Claudia Balla On the Making Of ‘Winter Tale’
How does ‘Winter Tale’ reflect your musical journey and growth as an artist?
’Winter Tale’ is somewhat returning to my roots as I had a classical
training (piano, voice) and used to listen to classical music as a
child and as a teenager. I only started to indulge in contemporary
pop music as a young adult. It is also an homage to my Hungarian
origins. Lastly, I was born at the end of January and the holiday
season has always been dear to me, I usually keep the Christmas
tree up until my birthday :)
Were there any challenges or breakthrough moments during the songwriting process for ‘Winter Tale?’
There were mostly two challenges. The first was finding the right
“sound” and picking the right instruments to be featured on the
album. We talked a lot about this with the producer of the record,
András Bolyki. Finally, we decided to maintain a minimalistic
approach sonically and to use a harp, a double bass and a choir in
every track - I consider this to be a breakthrough moment.
The other challenge was more technical - recording a choir of 24
singers in the middle of the pandemic, during social distancing.
Also, I wasn’t able to fly to Budapest at the time to assist the
recording sessions, nor did András have the possibility to come to
Geneva when we recorded the harp with Alexander Boldachev. So
he was live streaming our session from his home in Hungary.
What is your personal favorite song from ‘Winter Tale’ and why?
My personal favourite is “White Bird”. It’s a sentimental track that
compares love to an elusive white bird that is totally out of our
control. The appearance of this bird can be also misleading as it
gives the impression of being gentle and tender, even tameable,
however, in reality, it can have a devastating effect even on the
strongest person alive.
What has been the most memorable experience or achievement in your music career so far?
It would be hard to pick any particular moment or any milestone -
it’s rather the whole journey that makes it memorable for me. From
fooling around with a digital keyboard as a child to being able to
make records and work with amazing musicians. I’m really
grateful for that.
Your lyrics often tell stories. Can you talk about your approach to storytelling through music?
I like telling stories and I always admired genres that were more
“storytelling focused” (folk, country etc.). I don’t think I have a
particular approach - I just do my best to fit the film I have in my
mind into rhyming stanzas. :) As a movie is usually 1.5h long, it can
be a challenge to tell the same story in 3 minutes.
Michele Simonelli On the Making Of “Rewind”
What was the creative process like for this particular "Rewind?"
In reality this song was born in the most difficult Covid period. I felt inside me the desire to start over, to start from scratch as I sing in the lyrics. Meeting elusive people on the street and being able to talk to them only with my eyes, due to the mask on my face, made me feel oppressed. Hence the desire to want to scream the word "breathe".
Were there any challenges or breakthrough moments during the songwriting process for "Rewind?"
Yes, initially I didn't want to write a love song, but just to express my state of mind after everything that was happening in the world regarding the Covid period. After that, when things started to change a little for everyone, I felt the need to tell a love story, and I strongly believe that especially in this historical moment in which we are unfortunately living, we all have a strong need for love.
What are you most proud about "Rewind?"
That I was able to fully express my feelings. I hope the same emotions reach the listener.
Where do you find inspiration for your songs or musical ideas?
I find inspiration from everyday life, from a simple outing with friends, walking down the street listening to people talk, gesture, get angry. It also helps me a lot to listen to lots of music, many different genres.
How do you continuously grow and evolve as an artist?
I always try to question myself, especially by trying to learn a lot from my mistakes by studying the instrument for example, in my case the voice or the piano. Reading books helps me a lot to imagine different things, sometimes magnificent and sometimes less so, from those I see every day with my eyes or with my thoughts.
Fin Furey Releases “Glory Days”
A story-telling songwriter, Fin Furey explores a wide range of themes ranging from protest and liberation to dark and difficult love, and comical revelations about chemicals and the way they affect us. Imagine the sonic offspring of Bruce Springsteen, Bob Dylan, The Dubliners, and The Fureys, and you will resonate with Fin's marriage of sound.
In his new single, 'Glory Days' (released Oct 6th), he showcases a variety of textures in his voice, steering away from his velvety-smooth baritone that delivers epic power ballads to the new singalong Indian summer song, showcasing his plaintive vocals soaring in boisterous folk idioms akin to that of the greats that came before him, notably his own father, Finbar Furey of The Fureys legendary Irish Folk Band.
The unique sound of his music is a fusion of folk/blues and cinematic new-age traditional music. Born into a musical family, where the passion for music has been passed down through successive generations, Fin grew up on harmonies and anarchy describing how music “put food on the table and clothing on our backs”.
What we have in Fin Furey is a legacy troubadour and storyteller from one of the most celebrated and beloved folk bands to ever come out of Ireland, The Fureys. Make way for the new generation, and one of the gatekeepers of Irish folk music: Fin Furey.
Candace In Wonderland On the Making Of “Tom & Jerry (hail mary!)”
What was the creative process like for this particular "Tom & Jerry (hail mary!)?"
The creative process was a rollercoaster haha. My fiance/collaborator Keyler Matthews was messing around with a lyrical idea that was super silly and nonsensical. “Bloody Mary with the zing-zang, Mary Jane with the zigzag” and we were all in the mood to write something upbeat, and it kind of unfolded from there. Tony Chetta produced the song, and he built out the whole instrumental while we were messing with concepts. I remember telling him to “make it weird” and his eyes lit up like a kid in a candy shop!
Could you discuss the lyrical themes or messages conveyed in "Tom & Jerry (hail mary!)?"
The lyrical themes started out with the play on words relating “Bloody Mary” to “Mary Jane” to “Hail Mary!” and we kind of found the common ground to be the concepts of duality, chaos, and escapism. I’m often struck by the realization that the world can be a very scary place, and the day that we wrote this was one of those days. The news was bleak, we were all struggling in different ways but I got the sense that none of us were in the right headspace to talk about it, so we made a hard pivot and wrote an upbeat (possibly slightly sarcastic) song to cope with it all. It was extremely cathartic.
What did you enjoy most about making this track?
I had a ton of fun recording vocals for this track. We pretty much used all the demo vocals from the day we wrote it. Singing the “YEOW” idea was really funny and recording the gang vocals, featuring all of the songwriters (Chuckie Aiello, Michael Aiello, Keyler Matthews, and Tony Chetta) was definitely a magical moment.
Could you share some of your musical influences and how they have shaped your sound?
My earliest main influence would probably be Paramore, who really shaped my idea of confidence and expression through writing and singing. These days I am heavily influenced by artists like Remi Wolf, Billie Eillish, UPSAHL, Benee
Can you share a memorable experience from a collaboration that enriched your music?
It’s hard to pick just one! I truly love my collaborators and I feel so lucky to have them in my corner. My “write-or-die” Keyler Matthews (...whom I’m marrying next month!) inspires me every day. Ever since we started working together I have felt seen and understood as an artist and that is a very powerful thing. I can’t wait to see what crazy idea we cook up together next :)
Raiaan On the Making Of ‘Love-Notes’
How does 'Love-Notes' reflect your musical journey and growth as an artist?
I would describe ‘Love-Notes’ as not really my introduction to music, but more as my first serious project that I spent a lot of time and effort, to get absolutely right. While I've worked on previous music projects, I definitely scrutinized all the details of this project, from mic placements for the reach instrument to the overall aesthetic of the album with the general sound of each song, as well as what the cover art would need to look like. Even though I've learnt a lot while creating this album, I think I still have a lot to learn and grow as a songwriter, artist, musician, audio engineer, producer, and let’s not forget about content creator.
Can you talk about the recording and production process for 'Love-Notes?'
So over 2 years ago, I decided what the theme of my album was going to be about. So since then, I sat down with just my guitar and wrote all the songs. Once the songwriting process was complete, I worked with my co-producer to create the instrumental behind the lyrics and melody, which in itself took around 3-4 months. Once that was complete, the fun began. I booked out a recording studio for 6 days straight which involved my co-producer and I recording all the instrumentation & vocals for the entire album. After the studio recordings, I had the songs mixed/mastered in about 2 months, and the project was complete.
What has been one of your favorite memories along the path to making 'Love-Notes?'
I would say my favorite memories of making this album would probably be the 6 days spent in the recording studio. Each day was its own adventure according to what we had planned to record that day. Also being able to bring in all the session players and just vibing with them in the studio to my music, was definitely a treat. Luckily, I had a videographer record the entire 6-day process, so I have those great memories recorded.
How do you ensure that your creative vision aligns with the artist's while maintaining their unique style?
I would say that artist’s styles change over time, depending on what they are listening to during that time. Personally, I've always been a fan of acoustic singer/songwriter style music, but over time my music taste has expanded and grown to what it is today, which is why along with the writing and recording process, I would add little hints of other genres underneath my songs.
How do you balance incorporating new trends while maintaining a unique and timeless production style?
I try to be clever with wordplay and melody in my songwriting, while still keeping the overall sound of the songs rather simple and relatable, but catchy. This allows for the listener to relate to my songs, while still getting the melody stuck in the head, which I would say is almost every songwriter’s goal.
Danil On the Making Of “These Thoughts”
What was the creative process like for this particular "These Thoughts?"
“These Thoughts” is about the voices in my head that always whispered to me "You're not good enough", "You can never make it" or "You're too weak" and the memories of my youth and school days in which I got bullied and excluded a lot because of my sexual orientation, my clothing style and my personality. The daily struggles with my own identity led to me eventually believing these negative thought patterns myself. Even though it all happened a long time ago, it wasn't until I was in my mid-30s that I really noticed the effects of this time. I was severely depressed when I started writing 'These Thoughts' and the song accompanied me on my way back to life and to myself. That's why it's a kind of liberation for me. Since things are unfortunately getting worse for queer people these days and there is so much hate out there, I would like to use 'These Thoughts' to remind everyone to at least keep your own thoughts positive towards yourself. Because our thoughts shape our reality, right?
Can you talk about the recording and production process for "These Thoughts?"
I've always been in love with 80s and 90s music elements. That's probably because I listened a lot to the radio when I was growing up. I really like the versatility of synthesizers and like to mix them with more organic sounds. I love changing guitar or piano sounds so that they are no longer recognizable as such and I'm really into sampling sounds myself and using them to conjure up ambient textures for my music. I was able to do all of that in the production of 'These Thoughts'. But since I do everything from songwriting, arranging, recording, producing, mixing, and mastering on my own, and had no prior knowledge of music production at all, I had to work pretty hard to realize the vision I had for “These Thoughts.” The nice thing is that you learn something new every day and your skills continue to improve. It is important not to give up and follow your vision.
Have you noticed any particular interpretations or connections that listeners have made with "These Thoughts?"
I've received a lot of feedback from people who really identify with the topic of intrusive thoughts, and who repeatedly use “These Thoughts” as a reminder to be mindful of their thoughts. I've also received a lot of stories about mental health, especially from queer people who have had similar experiences to mine. Many people also feel musically inspired by “These Thoughts” because it reminds them of the sound of the past. But the most exciting story that reached me is about a woman who separated from her fiancé on the day of their civil wedding because she realized through “These Thoughts” that she only had this relationship because she had thought patterns with which she didn't trust herself to get along without this man.
What role do you feel emotions play in your music, and how do you channel them into your performances?
I think emotions are one of the most important ingredients for my music. If I don't feel anything, I can't write or create anything. For me, emotions are a motor that sets energy in motion. Some may use this energy for sport, but many people today don't know what to do with this energy and unfortunately use it for hatred against others or against themselves and I use this energy to express myself creatively. Since my songs are mostly created through emotions, they are forever linked to the song, and every time I hear or sing them, these emotion resonates again. And of course, this is also transferred to other listeners. For me, that's one of the magical things about music and also a reason why I'm not afraid of AI replacing us artists, as some of my colleagues fear. As long as there are people out there who want to feel something when they listen to music and don't just consume music as background noise, there will be artists who will create fantastic music with passion and a lot of emotion.
Are there any specific artists or musicians you dream of collaborating with?
There's actually no particular artist that I would necessarily want to work with, I'm pretty open to all kinds of collaborations. The only thing that's important to me is that the vibe is right and everyone involved can develop authentically. Because then, in my opinion, you can get the best out of the collaboration and really create the coolest things. I'm currently working with many different people on completely different projects and this diversity is the most exciting thing about collaborations for me. If I had to choose someone who I would really like to work with, it would probably be John Lennon. Because we have in common that we both record our music with a 432hz tuning and I love his songwriting. But so far John hasn't responded to my emails. :)
Belle Butler On the Making Of “Quick”
What was the creative process like for this particular "Quick?"
I wrote the song many years ago while living in a small town. It felt like an in-between phase of life for me and I struggled to give into it. The song came out of a sense of time rushing by while I was standing still. I felt stuck, but like time was changing me despite my inability to move.
I made the stop motion video years later during another transitional time of life - the year my youngest child started school. I was grieving the losses that came with this change and trying to find a new sense of self. If the song is about change and the loss, grief, resistance, and acceptance that comes with it, then the video is about the beauty in all of that.
Can you talk about the recording and production process for "Quick?"
I recorded “Quick” in Melbourne with a wonderful producer, Anna Laverty. It was in between Covid lockdowns, so I felt lucky to squeeze it in. I had suffered a really bad chest infection in the lead-up to recording so my singing was pretty weak. Ultimately I decided to re-record the vocals closer to home with another wonderful producer, Josh Shuberth. Well worth the extra effort.
What has been one of your favorite memories along the path to making "Quick?"
Collecting leaves to make my stop motion. I'd go on long walks and discover the most beautiful leaves of all different colours and textures. I could hear the song in my head and see how the leaves might come together and move to tell my story. It was a really pleasant part of the project.
Can you share a bit about your musical background and the journey that led you to where you are today?
I started playing piano when I was about 5 or 6. My mum bought the piano for herself, but it was clear that I was keen and she gifted me the lessons instead. After moving around a bit as a kid, music became my escape and my friend. I taught myself the guitar as a teenager and wrote songs as a way to deal with all those big teenage feelings. I think music is a great life-long companion.
I did some gigging in my 20s, but the demands of live performance didn't fit well with my life. So I retreated a bit and continued to just play music for myself.
Now that I'm a parent I see the value in sharing songs. So I've recorded a few and will continue to do so over the coming years.
Your lyrics often tell stories. Can you talk about your approach to storytelling through music?
More and more I believe that telling stories is the ultimate goal of my songs. I worry less about how I sound or what people might think, and I just focus on the story I'm trying to tell. I find that people relate to my music and engage with it the most when I'm deeply committed to telling the stories of the songs.
Matya Releases “Nobody's Home”
Los Angeles, CA - Multi-hyphanist artist MATYA announced that she will be releasing her debut track from her upcoming EP ‘Nobody’s Home’ set to release on all platforms.
‘Nobody’s Home’ encapsulates the essence of fleeting nostalgia. “The song came from a place of longing for a simpler time. It’s a reminder to stay dreaming” says MATYA herself. An eclectic fusion of lofi-rock snares and dreamy french touch synths, MATYA’S sonic landscape defies traditional categorization, manifesting in a genre she calls, avant rock. MATYA’S upcoming project is meant to create generational anthems for today’s countercultural rebels who go against the grain of the traditional American Dream. Her debut single, "Nobody's Home" is an invitation to dream through one's own rose-colored lens.
MATYA is currently in the finishing stages of production on her forthcoming EP set to release in 2024. MATYA shares her time between LA and Paris where the EP was produced at Catmilk Studios, working with names like John Velasquez (Broods, Zella Day, Vacations), Dan Bailey (Father John Misty, Lana Del Rey), Gabriel Cheurfa (Draumr, Dorcas), Pierre Duval (Philippe Zdar, at Motorbass), and mastered by Mike Marsh (Calvin Harris, Jonas Blue, Ellie Goulding).
Denni Ian Releases “I Plan To Run Out of Darkness”
Just prior to the album release of SALT KING premieres the video for the ambitious and brooding album opener "I Plan to Run Out of Darkness”. The video is directed and filmed by Denni Ian and features his brother as leading character. "I Plan to Run Out of Darkness” delivers a three act alternative folk-rock ballad with a haunting anthem, poetic narrative and dramatic vocal solo. The video itself has a feeling of absence of home and presence of tragedy.
Denni Ian's SALT KING is an expressionistic statement, one heavy with vivid melancholy, yet unreserved in its search for intimacy. The album features a delicate blend of traditional and experimental songwriting, echoing a distinctive sense of amore disperato. Ian’s songwriting is characterised by a poetic and enigmatic lyrical quality, flickering between confessional writing and cryptic poetry.
Inspired by uncanny symbolism, classic folk songwriting traditions and post-punk aesthetics, SALT KING finds itself at a dynamic musical crossroad somewhere between indie-folk and art rock, with a prominent emphasis on the lyrical narrative. With an organic approach to unintended chaos, expanded instrumentation and a collaborative spirit, Ian steps into the role of conductor, opening up a dense and intimate song world, insisting on romance and genuine connection against a backdrop of apocalyptic roars.
The post-folk troubadour has long operated on the fringes of the Danish underground culture and arts scene as a poet, musician and visual artist working with video art and expressionistic paintings. After a decade of playing in various bands, he embarked on a solo career. His debut record The Sad Saint of South End came out in 2020 and was praised for its odd and sensitive nature. The following year he debuted as an author with the Danish poetry book “SALTSUITEN” in which he deals with themes of alienation, ecological collapse and suicide.
John Tibbits Releases “Everything in the Wrong Place”
London — Singer-songwriter John Tibbits has unveiled his captivating single, "Everything in the Wrong Place." With roots in Birmingham and now thriving in London, Tibbits' musical journey is marked by evolution, innovation, and a profound understanding of the challenges that songwriting can entail. "Everything in the Wrong Place" serves as a poignant exploration of the creative process's trials and tribulations. The song delves into the very frustrations that songwriting can sometimes conjure—be it the formidable writer's block or the ever-present allure to mimic the work of one's musical idols. Tibbits' lyricism offers an authentic window into these internal struggles, resonating with fellow artists and music enthusiasts who have encountered similar obstacles.
At the heart of the single lies Tibbits' transformation as an artist. Departing from his folk origins, the track embraces an alternative/indie rock soundscape that signals his growth and willingness to step outside his comfort zone. The song's intricate composition transitions from a mesmerizing synth and drum loop into a full-band chorus, showcasing Tibbits' ability to seamlessly weave emotions into melody. The single's production was entrusted to the accomplished Mercury-nominated producer, Andy Ross. Ross' keen ear and understanding of musical nuances played a pivotal role in shaping the distinct soundscape of "Everything in the Wrong Place."
Speaking about the song Tibbits commented that: “I love writing music but sometimes it is an extremely frustrating process. This song is about channeling that frustration into something productive. Working with Andy was a fantastic experience and I’m excited about the new direction this song takes my music in.”
AJAYE Releases “Growing Up - Live”
Growing Up, the first live video of award winning artist AJAYE’s upcoming acoustic EP Silverline will be released during her second European tour.
The first video of this series, Growing Up, is a sonic, lyrical and visual introduction to AJAYE’s world. The first of seven songs offers a reminder to be kind to oneself through every season of growth because we never stop learning about what it means to be ourselves.
“At some point, we all break free from the stories we believed and begin to write our own,” says AJAYE.
Growing Up was written by Ajaye and Joni Delaurier, produced by Joe Ernewein, engineered and mixed by Steve Dawson at The Hen House Studio (Nashville TN), and the video was filmed and edited by Jason and Chelsea Garriott of Music Neighbors.
Earning a name performing in the Nashville club scene, including regular performances at the legendary Bluebird Cafe, AJAYE is an award-winning artist who has built a solid reputation as an outstanding vocalist and songwriter both in Canada, the United States and Europe. She was awarded the 2019 British Columbia Country Female Artist of the Year, has performed on Today in Nashville and CTV Morning Live, is an endorsed artist with AMI Guitars and Lanikai Ukuleles, and performs regularly across North America and Europe.
Michael Lyon On the Making Of ‘What Could Be’
What was the creative process like for this particular ‘What Could Be?’
This album of 14 songs - from the 25 or 30 recorded - turned out to be about 3 years in the making. By the way, quite a few of these songs were written during the pandemic - a time when it felt (justifiably) like you were risking your life to be spending many hours in the enclosed indoor space of a studio. (Nothing quite like the taste of danger to help you "be in the moment?!")
Most of the songs began their lives while I was sitting on the edge of the bed - often in the evening - strumming a guitar and jotting down potential lyrics on the nearest piece of paper.
Whenever it seemed like there was "something there" worth building upon, I tried not to get too impatient and force things. As a result, most of the songs took weeks to grow into the songs they "wanted to be." That included many return trips to the edge of the bed as each song began taking form, LOTS of rewrites (the title track, "What Could Be," had 24 drafts) and numerous sessions working with the great recording engineer, Paul Horabin at ReadyMixMusic in Van Nuys, California, over a period of weeks & sometimes months for each song. Once a song reached a fairly developed stage, I'd often share the latest recorded version with good friend (and Santa Monica guitar teaching legend) Kit Alderson, for any suggestions he might have about moving lyrics, vocals, instrumentation... up to the "next level."
Which song do you like the best and why?
There's the old and true saying of course that you can't play favorites with your (in this case, "musical") children, but if you're looking for just one, I'd say, "Love" - song #3 on the album. "Love" had a special feeling about it while it was being recorded - working on the vocals, for example, "going for that "Lennon/McCartney" vibe... when listening to the final version I've always liked the energy it has, and perhaps most of all, it reflects what I believe in: whatever success we have in the world really IS based on how much we're able to love each other.
How do you feel ‘What Could Be’ represents your artistic identity?
As with my first three albums, PICTURES, WAKING UP, and CURIOSITY, I think the new one, though influenced by many singer-songwriters who have blazed the trail in previous decades, remains uniquely me. Individually, and as an ebbing/flowing whole, the songs on WHAT COULD BE are true to how I personally view the world: with a mixture of concern, hope, and celebration.
Can you share a bit about your musical background and the journey that led you to where you are today?
From the time my parents woke up the children for school by blasting Broadway show tunes at the crack of dawn on their record player... until admitting to myself that while there are many far-fetched dreams out there, my becoming a songwriter is actually one of those that's actually possible (along with summoning enough self-belief that, "I can really DO this")... and with that, proceeding to start writing and recording songs on a regular basis 12 years ago... to the point that, today, lo and behold, here we go with the release of my fourth album. I can hardly believe it. But if you'd asked me if I'd be able to: get tickets for 9 out of 10 acoustic shows Neil Young played at a 150-seat club in San Francisco... be cast in one of the lead roles in a production of Gilbert & Sullivan's Pirates of Penzance having no prior experience... or take up the violin as an adult (and in the process become lifelong friends with Mozart, Beethoven & Haydn - at least in spirit) I might also at one time have said, "it will never happen - you're crazy." Crazy or not, music has always been, and always will be for me, THE closest thing to the kind of magic that makes life well worth jumping up and down about.
Where do you find inspiration for your songs or musical ideas?
Anywhere and everywhere, high and low - the good, and sometimes the bad and the ugly. When Covid had me laid up in the summer of 2022 - actually, laying down for the most part - on a mattress in the computer room with the TV tuned to the Congressional hearings about the January 6th Attack on the U.S. Capitol, I was grateful to have a keyboard next to the TV that allowed me to start picking out the right-hand melody/left-hand accompaniment for the song, "Justice Day," which became track #5 on the WHAT COULD BE album - peaking of Covid, while there are no words to adequately express the pain and horror at watching how many have suffered and died from that disease, the song, "How Long It Takes" (track #4 on the new album) has been a way of channeling my frustration over how Covid wrecked life as we knew it for a good while, hopefully into something that could provide at least a few minutes of comfort.
Eva Westphal On the Making Of “Adult”
What was the creative process like for your new song "Adult?"
I first felt the spark that became a full-fledged chorus, and I wrote the verses all in the same night. It was one of the fastest songs I’ve written, and I wrote it alone – it felt really personal and healing.
What was the initial spark or idea that led to the creation of "Adult?"
The initial park for “Adult” happened in February of this year, which is historically not the easiest month for me – it’s a time in the year when a lot of old memories and negative emotions come up associated with my past. I had a particularly reflective day, where the realization hit me that my younger self wasn’t strong enough to fight back against what was happening, but my adult self is. I found myself wishing I could go back to her and take care of her. So I wrote the song in less than an hour!
Have you noticed any particular interpretations or connections that listeners have made with this single?
I’ve had quite a few listeners reach out to say they’ve shared “Adult” with their therapist and discussed the lyrics, which feels like such an honor – the song has found a place in their healing.
Where do you find inspiration for your songs or musical ideas?
I find inspiration everywhere – from sunsets and living in New York, to friendships and mental health. I just love when an idea pops in my head and I know I need to make it into a song.
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
I try to just remind myself that I’m not here to get famous, I’m here to help others through any means possible.
Darcy Winter On the Making Of "Save It"
What was the creative process like for this particular "Save It?"
The creative process/story behind “Save It” came from an experience in New York. I was in a new city, alone, and I started talking to a guy in a bar. He quickly divulged that he was a lawyer and started to tell me how little he thought of my career choice, how I would never make any money or be successful etc. I then rejected his advances and his retaliation was to spike my drink. Not only did it not work, it put me in the hospital, where my blood showed positive for opioids. I then had to spend 24 hours being watched over by staff - a horrendous experience. I came back to the UK pretty shaken, but I (after about 24 hours), sat down at my computer and started to write the song. The lyrics poured out of me -I was so angry but also realised how much I had loved NYC and wouldn’t hesitate to go back. It just sort of put a mirror up to a bigger lesson that when these things happen to you, you just have to turn them into something good. And in the end - I actually felt sorry for him (shown in the bridge).
Can you talk about the recording and production process for "Save It?"
After writing in all the instrumental parts to the song, I brought it to the producer that I had used (Ian Janco, a now good friend), who loved the song, and actually brought on another person, Jason Elvin and they tweaked the song and produced it together (Ian was by then based in the US and Jason in the UK), and they really brought it alive.
What has been one of your favorite memories along the path to making "Save It?"
Honestly, being in New York was just magical. The incident itself was of course traumatic, but actually, two of my closest friends who were in the city came to my rescue and literally saved my life. They called the ambulance, stayed with me the entire time in the hospital, checked into their hotel, and didn’t sleep themselves. It really just made me appreciate them and the people around me. I loved working with Jason and Ian on this one - I think everyone gets quite riled up when they hear the story of the making of it, which means everyone wants the song to do well.
Who are your musical influences, and how have they impacted your songwriting style?
Olivia Dean is a big influence, her depth of lyrics and lush jazz chords are just magical, and her energy on stage is second to none. I also take a lot of influence from Eloise, her ethereal voice and melody lines are something I also use in my music. I love the close mic sounds of Billie Eilish and her use of her experiences in a very raw way to connect with her audience. I love the old Jazz classics too.
Your lyrics often tell stories. Can you talk about your approach to storytelling through music?
I have ADHD - so I see things a little differently than other people, things that happen in the world process differently in my brain. Sometimes I find either it’s hard to describe to people my experiences, or I find it hard to understand them myself. When I write music, it seems that I can make sense of it.
Mat Hook On the Making Of “Runaway Road”
What was the creative process like for this particular "Runaway Road?"
As far as the songwriting it's all just a feeling, it's always feeling. All my songs come from the same place, It's a mix of carrying the past whilst looking to the future.
As far as production that's when it gets a bit more light-hearted. Me and Paul Tuffs (producer) just kinda bounced little ideas off for certain elements, just playing around with things until I was happy
What was your favorite moment in making the music video?
From what I remember the 'band' shot was pretty rushed as we had a rehearsal that night for a gig the next day. We did a few takes filmed at Sidney & Matilda in Sheffield.
I probably enjoyed the scenic shots the most, they’re actually all little spots me and a handful of mates chill at some nights and especially did during the lockdowns! So I’ve got an affection for those specific little spots.
Megan and Dylan (video producers) were cool kids to be around too.
Have you noticed any particular interpretations or connections that listeners have made with this song?
He'll be sick of me mentioning it now but a mate of mine, Franny, mentioned that the song felt like it was made for a kinda self-realisation moment in a film and I think that's a great summarisation for the feel of it. I think it has a feel of it’s-time-for-something-to-happen kinda vibe, or maybe it’s time to make something happen! Most people just tell me they have it stuck in their head or find themselves humming it randomly… You’re welcome!
Your lyrics often tell stories. Can you talk about your approach to storytelling through music?
It depends on what you mean by stories? I tend to tell my own story, in a roundabout way. I’m not someone who’s writing objectively about things I see or made up characters or observations etc. and I’m definitely not trying to convey a ‘message’. For me, like I touched on it’s just a feeling inside, a vibe I carry. I’m someone who spends a lot of time in my own head, I’ve always been like that. It can be both good and bad. These days for me I’m in a place where that’s generally good!
What do you enjoy most about performing live and connecting with your audience?
The main thing I enjoy is the energy and it’s always best if it’s obvious people are enjoying it. It becomes a walk in the park at that point.
The older I’ve got the more I like performing live. The gigs I play aren’t as big (currently) or atmospheric as I used to do (in Kartica) but I definitely enjoy them just as much, if not more.
I used to be more self-conscious when I was first starting out. In fact, I’d walk on stage with a kind of confrontational mentality back then... It’s strange in a way cos I feel quite disconnected from those days now. Who I was and how I felt just in general was so different. I can remember them but it all seems very dreamlike. Nowadays I’m a lot more relaxed to the point where often I can spend a gig sorta observing people in the crowd. With that relaxation, it becomes easier to connect with an audience. I think that relaxation comes from lots of experience but also in the realisation that I see myself as a complete chancer in this singing lark. The idea that I could be seen as this serious singer is hilarious to me internally, but the most hilarious bit, is knowing I’m as good as any of them.
Sandra Bouza On the Making Of “Sit By The Fire”
What was the initial spark or idea that led to the creation of "Sit By The Fire?"
The song was initially a very short acoustic ballad that I thought would be a perfect end to the album, in the style of 4&20 by CSN&Y. I was very overwhelmed with life one day, as we have all experienced I'm sure, and one night I picked up my guitar which usually centers me a bit, and I started writing this sweet little acoustic tune about being overwhelmed, and then it just started to expand to reminiscing about times of chaos in my life when I was just moving too fast, living too fast, planning too fast, and all the times people around me were telling me to slow down. The last verse is sort of a summary of what happens when you don't slow down and one day you are left with nothing but chaos.
Were there any memorable or standout moments during the recording sessions for "Sit By The Fire?"
Yes! This song was supposed to be an acoustic ballad, but when we all got into the studio we decided to add SOME instrumentation, the album was recorded live off the floor, so the band was together in the studio for the week tracking the whole record, and when it came to this song, it just didn't work. It kept getting heavy, and we kept trying to drag it kicking and screaming back to soul, or something softer, but the song wanted what it wanted. So finally, we just stopped trying to control, and let it be the awesome soulful southern rock tune that it became, and it is one of my favourite songs on the record!
What did you enjoy most about making this song?
This song really re-enforced for me the idea of letting go of control, and sometimes that's how you get the best results. Working with a group of amazing musicians, with no egos, who are all just invested in making the best product possible and not getting stuck in a box that you designed for yourself and refuse to see out of, even though there might be something really cool sitting just on the other side! It sort of fits in a lot of other areas of life, getting so stuck on a specific plan or idea, that you can't see that maybe the universe has another, better plan for you.
Can you share a bit about your musical background and the journey that led you to where you are today?
I was raised on folk, like Joni Mitchell, Neil Young, and the laurel canyon era, but then I discovered harder music from the same era and got pretty obsessed with Led Zeppelin and Janis Joplin, THEN I discovered jazz and soul and wanted to sound like Erykah Badu, so I was a bit of a confused musical lover, and my last album definitely has more soul pop elements. This album is a bit of a return to my roots, because when I met my producer; Ross Hayes Citrullo, we bonded over the Laurel Canyon era, and our love for that era and music, so this album has a lot of that influence. I still feel that all of those other genres that I love so dearly, deeply influenced my sound, I still love doing cover gigs and getting to sing jazz and soul, but I like to think that I have reached a point in my career where I can amalgamate all those styles but still have a common consistent theme that still remains very "Sandra".
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
Interesting question! I like to believe at the end of the day, that there is a human experience that almost all of us can relate to. I don't however try to fit into all of them or appeal to absolutely everyone, because I don't think you can, and I think people that try to run the risk of losing their own unique voices. So I focus on being true to my own stories, but listening to the stories of others and trying to find that connection. That is the music that appeals to me, is some artist, across the world, from some other place or time in some cases, who is spouting these lyrics that completely and beautifully sum up my experience. I think that is the magic of art, and I want to be a part of that! I also think that authenticity, and being yourself, in a society that does not really encourage that, IS a unique voice! Loving yourself is an act of rebellion in our society. And I am trying to do that every day. I don't succeed every day, but I think being honest about that specific journey in itself, can contribute to some pretty relatable art.
Dansy On the Making Of “Bad Actress”
How does "Bad Actress" reflect your musical journey and growth as an artist?
It took me a while to come back to such a heavy sound, feeling pressured to stick to genres like commercial pop or R&B. But this song feels like coming home to the sound that made me fall in love with music. Growing up listening to Paramore and No Doubt, I always wanted to make music that made you jump around. Something that would have me belting along to it, like I was letting my demons out. It would give me catharsis. Giving myself that permission to go heavy with “Bad Actress” has freed a part of my writing that has been waiting to be set free!
What was the initial spark or idea that led to the creation of "Bad Actress?"
I’ve always been told that my face can’t hide my feelings, and despite my best efforts, my face gives away my every thought. It has forced me into a place of radical honesty that I embrace, and the lyrics came out effortlessly when I was jamming on a riff that I was messing around with. I have a soft spot in my heart for pop-punk and rock that dominated the Australian music scene in the 2000s such as The Veronicas, Rogue Traders, and Jet, and I really wanted to channel that in this song.
What has been one of your favorite memories along the path to making "Bad Actress?"
I’ve been lucky enough to work closely with incredible producer Bailey Judd, who brought my initial vision to a whole new level. It’s hard to pick one specific time that was my favourite, as my memories of making this track fuse together in a blur of laughing fit over ridiculous vocal effects, hyper-active late-night sessions fuelled by energy drinks, and long drives testing mix after mix. It’s a blessing to find someone who understands your sound and make such a safe and creative environment to work it, and that’s what I found with this song.
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
I think it’s pretty easy once you realise that you aren’t special, and anything you’ve gone through, there are people who have gone through it or feel the same. Leaning into that gives you a lot of freedom, and takes the pressure off trying to be profound - and gives so much room for people to project their own story onto your art. Because that’s what it is all about. And people can feel authenticity, whether they consciously notice it or not. So giving the listener the respect of showing up authentic and honest is the most important thing.
Is there a specific song that holds a particularly special meaning to you? Can you share the story behind it?
A song that I always come back to with reverence is “What You Waiting For?”, the first track from Gwen Stefani’s Album “Love Angel Music Baby”. It’s such an amalgamation of genre, taking all of her rock background and redefining it in a pop context. It’s music like this that opens up so many people, particularly girls, into the world of rock. It makes rock feminine, sexy, empowering. Hearing so many contrasting sounds weaved together so powerfully with an aggressive and unapologetic female vocal, and an undeniable groove just set the standard for what I want to be able to achieve. If I can give people the feeling that that song gave me, I know I’m doing what I aimed to do.
Lyia Meta Releases ‘Always You’
Multi-award winning singer, songwriter and exhibited visual artist Lyia Meta has an extremely rare contralto vocal range and a voice that straddles both blues and classical music, but she doesn't stop there. While her deep, resonant vocals conjure the likes of blues pop greats Nina Simone and Amy Winehouse. Lyia has been recognized in a wide range of genres throughout her almost two decade-long career. The obvious standout pairing has been in blues and jazz, but the Malaysian songstress has worked and been recognized in pop, Country music and even the metal world.
Lyia's latest release 'Always You' continues her jazz pop exploration of her take on love, life and fun via a lyrical collaboration with songwriter Denise Dimin. The title track is a sultry, loungey and dreamy song that hearkens to the rat pack days of jazz and blues and is a beautiful preview of what's to come with the EP's release in mid-June and proves why Lyia Meta is so renowned in her field: her contralto vocal range makes her unique, but it's what she's done with it that makes her special.
Lyia shares her inspiration behind this deeply personal new album.
"In my entire career as a live circuit performer and an artist, I have found that being true to myself and my influences is what makes me the artist I am proud to be.
What is uniquely 'ME'?
Who I am is very simply heard in my music!
With the album 'ALWAYS YOU’, the story continues as I attempt to retell the words written by songwriter Denise Dimin through my own experiences and emotions.
ALWAYS YOU is my latest chapter as I continue my musical journey!"
‘Always You’ is out on streaming platforms
Sanjay Michael Releases ‘Rocking Into Midnight’
Much like mainstay genres like metal and punk, Rock music is always alive in the hearts and minds of those who believe in its sacred lineage and power to inspire. Singapore Rock Singer Songwriter Sanjay Michael is one such artist, carrying the torch of rock n' roll and finding new ways to express it's unrelenting, joyous energy to new audiences. Sanjay's fist-pumping signature sound revolves around electrified blues and rock influences.
Sanjay's appropriately titled new album "Rocking Into Midnight" is a modern rock n' roll tour de force, showcasing his love for the greats and passion for further evolving the beloved genre. Grooving with ample hooks and all heart, "Rocking Into Midnight" is a must-listen for rock music enthusiasts.
Sanjay opens up about the inspiration for the new album as well as his lifelong love of all things rock.
"I sought to recreate the kind of 'monster' albums that I listened to when I was younger - a large collection of hit singles that were carefully curated and arranged so that the album was a journey in itself. I worked with both the keys and the sonic textures of each song so that as you listen through, each new song is a pleasant surprise.”
Chris Caulfield Releases “Antigravity Mind Chamber”
Renowned artist Chris Caulfield continues to captivate with his groundbreaking projects, and his latest single "Antigravity Mind Chamber" is no exception. This mesmerizing track marks the third release from his highly anticipated album "Catharsis," set to redefine the boundaries of modern music.
"Antigravity Mind Chamber," the latest offering from Chris Caulfield, delves deep into the tumultuous world of emotions and experiences. The song vividly portrays the intense feelings of dissociation, adrenaline, and the physical effects of anxiety and anxiety attacks. Sonically, Caulfield meticulously recreates the chaotic nature of these moments, enveloping listeners in an immersive soundscape that reflects the raw intensity of the emotions portrayed.
Ideal for enthusiasts of Palaye Royale, Layto, and Jake Daniels, "Antigravity Mind Chamber" promises an exhilarating journey through Caulfield's artistic vision. With a fusion of electrifying melodies, evocative lyrics, and dynamic instrumentation, the song emerges as a powerful exploration of the human psyche.
"Antigravity Mind Chamber" is set to release on all major music platforms. Fans and music aficionados alike are invited to embark on this sonic adventure, as Chris Caulfield continues to redefine the boundaries of contemporary music.