Bjørn BARock On the Making Of “Stell mir keine Fragen”
What was the initial spark or idea that led to the creation of "Stell mir keine Fragen?"
I played around with a synthesizer and came up with the theme at the beginning ... and then i came up with the story.
The story didn't happen in real life - at least not for me
Were there any memorable or standout moments during the recording sessions for "Stell mir keine Fragen?"
This track was one of the first where i did everything on my own until the mixing and i tried different things with instruments and learned a lot more about pre-production.
What impact do you hope "Stell mir keine Fragen" will have on your audience?
Most of us woke up hangover once and this track is a friendly reminder what happens when it's too much.
It's just a fun song in the end. Like "Das Bier in Mir" from my first album.
Can you tell us a bit about yourself and how you got started in music?
I started to play drums when i was a kid and when i became 13, i started to play guitar and wrote my first song.
After that, i played in a band and wrote more songs but we stopped our band project and i moved to Switzerland and started to work.
Now, 18 years later i have a family and today i have the possibility to create music from home. I love what i am doing and my daughter was the reason for me to get my songs on Spotify back in 2020/2021. Then, more people started to like it and i released my first album 2021. Now 2 years later, the journey continues and this track is the second of my new album "Sturm aufs Paradies" - so more songs will follow soon.
I write my songs on my own, play guitar, drums, bass, keyboard and so on. I record everything at home and send it then to the producer from Powerplay Studios. They do the mixing ;-) I am always open to try new things and did already for this album.
Who are some of your biggest musical influences, and how have they impacted your own sound?
German punk rock bands, every sound i heard when i played Tony Hawks Pro Skater on my Playstation when i was a kid ... I am a 90's kid so Metal, Rock and Punk: always welcome :-)
My biggest influences as a musician came from Phil Collins, Michael Jackson, Freddy Mercury, Meat Loaf and Jack Black. I also had a lot of friends who only listened to Hip-Hop and i also began to join them. Music has no limit. That's my opinion.
I was inspired all my life by several artists. And i will continue exploring and mixing genres.
Sandmoon “Wake Up” - Review
“Wake Up” swirls into a driven psychedelic dream-pop sensation. Urgent, expanding, and timeless. Originally written on a piano during a time of political unrest, “Wake Up” calls out to the awakening of spirituality and consciousness. The energetic guitar uplifts the heavy feelings in the piano and turns up the tempo. Although the beginning of the music video sets its tone in a black-and-white world, the music seems to have enough color and light that guides lost souls.
It’s interesting how the short piano passage in the bridge reminds you of the theme of Westworld. Like the moon that has turned around, exposing the other side of the sphere, it carries a certain emotional stillness that again strikes the conversation about consciousness.
Sandmoon is a diverse band with great potential. Writer, lead-vocalist Sandra Arslanian is a Lebanon-born Belgium-raised with Armenian root. “Wake Up” showcases the versatility and expressiveness of her vocal, but her past projects have seen her wielding similar mood-filled indie rock passages as if coming from a PJ Harvey song. She also presents an otherworldly purity when going into a more spiritual direction in the music making.
Although the band Sandmoon mainly explore a rock-infused indie-pop soundscape, a hint of middle-eastern mystic can be found in details. Sandmoon’s music is never aggressive though at time can be intense and stormy, brewing a sultry, tempered, melancholy sensitivity. It feels like summer, but through a mood-filled filter, like something you’d see in a film. It’s impressionistic with great aesthetic.
In the interview, we talk with Sandra Arslanian about the social context, creative process, and collaboration behind “Wake Up.”
Punk Head: I’m absolutely fascinated by the depth and openness behind “Wake Up.” You mentioned that the song was written during Covid-19 lockdown, after months of protests in Beirut. For our audience who are not familiar with events in Beirut, can you shed more light into the social context behind “Wake Up”?
Sandra Arslanian: These past two years have proven to be quite harsh worldwide and extremely so for Lebanon. End 2019, the financial bubble burst, exposing Ponzi scheme, corruption and general mismanagement of the state. It was the start of the country’s descent into an abyss – out of which we don’t yet see any way out. The August 2020 explosion further aggravated the situation.
There is no state electricity, no water, banks have ‘hijacked’ people’s life savings, medicine is hard to find, prices have soared, there are 4 different exchange rates to the dollar, the poverty rate has never been as high…
PH: Following up with the first question, what was your personal journey/reaction towards what was happening in Beirut that was then being manifested into “Wake Up”?
SA: It’s very telling the way you formulate the question - how was it “manifested” into “Wake Up”? Usually, the way I write lyrics is through automatic writing. I don’t make a plan, scheme it out or think of a subject then write a text. I start with a word or two, then a stream of words follows, which I only touch up slightly afterwards.
When I wrote “Wake Up”, things had only started to look gloomy. We were still full of hope after months of protest that had started in October 2019.
I still believe in an awakening, I do feel that mentalities have changed, that a portion of the population, a portion of the youth opened their eyes and now reject the sectarian, clientelist, feudal system Lebanese politics is built on. The results of the May 2022 polls show a move in the right direction, but not enough to bring down a corrupt system.
However, ‘Wake Up’ is not only to be understood in this ‘socio-political’ context. It is also about spiritual awakening, the path to knowing thyself and to be true to who you are.
PH: How has the choice of instrumentation, genres, and musical aesthetics played a part in vocalizing what you aim to express?
SA: I originally wrote ‘Wake Up’ on the piano. It had been a few years I hadn’t written on the piano, preferring the more jangly and feisty sound of the guitar. I suppose I went back to my first instrument- the piano, like going back to the source to express the notion of awakening.
However, as part of the upcoming indie pop/rock album, we thought it would sound better if we replaced the piano with glittery synths. And the rest followed. Sam Wehbi added his slashing guitars, Georgy Flouty his groovy bass lines and Dani Shukri a mix of electronic beats and dynamic drums. And, Marwan Tohme, the producer was essential to shaping up the song in terms of sound and texture.
PH: The film director shared his interpretation of “Wake Up,” as he said, “Suffering stops when we open our eyes.” What’s your take on his interpretation in shaping this project?
SA: Salim Mrad, the Director, is very sensitive to the notion of spiritual growth and awakening, as well as politicalactivism. I think the song struck a chord.
There is a line in the song that says: “Be well, be you, it’s all in the mind then you heal” – I suppose it’s in the same line of idea as his quote.
Awareness is indeed a path to healing. I think both the song and the video try to convey this. In the song, we are invited to open our eyes. In the video, we are helped in the process by caring and kind feminine figures. Then we can discuss the role of women… but that’s another subject. 😊
PH: As a musician and a filmmaker, is there something particular you’d like to achieve with your art making?
SA: It’s a difficult question to answer without sounding too grand, but I’ll try to.
I don’t write a song thinking it will achieve something, but rather because I feel the urge to express myself. There is a cathartic, transformative power in music and singing which are, I believe, unequalled in any other discipline. And I think it is true for the performer as it is for the listener. To be able to share the experience with as many people as possible is something to look forward to.
Filmmaking on the other hand might serve a more pragmatic goal of conveying a message or portraying a concept through storytelling using an analytical lens (documentary) or an artistic one (fiction). My work as a filmmaker has been limited to commissioned documentaries and corporate films.
Electronic Muisc Producer Max Selby Launches New Single ‘Infinitum’
Electronic Music producer Max Selby makes his solo artist debut on Dutch based record label Click Records, founded by Lake Avalon and Stefano Richetta. Whilst releasing and performing as a duo for over 6 years, this marks Max’s first independent release that catapults the start of a long artist career ahead of him.
Whilst pursuing his new sound path in Indie Dance, Max releases this emotive and driving two track EP which pays homage to his roots in Melodic Techno and Progressive House. “Infinitum” and “Renatus” which translates directly to Infinite and Reborn, captivates his emergence as a new force in the world of arts and sound creation, and also gives reference to a new and exciting venture Max is working on behind the scenes.
Whilst the lead track “Infinitum” gives a sense of impending doom with its larger than life driving leads, “Renatus” nicely compliments this track with its use of groovy drums and pluck sounds, to highlight the light at the end of the tunnel, and in Maxs case a re-emergence of his passion for electronic music, and optimism for the road ahead.
This is only the beginning for Max as he emerges onto the Electronic Music scene with a renewed passion for groovy and driving sound design, since becoming heavily inspired and influenced by the new wave sounds of Indie Dance. Pioneered by some of his favorite artists Mita Gami and Adam Ten, Max seeks to hone in his production and performance skills to find his unique home and place in this re-blossoming genre. This gives both Max and his listeners anticipation of what lies ahead in his journey into the future as he carves out his own sound.
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.
Micah Sheveloff On the Making of “Stand Me Up Again”
What was the initial spark or idea that led to the creation of "Stand Me Up Again?"
I was working with a musician who was battling addiction and when you are side-by-side and in close quarters with such suffering, it leaves an impression. I actually pulled some of the lyrical content from phrases I heard through the haze. It is hard to care for someone in such a state of disrepair. But there was also fight and determination and a will to make tomorrow better. The song intends to portray that battle, that journey.
Were there any challenges or breakthrough moments during the songwriting process for "Stand Me Up Again?"
That’s a tough question because so much of the writing process for me takes place on a nearly subconscious level. Writing any song by nature represents a creative challenge but Stand Me Up Again was born of so much raw human experience, I found my way through the composition without too much struggle. The challenge for me was singing this song, which was originally released as Stand Me Up in 2012. I really wasn’t satisfied with many aspects of the original vocal, hence the remix here in 2023. The new vocal is based on experience I have gained singing my songs—how to use my range and my natural inflections as a strength. Only took me a decade to get there!
Can you talk about the recording and production process for "Stand Me Up Again?"
In 2012, I recorded Stand Me Up with a live band (Bass/drums/guitar) to 2-inch tape at the beautiful Firehouse 12 studio in New Haven, CT. I was fortunate enough to play a very rich sounding and dynamic 9-foot concert Steinway piano there as well. So, the 2023 remix features all of that instrumentation with some very subtle, newer effects and the new lead vocal.
What inspired you to pursue a career in music?
I was drowning in music directly out of the womb, with both parents having attended the School of Music & Art in upper Manhattan, New York City, and my father teaching serious musicians at Boston University for 45 years. Then I got religion when I found the Monkees, the Partridge Family, the Beatles, and Cheap Trick. I got super excited about merging my creative sensibilities within the framework of a pop song, and never looked back.
What do you enjoy most about performing live and connecting with your audience?
I am so envious of my singer/songwriter friends who play guitar…they throw a little package together and off they go! Being a pianist, live gigs require more planning. Can I find a venue with a piano, or do I set up an 88-key rig and play that way? And sound quality matters to me…But to answer your question, there were some gigs I did with guitarist Marc Shulman from New York, who toured with Suzanne Vega and others. His playing was so exceptional, it added another dimension to my songs and to the live experience. That was my favorite live groove, but I haven’t sought to recreate that or do any touring since the pandemic.
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.
Lissy Taylor Releases “Feel for Me”
“Feel For Me” is for thrill seekers. Earth shaking rhythm and monumental drops; a rollercoaster of emotion from anticipation to euphoria. Contrasting an introspective verse to a massive chorus with fiery guitar riffs and powerful vocals made for the mosh pit. Written to be three and a half minutes of ecstasy.
Lissy explained that the song is about relationships and the journey they take, from starting a new relationship to feelings of wanting to be understood and questioning if a relationship is right for you. “Feel For Me” captures the intensity of emotion felt at different stages of relationships from anticipation and desire to frustration and heartbreak.
“Feel For Me” was written by Lissy Taylor and produced by Gareth Nuttall (The Lottery Winners, The Ks) The accompanying music video showcases Lissy’s recent performance at the Isle of Wight Festival.
Delving into rock with “Feel For Me” highlights the fluidity and strength of Lissy’s songwriting. With a natural ability to write addictive anthems, her songs range from indie-pop to alternative-rock and will appeal to fans of Sam Fender and Wolf Alice.
Alex Kate “Sober” - Review
Deep in the night, when the city is asleep, the dizzy and warm feeling of wine stirs an unexpected sparks of romance. Between reality and dream, all senses and feelings are heightened. “Sober” takes you to that vague, sensuous state of love, fusing retro drum and 80s’ sensation into her luscious voice and alluring storytelling. Between night and light, joy and fear, the aroma of romance is in the air, bouncing against racing heartbeats. “Sober” is more than ever delicious.
The duality of fragility and intense desire dissolve into the airy, mood-filled soundscape. Alex Kate’s vocal beats between stirring drums. In the song, there’s a raw, impulsive desire that makes you blush, but there’s also that lip-biting bubbling of nervousness that comes with it. “I want to kiss you when I’m sober.” Kate actually said it to her friend in real life, and the song revolves around the line. There’s clarity in that dazzling state of feelings, and from a primal intent drifts into real romance. “I want to kiss you when I’m sober.”
Read our interview with Alex Kate below where we chat about the story behind “Sober.”
Punk Head: I love the poetic style and retro aesthetic in your songs. Where did you find the inspiration for “Sober?”
Alex Kate: “Sober” is a funny story. Lyrically it was written after a night out at some wine farms in south Africa where there was vibes going on with a friend of mine. But I knew from experience I needed to wait till the cold light of day. So I whispered in his ear, “I wanna kiss you when I’m sober.” The next day I wrote the song from start to finish in the car next to him. Sonically, I decided to move away from the Kate Bush, Fleetwood Mac sounds of my last EP and move more towards another influence of mine, Christine & The Queens. I love evolving and experimenting. Daniel Newcombe my producer, did a fabulous job with it.
PH: What do you like the best about this track?
Alex Kate: I love the sonic atmosphere, it feels like a late night early morning song, I also love the bridge, as it expresses the feelings I have often—“I've been here before.”
PH: What motivates you as an artist?
Alex Kate: I love writing and feel satisfaction just playing any new songs to one person. But since I have been gaining more of a following, I love meeting the different people who connect with my songs. I just had a gig in Norwich and loved meeting all these new people and hearing their stories and their dreams. I love encouraging people to go for it.
PH: Who are your biggest influences?
Alex Kate: Kate Bush, Fleetwood Mac, Christine & The Queens, 1975 and would love to write an album as good as Michael Kiwanuka.
PH: What would you like to say to your fans out there?
Alex Kate: I am so grateful for every one of you.
2 Libras “Heart On” - Review
You probably have not heard anything like this before you turn on the volume of “Heart On.” Searing sonics coiled in a seemingly cold, electronic exterior, while the sizzling, monstrous fuzz swells and flashes, diffusing into their darkly alluring sonic installment. “Heart On” sees 2 Libras sonically and sensuously tackles futurism in their sonic landscape. Impressionistic, drastic, and seductive, “Heart On” evokes such strange combination of audiovisuals in your mind, engaging with all your six senses. Their silhouette sonic palette isn’t something you’d hear everyday.
“Heart On” paints a mellow ominousness. Hypnotic beats set the tone for a minimalistic, however drastic backdrop, while the vocals are sinisterly stirring and alluring. The track calls for deeper expression and human connection in a world that seems more and more like a colony of technology. 2 Libras urge listeners to reconnect with their heart, mind, and body, instead of letting internet/technology takes control of your perception.
“Heart On” is the second single rom their forthcoming album World’s End. In our interview below, we chat with Wesley and Jewels from 2 Libras about the single and what differentiates them as a creative collective.
Punk Head: I love how you blend different elements and colors in “Heart On." Is there a specific aesthetic on your mind in the creation process?
Wesley: For “Heart On,” I wanted to write a cute but sexy love song to my wife. It felt a little innocent but also bratty with tongue-in-cheek humor. The pun can feel so juvenile but instead is the perfect representation of my youthful public display of affection.
Jewels: I immediately wanted to add some groovy elements to the music that'll make you want to walk down the street and strut your stuff when you listen to it.
PH: What are you most proud about this track?
2 Libras: We're most proud that we made it happen. This was one of the first songs that we were conceptualizing when we first started the band but we weren’t happy with it until we could get it just right. We're also proud how the music video came out. It's the perfect representation of how comfortable we can be with our artistic expression even when we know other viewers, listeners, and the music industry itself may not understand us at times.
PH: Can you tell us more about you as an artist?
2 Libras: We don’t ever want to be boxed in to any one label or genre. We like to mix it up and try new things. It keeps it fresh and fun forever. We like to encourage everyone to be their authentic self too.
PH: Who are your biggest inspirations?
Jewels: The Kills, U2, Bjork, Pearl Jam, The Black Queen, Tycho, Minuit Machine, IAMX, Trevor Something.
Wesley: Nine Inch Nails, Failure, The Faint, Aphex Twin, The Beatles, LCD Soundsystem.
PH: What would you like to say to your fans out there?
2 Libras: In the dark times that we’re living in right now, be the light. A smile and some kindness can make a world of difference for someone’s day. We love you all and hope to see you at one of our next shows.
Daniella Binyamin ‘Abba’ - Review
“Abba” opens with tenderness and immediacy. The exhilarating track drags listeners into the storms of emotions as Daniella Binyamin’s intimate and soulful vocal shimmers between worlds. Somewhere dark pop, somewhere exotic. Somewhere urban and somewhere rural. The quietness and atmosphere of the night with eclectic energy of the day. “Abba” showcases the unpredictability and versatility of Binyamin as a songwriter. And in her debut EP, Abba, she dives deep into the personal, innermost thoughts as well as exploring the world around her—a flamboyant and vibrant view doesn’t come around often.
“Abba” is a gateway to Binyamin’s sensitive and emotive inner world. It’s a way for her to face up against negative emotions and straighten out the entangled threads. Poignant, poetic and read like pages from a diary, the songs in Abba is brutally honest and most hard-hitting. “When I wrote ‘Abba,’ it was only my voice and a piano. I was angry and sad, and felt left behind by people I loved,” Binyamin confessed. “When we later started to arrange and produce the songs, I realised how much I needed to write it, in order to move on.” But the process is also how she finds closure and courage to move on. “For every tangle that was straightened out, I became more and more fearless and convinced I was doing what was right for me.”
Abba is therapeutic to Binyamin, but to its listeners, it brings a tear-filled and honest experience. The songs take listeners on a long scenic trip filled with introspective moments. In Binyamin’s lyrics, they find a piece of themselves that is missing. And in her sonics, they begin to understand feelings that have escaped from the busy life.
“All That Good” is a theatrical and revealing. It’s scenic road trip while thought provoking. It awakens the distant and most intricate emotions inside your body, while the lofi soundscape meets her haunting humming is then blended with a soulful trumpet. It’s something that can’t be put down into words, but you know that’s the moment that’d get stuck in your head.
“Grand Hotel” feels like The Cranberries meets Paramore. With emo punches, driven rhythm and cathartic but sensuous vocals, the track creates such a vibe. While “Out of Fuel” makes a darker impression with all its allure and mystic.
The Familiar On the Making Of “Starry Eyes”
Can you tell us about the inspiration behind "Starry Eyes" and the story it tells?
”Starry Eyes" is about self-discovery and resilience. Sometimes, one’s life and work can seem like a boat traveling through the ocean, leaving a temporary trail in the water that eventually disappears as if it was never there. The marks we make in life, however, ripple further outward more often than we realize, and if one is true to one’s path, there is always the possibility that they will merge into something greater.
The chorus reflects a determination to overcome challenges and not be weighed down by external influences or the past. It celebrates empowerment and personal growth, as the song’s protagonist chooses to shed unnecessary burdens to move forward in life.
Were there any challenges or breakthrough moments during the songwriting process for "Starry Eyes?”
We mainly work from opposite sides of the Atlantic, but we happened to have been in the studio in northern Norway when Mads started playing around with some synth ideas. Ruth heard both the melody and the lyrics for the song, and she started jotting it down. We immediately started recording vocals because we didn’t want to lose the momentum. It was actually a unique experience for us, because it was probably the fastest song that we have ever written together.
Have you noticed any particular interpretations or connections that listeners have made with "Starry Eyes?"
We've been thrilled to see how "Starry Eyes" has connected with listeners. It is moving to hear from fans both old and new. Particularly now, it seems like a lot of people are trying to find resiliency, and figure out who they are and how they want to live, and we feel similarly.
Where do you find inspiration for your songs or musical ideas?
Our sound is a unique blend of personal experiences, observations, and introspection from both of our hometowns—edgy New York City meets Arctic Norwegian landscapes.
What are some of the biggest challenges you have faced as musicians, and how did you overcome them?
Our biggest challenge is living in different countries and in different time zones. Maintaining strong communication and staying connected while giving each other space to create is part of the magic that drives us to continue to develop our sound. Sometimes life gets in the way, but we always seem to find our way back to The Familiar.
Emmanuel Carlos St. Omer On the Making Of ‘Radical Son - Back to Roots’
How does 'Radical Son - Back to Roots' reflect your musical journey and growth as an artist?
ECSTO: ‘Radical Son – Back to Roots’ for me is like coming full circle as an Artist and a Songwriter. Growing up in St. Lucia, West indies where I was born, I was exposed to many genres of music from a young age. The hits coming out of the UK and the US took precedence over the local and regional tunes out of Trinidad and Jamaica especially. So, while I had a desire to understand and emulate the techniques of Rock, Pop, RnB, Christian & Instrumental, which I have done with a good degree of satisfaction (view Emmanuel Carlos St.Omer on Spotify), I always wished to create my own journey along the pathways of artists such as Bob Marley and Peter Tosh whose messages in songs, touched, moved, and shaped lives in positive and conscious ways. ‘Radical Son – Back to Roots’ has done just this for me. It has allowed me to present to the world my take on Reggae music with relatable and though provoking lyrics. A labor of love, and a dream come true.
What was the initial spark or idea that led to the creation of 'Radical Son - Back to Roots?'
ECSTO: Listening to Peter Tosh’s “Fools die for want of wisdom” & “Pick myself up” inspired me to take a crack at writing songs through observant eyes of one who lives a conscious, down to Earth life. That’s how “Jah the Mastermind”, 1st. song I started writing for the album was born. However, halfway through writing the song, I got the terrible news that a close friend of mine was gunned down in a drive-by shooting. I had just seen and spoken to him hours before. It took me less than an hour to write “Another name in Heaven’s Journal” because of the shock and pain it caused me. Later, I found out that my friend was set up by those whom he trusted and so I also wrote “Iron sharpens Iron” which refers to friends raising up instead of bringing down friends.
Were there any memorable or standout moments during the recording sessions for 'Radical Son - Back to Roots?'
ECSTO: As a matter of fact, yes a few. Since I don’t suffer from the stagnancy mental block can cause, one time when I got stuck for lyrics while writing “Iron sharpens iron’, I remembered my visit a few years ago, to Bob Marley’s house in Kingston Jamaica, the place where assassins attempted to take him out. The most striking thing I could remember about his bedroom, was an open Bible on his bedside table, the source of inspiration for many of his songs. So, I opened my Bible to find relevant quotes I could use for me song and they worked flawlessly. When I wrote “Good Woman” it was my interpretation of the caliber of woman Marley wrote about in “No woman no cry”. And when I wrote “it’s still a Wonderful World”, instead of being stumped for ideas and wasting studio time, I reflected on past iconic greats such as Martin Luther King, John Lennon, Louis Armstrong, and Paul McCartney to name a few, for inspiration.
Where do you find inspiration for your songs or musical ideas?
ECSTO: I partly answered this question previously, but honestly, it’s the toughest and saddest question to answer. Prior to 2018, I was what you might call an occasional writer, releasing one or two good original songs per year. On January 20th. of that year, I lost my 18-year-old son Brandon in a car accident and that opened an ocean of heart wrenching pain I never knew before. I could have drowned that time, but instead it ignited in me, emotions, inspiration, and numerous songs thereafter. My musical ideas come from the library of music imbedded within my memory and soul. ‘Radical Son – Back to roots’ is my favorite project, but I’ve also experimented with multiple genres, of which instrumental music is my second best. I usually prefer to write from experience because it’s quicker, easier and definitely more accurate.
What has been the most memorable experience or achievement in your music career so far?
ECSTO: There have been some memorable moments, like the time my song “Blame Me” was awarded the Song of the week on Belta Radio in the UK; Being the first double finalists in the Commonwealth Song Contest; Collaborating with Billboard #1 charting Kenny Lamb (Justin Timberlake, NSync, Take 5), during a visit to Nashville; Cutting Crew (I just died in your arms tonight) covering one of my songs; Winning 1st. place in the Christian Category of the Great American Song Contest, with my song “Covered”; Reaching the semi-finals of the FMC (Film Music Contest) in Europe with 2 of my instrumental pieces. Having songs featured on 14 compilation albums: Releasing 10 albums of original music on all leading sales and streaming platforms since 2018.
NSOV Vaine On the Making Of “Hurting”
Can you tell us about the inspiration behind your single "Hurting" and the story it tells?
I had a broken heart for a long time and i got really tired of it. It got to a point where i got so frustrated with this mindstate i was in, that i tried numbing myself with ignorance. "Hurting" is supposed to highlight that frustration and twisted motivation one might experience through a broken heart. Being tired of feeling down is one hell of a motivator and it can bring out some truly ignorant parts of oneself.
Could you discuss the lyrical themes or messages conveyed in "Hurting?"
When i wrote the song i wanted it to feel like the listener is experiencing this concept through my eyes instead of me just telling a story. Its supposed to feel like youre listening to someones inner monologue while theyre going through it. There isnt really a message in the song, its more like a reminder that a broken heart doesnt nessecarily lead to sad feelings but also ignorance, anger, and maybe even motivation.
How does "Hurting" fit into your overall artistic vision and what can listeners expect from you in the future?
"Hurting" kind of connects whatever my previous music was like and what it sounded like, and what my upcoming music sounds like. I think its a great mix between my two most prevelant styles: hard beats, ignorance and real lyrics mixed with melodic vocals and heartbreak. Theres definitely lots to look forward to.
Can you tell us a bit about yourself and how you got started in music?
I think i was predestined to become an artist although it was never in my plans. Growing up i always sang along to music and paid attention to very specific things in songs and their production but i didnt start actually getting into music until i was maybe like 12. Thats when i discovered 'fruity loops' and started to get into beat making. I was a junkie for new knowledge and spent many many days and nights learning how to produce music. I really started making beats when i was about 14 years old, spending hours on end on learning and practicing my skills. When i was 16 i wrote my first song for fun, it was more satire than anything but alot of people told me it was good so i figured id just keep making songs. Fast forward another couple years and i started actually taking it serious and try being an artist when i was like 19.
Today i'm 24 and i feel like im just now getting started forreal, everything before this was practice.
Are there any specific artists or musicians you dream of collaborating with?
I dont really dream about collaborating with anyone, because i just love so many artists and listen to so much different music, i wouldnt even know who to pick.
But if i had to choose, i would probably say tyler the creator. The man is a genius all around and i can tell by the way he makes his music that he looks for a lot of similar things as me in a good song. Starting with the musical choices he makes, the chords the melodies, the genre influences, to the theme of the song and the lyrics themselves, even the mix. Im fan-girling here a little but thats my answer; i think tyler would be my dream collab.
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.
Enda Mulloy On the Making Of ‘NOTIONS IN MIDLIFE CRISIS’
Can you tell us about the inspiration behind your album 'NOTIONS IN MIDLIFE CRISIS' and the story it tells?
The album is an exploration of our lives on pause. Lockdown gave everyone the opportunity to reflect, and that meant that people had to face their daily realities, their relationships, their jobs, their living situations in a way they never did before. We're a society living on autopilot, this album is a focus on people developing notions in the midst of crisis.
How did you approach the arrangement and composition of the music for this album?
Through solitude and melancholy mostly. I put a great emphasis on the lyrics, and the message the songs portray. I felt that it was important to compose the songs in a way that reflects change, and deliberately I have added the occasional chord change to reflect a change in the mood in the song. I never sat down to deliberately follow a pattern - although it's clear there are patterns - I just wanted the song to follow the story. In Production Michael Smith and I experimented so much with the songs, and nothing was off the table in terms of ideas. It really was a liberating approach to the art.
Were there any memorable or standout moments during the recording sessions for this album 'NOTIONS IN MIDLIFE CRISIS'?
Quite a number really. Being open minded about the recording was in itself a stand out theme of the recording. Twice guitar player friends of mine were in the studio when I was recording, Ed Bennett and Omar Riaz Meléndez, both times we asked them to put some guitars on tracks, and both guys played absolutely brilliantly adding more to the album. This is an example of us just going with the flow on the album, and not trying to shoehorn things, or conform. Conformists are Lemmings and who wants to be a Lemming!?
What role do you feel emotions play in your music, and how do you channel them into your performances?
The entirety of the album is based on emotion, and how modern life, relationships and personal struggles affect every aspect of our lives. I think all music is based on emotions anyway, the level of emotion depends on the depth of the lyrics and the texture of the composition. I have certainly allowed a lot of introspect into the songs, and while there are a lot of observations, the standpoint of all the songs come from a feeling within.
What are some of the biggest challenges you have faced as a musician, and how did you overcome them?
Time is definitely the biggest problem all musicians have. Embarking on a career in music is certainly not for the faint hearted, it takes up so much of your time, and the knock on effect is challenges in family life and trying to maintain a functioning relationship with someone, it has certainly been a rollercoaster for me with that regard. Weekends aren't family time, they're overtaken by the gigs. I would say however, musicians rarely quit music, I've seen them try and fail which is both telling in terms of the character you have to be to be in this industry, but also how much music infects the soul in a positive way.
Glenn Valles On the Making Of “The Warden”
Can you tell us about the inspiration behind "The Warden" and the story it tells?
Mental health is quite a concern these days and is a subject that goes unspoken, more often than not. I’ve read quite a few articles about people suffering from different kinds of mental traumas and how badly it affected their lives. As a Songwriter, I thought, the best way I could do something to make people aware of this affliction, was to write a song about it. "The Warden" is actually a Sequel to another song I wrote called “A Troubled Mind” which dealt with a similar subject matter. That song was nominated and won the Clef Music Award last year.
Could you discuss the lyrical themes or messages conveyed in "The Warden"?
This song is about how we sometimes find ourselves “a prisoner of our own mind” because of certain circumstances. “The Warden” is a metaphorical reference to such a situation. This song was written to create awareness of the importance of mental health in these challenging times we live in and also to encourage people to seek help. That’s why the opening lines of the 1st Verse of the song start with a cry for help:
Help me breakout of these shackles
And find freedom from these chains
The metal ones don’t confine me Lord
But the ‘mental’ ones chain my brain!
How did you work with the producer or engineers to bring your vision for this song to life?
I sent the Demo I recorded in my home studio to the producer and conveyed my vision of the song to him. Production is an extremely important factor as it can make or break a song. Therefore, I drew out a detailed pre-production note which had very specific instructions with regard to the genre, the type of vocalist including background vocals, instrumentation, arrangements and production ideas I had in mind for this song. After that, I periodically kept a check to see if everything was on track, suggested changes when necessary, till I finally got what I needed.
What has been the most memorable experience or achievement in your music career so far?
There have been quite a few of them. In April 2022, my song “Karma” won the Great American Song Contest award for ‘Outstanding Achievement in Songwriting’ in the Alternative Rock category. Earlier this year my song “Looking Up To Heaven” which I had written as a tribute to my late parents, Edmund and Clothilda Valles’ legacy of love, won the
UK Songwriting Contest in the Country Category. Just last month this same song, also won India’s Clef Music Award. This is the 3rd year in a row since its inception that I’ve won the Clef Music Award – which is quite an honour.
How do you continuously grow and evolve as an artist?
Being a Songwriter who writes in multiple genres (Blues, Country, Pop, Rock, Reggae, Hip-Hop, Rap, EDM, Praise & Worship & a few more), it is quite challenging, since I have to try and nail both the Lyrics and the Melody for each Genre. I try my best to study the elements that define the Genre that I write in, so it’s always a constant learning process for me. I’ve also experimented with a ‘Fusion of Genres’ so to speak, with
“A Troubled Mind” which is a blend of Blues, Rock & Rap. There’s also another song I wrote called “King Of The World” which is a blend of Reggae, Rock & a bit of HipHop. Reviews and feedback help a lot, so it would be really nice if your readers could visit my Instagram account @the_songcrafter or my YouTube Channel Glenn Valles Music and listen to some of my work. I would love for them to write back and tell me what they feel about my songs. Feedback matters to me and will help me grow and evolve as a Songwriter.
e-mail: glennvalles@yahoo.co.in
Robert Silvester On the Making Of “Secret Obsession”
What was the creative process like for this particular single "Secret Obsession?"
The creative process for “Secret Obsession” felt long, we changed so much added bits removed sections. Its morphed into a much better song. I think it was after we added a brass section as a bridge that it really started to work. It gave it this retro/soul feel which I love. After that Rowen spent days recording backing vocals which in their style gives it a haunting edge. Then we added city noises and traffic, I particularly like the taxi beeping its horn at the end. Rowen is such a talented musician, song writer and artist, they are also in Trummerkind and write all the songs for the band. I couldn't or wouldn't make any songs without them just wouldn't be as much fun, Rowen is the maddest person I know, I love that lunatic.
How did you approach the arrangement and composition of the music for "Secret Obsession?"
Both Rowen and I were on the same wave length, I knew exactly the sound and feel I wanted for “Secret Obsession” and I had already written the lyrics, we eventually removed a verse to allow for the brass section.
I recorded the vocals on my phone with no music and emailed them to Rowen, within 2 days the original music was made. Then the long recording, rerecording, deleting, adding a backing track, backing vocals , frustration, tears, laughter and finally when it was ready it was sent to Duncan Chave to remix and master.
How did you work with the producer or engineers to bring your vision for this single to life?
Duncan Chave is a legend, he always knows exactly what we want or what a song needs, he does all the remixing and mastering for Trummerkind, Im the drummer in that post-punk band check us out on Spotify. Duncan really gets the bands sound, so when it came to mixing and mastering “Secret Obsession” he was the obvious choice, he sent me the first master and I was like thats perfect and we released it. Find the right Sound Engineer and listen to their advice, we were so lucky to find Duncan.
Where do you find inspiration for your songs or musical ideas?
I get inspiration from day to day life, something someone says in passing can start the writing process in my mind. “Secret Obsession” was inspired by and written for a dear friend of mine called Chelsea, we were just chatting about wanting a coffee and how cool it is to live in a city by the sea and to just walk about and drink coffee. Next thing Im frantically writing lyrics and creating a story in my mind. After I wrote I want to walk with you in your city by the sea it felt like it should be a song about longing, wanting and unrequited love then “Secret Obsession” was born.
Can you share a memorable experience from a collaboration that enriched your music?
The guy who plays guitar in Trummerkind and for my solo work is called Oli Sturdy, Im not sure he realises but hes a guitar genius. We are currently working on a song called Grey Eyes hopefully releasing later this year. He's currently in Itlay, I had the lyrics written again inspired by a friend of mine and I called him and asked for a Leonard Cohen style sort of acoustic guitar love song. I didnt tell him the words, 2 days later a message arrived he had recorded the guitar it was perfect, I mean perfect the words fitted and it sounds beautiful. I added the lyrics and sent the track to him to listen and we both agreed it sounded awesome, then towards the end you could hear his dogs barking haha, I actually liked the barking dogs, but he has sinced re recorded the guitar. His humour and personality definitley enrich any music we record together.
Im so lucky to have so many amazing talented people to work with and I thank them all for their hard work, dedication and friendship.
Occurrence “Slow Violence”
Inspired by “slow violence,” a term found in environmental studies to describe ecological harm that happens imperceptibly in a community, Occurrence takes it as an analogy for their fourth studio album, Slow Violence. Based on personal experiences and introspective moments, the songs in Slow Violence tackle heavy but necessary topics. From post-partum depression to the last letter sent from an ex-partner, to the discussion of failure and philosophical questions, the narratives of Slow Violence are a microscopic portrait of life itself.
Cathartic and inspirational, the twenty-two songs in Slow Violence say what much needed to be said. There’s a story behind each of these songs, whether it is dark or bright. Slow Violence sees diversity in its sounds, palettes and influences. Ranging from infectious dark wave and palpable beats to euphoric digital funk and ethereal synth pads, the album takes listeners on an expansive ride.
Bad moments are just as important as good moments. The members of Occurrence open themselves up collectively. Written from an honest space, not afraid of being vulnerable and exposed, Slow Violence is confrontational and therapeutic. Occurrence vocalize experiences and feelings that are often buried and overlooked in our daily life. Slow Violence is a tear-jerker.
JIMMY DE LA MAR On the Making Of “I Gotta Know EDM”
Can you share any interesting or unique musical elements or production techniques used in this remix single "I gotta Know EDM" ?
The big task was to turn an already existing song into a completely different one. I kept only the vocals and re-recorded everything else. The difficult part is not to fall into the old melodies and rhythms. If you compare both songs, I'm very happy with the result.
How has the audience response been to this release during live shows?
So far I have received only positive reaction. The song also literally invites you to sing along and dance.
How do you feel this single represents your artistic identity or musical evolution?
I want the people who listen to my music to have fun and enjoy themselves. Therefore, I never commit myself to a particular music style. I want to stay flexible and produce what I just feel like. If they listen to my published songs, then there could also play a playlist of different artists. Because no song sounds like the other. So of course I have expanded my experience as a producer again and again. Because every music style has its own production processes and musical characteristics.
Are there any particular skills or techniques that you have been working on lately?
I had to learn new rules of production for EDM. The songs are structured differently than with house. With EDM there is also always a basic melody that carries the song. The vocals don't play such a big role as in house. Also, the mood of the song and the structure is different. All this I had to learn again first.
Are there any upcoming projects or releases that you're particularly excited about?
I plan to release a new album next year. It will be a pure EDM album. On it will be half new songs and the other half, already released songs as EDM remix. This year I will also release a new soul house song. The date is not yet exactly fixed.
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.