt, Alex Lipinski channels the muddy fusion of The Stooges and The Black Keys in savagery allure, speaking the lost and grim in modern mainstream. “Idiot Station” is raged with literary flair of moodiness and a flash of raw live energy. Its haunting melodies and screamed-up words get under your skin, while its backbeat rhythm gives you something to dance for.
Lipinskin is amongst the serious talents on the horizon these days. His unstoppable, almost unlimited creativity is always burning an edge of emotion. “Idiot Station” draws you into a captivating sonic world crafted by Lipinski and his instrument, but it’s his robust spirit and gritty sounds that make you stay.
Lipinski has just gotten back from his European tour with Marc Almond, who chose him as sole support. The artist has also garnered a round of likes in the industry, from Liam Gallagher, Bonehead to Evan Dando. He landed his first label deal with Marquee Records/Universal Music Group, and “Idiot Station” marks the beginning of an exciting new journey.
Strange Company ‘Overrated’
Welsh’s three-piece rock outfit, Strange Company, rages back with a teeth-chattering emo-punk anthem. Born out of the lowest of lockdown, “Overrated” speaks about catastrophe and despair with double-dosed punk aesthetic while taking an emotive deeper dive into a familiar but truly horrid scenario—where one’s mind has turned against oneself.
They scratch your most nostalgic itch and offer something new to lose yourself into. Like a storm that takes your breath away and completely change the scene with a renewed perspective, Strange Company has a very distinctive sound that allows them to stand out in the crowds of genres.
“Overrated” sticks a middle finger to the naysayers’ face at the same time shedding light on mental health issues. Rebellion and resolution can exist in one place, so does angst and hope. In the intense turmoil and captivating sonics, “Overrated” in the end, is about how one would find their way out of the fearful sea.
The trio of Matt Davies, Owen Weston and Charlie Porter has over 20 years’ experience of writing, recording and touring under their belts and the stars have aligned for their time to roam. In 2022, Strange Company unleashed their debut album Metaphysical Love. With the new single and many more to come, they are here to make their marks.
Passive Fix “I'll Take It All”
Following Passive Fix’s acclaimed single “Red Lights,” the genre-defying rising talent from Midlands returns with a meaningful single “I’ll Take It All,” tackling the cycles of grief and loss while pushing the envelope of genres even further. “I’ll Take It All” sparks immersion and meaningful imagination fueled by their blooming creativity. The song revolves around a protagonist, who spirals into escapism and wilderness while going through the cycles of grief with each changing tone represent a different phrase.
“I’ll Take It All” seems to have escaped the curse of genres, rerouting the sonics in direct contact with its storytelling. The song is featured in the soundtrack to the ban’d upcoming short film, A Divine Descent, scheduled to be released on June 23.
Passive Fix, of Alex McCarthy, Alex Collett-Sinfield, David Kirkham and Sam Stringer have been stirring a strong waves across venues with several successful headline shows under their belts. They are known for their innovative, genre-fluid sound that evokes waves of different emotional and physical responses as well as crafting a brand new personal universe.