Henry Aberson Releases “Green”
“I have been through Rock, blues, R&B, and Jazz, influences and music in my life, this project reflects what comes out, from all that has entered my mind musically, I have played drums and been associated with music and musicians, throughout my lifetime.“
” It’s about the groove/feel of our music, everything else works around that ... We have produced approximately 20 songs in the last two years, and continue to have monthly releases. We have been featured in blogs, radio, and over 6,000 Spotify playlists.”
So essentially, “Green” symbolizes jealousy. Sometimes it can symbolize sickness as well, which is why I say I haven’t been doing so well in the beginning. But the entire song is about me being jealous that my partner doesn’t spend his time on me.
Henry Aberson – Drums, Lead collaborator, producer. Korey Keys - Keys. Chris Campbell - guitar, collaborator. Nariah Taylor - vocals, lyrics,
Cortez Johnson - bass. Mixed by Derek Garten, Prime Studio, Nashville.
Allie Jean On the Making Of “Gasoline on Fire”
What was the creative process like for this particular "Gasoline On Fire?"
It’s a bit of a long story as to how Gasoline on Fire came about. It was actually the very last song written for the album. I’d been writing the album with my guitarist and songwriting partner for about 2 years. We pretty much ended up writing about two albums worth of material. We knew the songs were getting better the more the process continued. At that point, we knew what we wanted to say with the album, and how we wanted things to sound. We rented a house up on the NSW coast for about a month and just set it up as a rehearsal space. Jase (guitarist) was just sitting on the floor messing around with this really blue grass kind of guitar part. He was half singing bits and pieces of lyrics but nothing was really working. We started working on it a bit more intently over the next few days and it just started to fall into place.
What has been one of your most favorite memories along the path to making "Gasoline On Fire?"
There are a few -actually recording the album was really amazing. Probably the first time we heard the playback of ‘Gasoline’ whilst we were recording with Matt Fell (producer) in his studio in Tasmania. We had a daily schedule where we’d work until lunchtime, then Matt would kick us out and we’d go get lunch in town whilst he would do some mixes. When we came back to keep recording Matt had been mixing, and playing us the breakdown-
the instrumental section of the song and we just all looked at each other with this shared moment of ‘yep-this is gonna be great!
What role do you feel emotions play in your music, and how do you channel them into your performances?
Emotions are probably the most important part of why I perform, but particularly regarding songwriting. Some of the songs originally intended for the album didn't end up being included because they just didn’t ring true, and because of that I couldn’t connect to them when we played them. That’s why everything on the
album-absolutely everything is real and it reflects who I am as a person and as a singer. I try and write about stuff that actually means something, so that when you perform it, no matter what you’re feeling at the time, you can connect with the emotion of a song.
Wrené Releases ‘Metamorphosis’
Toronto - Multi-talented artist, producer, and vocalist, Wrené Nova, is proud to announce the release of her latest album, ‘Metamorphosis.’This effort in contemporary pop defies conventions, explores unconventional soundscapes, destigmatizing mental health, and healing through uninhibited artistic expression.
As a prominent figure in Toronto’s music scene, Wrené Nova fearlessness in pushing boundaries and redefining the limits of Canadian pop music is evident throughout ‘Metamorphosis.’ The album is a seamless journey of self-acceptance, embracing the constant of change, and stands apart from the norm with its full concept, synchronistic flow, and lyrical exploration of esoteric concepts and ideas - all while incorporating elements that are accessible to the masses. Entirely produced using original recorded samples and textures created from soft synths, and vocal layering- Wrené has meticulously woven each track to offer a distinct sonic landscape, resulting in an immersive experience for listeners.
Themes of love, lust, sleeplessness, yearning for completeness, and the human longing for true connection grace the album, creating an intricate journal of a profound spiritual awakening. Integrating psychedelic influences, Wrené explores the surreal and reality while promoting the use of sacred substances for mental health and healing.
Through her artistry as producer and vocalist, Wrené Nova invites listeners on a transformative sonic journey, encouraging us to embrace change, celebrate individuality, and find wisdom in adversity. With ‘Metamorphosis.’ Wrené fosters healing and introspection, leaving an indelible impression that inspires both her audience and fellow artists to embrace their authentic selves.
Join Wrené Nova on this profound musical odyssey as ‘Metamorphosis’ unveils a world of sonic exploration and a celebration of human resilience.
Sinclair On the Making Of “Tonight I'm in Love”
What was the creative process like for this particular "Tonight I'm in Love?"
I wrote it in Northern California with a good friend - Kevin Beadles. We wanted to write something that felt contagious & reminiscent of that “falling in love” period. We ended up using visuals from when I first met my wife in 2012! The rhythmic aspect of the verses was fun too- we sort went for a DMB approach, write the lyrics & build out a cool riff / cadence and see how it fits in.
What do you like the best about this track?
I love that at the end of the process this song came across as organic but still soaring in an anthemic pop kinda way. Producing it was really fun, I had to really ask myself with every added element if it was “necessary”- I ended up working backwards to an extent. Pulling things out to find what were the most important elements for this particular song.
How does "Tonight I'm in Love" fit into your overall artistic vision and what can listeners expect from you in the future?
It fits beautifully for my upcoming EP- but also touches a bit close to home with my very first EP “Sweet Talk” . There’s a sincere singer-songwriter attitude to it that I feel I haven’t done in a minute. Also- the instrumentation is very telling of the EP it’s a part of. I have 2 upcoming singles “What’s In My Head” & “Wherever She Is” that I’m proud of - they are guitar driven, but still have strong programmed elements in the rhythm section!
What inspired you to pursue a career in music?
The Beatles… My need to write— and the fact that music is my way of processing life! I’ve been writing, singing & sonically experimenting since I was a kid, at 4 yrs old I was sitting at my parents piano trying to plunk out some Bach melodies I had heard my oldest sister practicing in the house.
How do you continuously grow and evolve as an artist?
One thing I really love to do is change up the process. For this song “Tonight I’m In Love” (& the whole EP actually) I challenged myself to stay in a place for 2-3 months & write / record what that place made me feel. I chose places that had some kind of meaning to me. “Tonight I’m in Love” was the Bay Area, which happens to be where my wife & I got legally married in 2014, where my adopted Dad lives & we were a couple hours away from where my wife grew up. I also stayed and wrote in my neck of the woods NNY- Syracuse, and Berlin Germany. These were the location choices. If it’s not external, I’ll ask myself to try & write a song based solely off a title- or write something to a movie scene that’s inspiring… There are so many different ways to create & I see new sides of my creativity every time I change things up.
Zarah Westhouse Releases “Is this a crush?”
This is my third song. My goal was to create a song that can be played on the beach, danced on in a disco, listened on in radio in a car, played in the cafe - literally everywhere - and acceptend from every age group. It should build a bridge between the generations. Older listeners should not condemn the Music Younger People listen to – but should get reminded on their own Youth. While the song is modern it borrows the positive vibes from previous music eras.
Drawing inspiration from the euphoria of music and the magic of the unknown, Zarah's soundscapes transport listeners to a realm of pure joy and bliss. Her infectious beats and melodies weave a tapestry of emotions, leaving audiences craving for more.
As the world eagerly awaits to dance to Zarah Westhouse's captivating tunes, she remains resolute in her mission to touch hearts and uplift spirits through her music, ensuring her artistic brilliance shines brightly, even in the shadows.
The Sons of James On the Making of “All They Told You”
What was the creative process like for this particular "All They Told You?"
During the lockdowns in 2020, there was a lot of time for writing and reflection and we took advantage of that. Steve and Sean lived close to each other at the time and would meet up several times a week and work out ideas and record demos at Steve's house. “All They Told You” is one that was written back then and stuck around in our minds as one that we always wanted to record.
Could you discuss the lyrical themes or messages conveyed in "All They Told You?"
The lyrics kinda call out the social norms that society is taught to live for the most part. There is this bar for what a successful life is supposed to look like and for some people, it is what they want and that's okay but there are a lot of people in the world who don't want the same. They're built differently.
And a lot of the time you wake up after a certain age and you call bullshit on what you've been told your whole life and decide to make a different life- one where you decide what a successful life is for you.
Can you talk about the recording and production process for "All They Told You?"
We recorded “All They Told You” at Candor Recording in Tampa Florida with Ryan Boesch engineering and co-producing it. We absolutely love that guy. We recorded 2 songs with him for the split 7-inch "TSOJ/SMHS" back in 2022. It was the first time that we met him and right away we knew we wanted to work with him more so when it came time to hit the studio again, we already knew which one and who we were going to. The process was pretty straightforward, the song had already been around and while so we knew how we wanted it. The exciting part of recording that song was when we heard our new vocalist Matt Shelly sing it for the first time. We had given him the song not too far before he came in and recorded the vocals so none of us had heard him sing it until he hit the vocal booth. We had a go pro sitting on a shelf in the control and it's still funny to go back and watch the video of our reaction when we heard him sing for the first time. He had put his twist on it and I don't think any of us were expecting it. Pretty sure everyone blurted out 'Fuck Yeah!' all at once. He gave the song more life and brought it up a notch.
Who are some of your biggest musical influences, and how have they impacted your own sound?
We all listen to all sorts of styles of music and it's pretty reasonable to think that something from all of it influences. With us writing music usually happens whenever the idea pops up. Anyone of us could be driving down the road and out of nowhere something just hit and then you got to pull over and write it down and the first chance there is to go work it out you take it. For the most part though we all like energetic and fun music. If there is any one style that kinda underlays everything, it's probably pop punk. We grew up in the late 80s and 90s and became adults in the early 2000s, there were and are a lot of bands from those years we were listening to and still do so to single out a single or even a few bands that are inspiration would be hard.
What are your future goals or aspirations as a band?
That's pretty simple. To write music that we want to hear and play, music that does something for us. Then share that music with as many people as possible and create a bond with those who enjoy it. That's always the goal. We also love playing in new places and meeting new people and doing things that we normally wouldn't do in our everyday lives outside of being in a band so in a band we aspire to keep doing new things and having new experiences and taking new opportunities .....
Jem On the Making Of “Icarus”
How does "Icarus" reflect your musical journey and growth as an artist?
I've discovered a distinct part of myself with “Icarus,” a part I haven't tapped into before. Many elements you hear come from my voice, including the synths and drums! So, I can say that I have pushed my limits and shown diversity in my musicality. It's definitely a track that many people wouldn't expect me to have in my discography!
Have you noticed any particular interpretations or connections that listeners have made with "Icarus?"
“Icarus” contains various complex emotions. Considering its fresh debut, people will need time to internalise and find a piece within themselves. But to answer your question, I've received a message that has touched me so far. Someone said, 'It's a level of vulnerability that they haven't been exposed to in music lately'.
What was your favorite moment in making the music video?
The last scene, for sure! In the final shot, I discovered a passion of mine besides music, and it was acting! I love including different art forms in my music, like dance, cinema, and art, but this is the first time I have tried acting. Still, I'm used to feeling and voicing intense emotions, so putting that into acting felt natural!
How do you stay inspired and motivated to continue pushing boundaries in your art?
People hide their raw feelings and true intentions. Can't blame them because artists are also masters at hiding, but I wish that were the case for me. At least, that would've made my life easier. But not seeing the truth with the naked eye is almost an impossible act for me. It's like being aware of your reflection all the time, it is scary, but like the duality in life, it has ups and downs. It feeds what I create because it is not filtered but haunts me with overthinking. Still, it feels wrong to my every cell not to write and sing exactly how I feel, and knowing that I have the freedom to do that in my art is the force that gets me out of my bed every morning!
Looking ahead, what are your long-term goals and aspirations as a musician?
I've been exploring myself as a songwriter for quite a long time, and I have a bunch of singles on the way! Now it's my time to be out there and perform my songs to people. So, I'm looking forward to playing and building stronger connections with people in the long term.
K-Syran Releases “Sunny”
K-Syran brings a fresh and vibrant twist to Boney M's iconic track "Sunny" with her organ piano house mix. This energetic rendition infuses the song with infectious dance beats and K-Syran's soulful vocals, creating a feel-good anthem perfect for the dancefloors. Get ready to groove and bask in the warmth of "Sunny" as K- Syran's dynamic interpretation breathes new life into this timeless classic.
K-Syran has seen tremendous success as a singer songwriter, actress, author, director, and lyricist, not to mention as an impassioned activist for women’s rights.
Garland Kelley On the Making Of “Mortal”
What was the creative process like for this particular "Mortal?"
The creative process for this song was fun and evolved in the studio. My writing process generally starts on guitar and that was the case with this song. Once I found a groove that captured my state of mind, I created a rhythm track around the idea and began contemplating melodic and lyrical ideas. Once I narrowed in on the concept of the song, I had a much clearer roadmap in terms of atmosphere, arrangement, and lyrical development.
Could you discuss the lyrical themes or messages conveyed in "Mortal?"
The message of this song is an observation of mortality. While melancholic, I feel the lyrics are less a judgement of death and more an acceptance of its inevitability. Regardless of one’s beliefs, we all must face our mortality at some point and I feel that many of the feelings surrounding death are universal. “A one way path to the setting sun” is the focal point of the lyrical concept and I hope captures some aspect of the bittersweet beauty of life and death.
How do you feel "Mortal" represents your artistic identity?
I feel that this song is an excellent representation of my artistic identity in its message/concept, musical performance, songwriting, and production. I am particularly proud of this song and I hope it captures some truth surrounding a heavier existential subject while remaining approachable and listenable.
Where do you find inspiration for your songs or musical ideas?
I try to be receptive to inspiration and musical ideas at any point. I have found that inspiration generally arrives unannounced at any time. There are certainly days where I “strike gold” when I sit down to write and setting aside designated writing time is paramount. That said, I have been struck by tremendous and instantaneous inspiration in seemingly uninspiring environments while I have had no inspiration when sitting down to write for hours. In summary, I believe the craft and the muse are equally important. I feel that the hours spent coming up with nothing is often the necessary work to break through the creative walls that lead to the random moments of inspiration.
Are there any specific venues or festivals that you dream of performing at?
Most definitely. Obviously, festivals such as Bonaroo and Lollapalooza would be incredible. Venues such as Red Rocks and the Hollywood Bowl would be amazing as well. For deeply personal reasons, playing at the Fox Theatre in Atlanta, GA is at the top of my venue list.
baseball hat Releases ‘who cares for good intentions?’
Can you briefly describe what the song/each song is about? If you are releasing an album then either describe the thinking behind the project or choose a couple of lead tracks to focus on.
We didn't really know what to do with the noise of the constant barrage of information, misinformation, forward motion, regression, fear, and hope that contemporary America society is smashing you with constantly. That noise is a big character literally and metaphorically on the record. Explicitly it's in things like "UTube Girls" and "Mona Lisa", which both contain references to an event where the two of us went to an Anti Gun protest in DC and ended up having to run away because of an active shooter scare. In other ways it's cheekier like referencing Juuling instead of smoking cigs on "Holy Ghost" the song on the record that has the most classic American rock and roll feel.
Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?
It's a response and a reaction to just how overstimulated we both felt living inside the continued fall out of everything that has happened in the US since 2016. We didn't want to write a pandemic album and we didn't want to write another breakup album- so we both sort of asked each other the question of "what is it like to live in this social moment?" and everything sparked from there. I think we landed right where we wanted- an exploration of the crushing everyday existence and the choice to keep moving through.
Who are the band members and what do they play?
baseball hat is a band composed of multi instrumentalist/producer duo Harrison Smith and John Sygar. Both play and record a variety of instruments on each song with Sygar's indie guitar riffs and Smith's soundscapes serving as the launchpads for many songs.
What are the band's main influences?
Centrally, we will always be rooted in pop music and indie rock. It's what we both grew up on and what is the constant in both of our tastes. While we were recording this album, we were listening to everything from City Pop to Brazilian disco to Stephen Sondheim to Alvvays.
Please provide a one or two-line personal quote that can be attributed to a band member, about either the band themselves or the release. Obviously the more eye-catching this is the better.
"We are a duo not afraid to experiment with style. This is an album that is aimed at giving the listener a cathartic, hopeful, and exciting journey. A musical exploration of the crushing everyday existence"- John Sygar. "I'm proud to be part of a collection of songs that are there for you to crank in equal measure on your best days and your worst at the end of the world"-Harrison Smith
JENSEY On the Making Of “Ride Or Die”
Can you tell us about the inspiration behind your "Ride Or Die"and the story it tells?
“Ride or Die” is a song I wrote for a friend on the Autism Spectrum. It’s about how he may see the world differently from me but regardless I’ll do my best to be there for him.
Were there any challenges or breakthrough moments during the songwriting process for "Ride Or Die?"
A great moment was when I was telling Stevie D (producer of “Ride or Die”) what it was actually about.
Can you share any memorable experiences or stories from performing "Ride Or Die" live?
The first time I played it I actually got choked up. But I told the crowd what it was about and they a bunch of them standing up and started clapping. It was crazy.
How would you describe your musical style or genre?
Country Rock and/or Country
What do you enjoy most about performing live and connecting with your audience?
I’m grateful for every note I get to sing that people take their time to listen to. I love how playing live is raw and honest. Can’t be edited or fixed. I love that honesty in playing live.
Derek Lee Goodreid Releases “All or Nothing”
"All or Nothing" by Derek Lee Goodreid, is a thrilling musical journey back to the golden age of Rockabilly.
Drawing inspiration from the timeless classic “Mystery Train,” Derek created "All or Nothing," a song that blends the spirit of Rockabilly pioneers with a modern style. The song reminds us that the greatest reward in life comes from taking risks and embracing the unknown. The song encourages dreamers and adventurers to follow their passions fearlessly.
Derek Lee Goodreid's velvety voice and lively rhythm create a classic Rockabilly vibe, which is both nostalgic and energising. Derek's exceptional musicality and dedication to preserving the genre's authentic sound shine through the blend of twangy guitars, infectious bass lines, and distinctive drum shuffle. "All or Nothing" is an impressive tribute to Rockabilly roots with meticulous mindfulness in its production. Derek’s music transcends time and generations, appealing to both die-hard Rockabilly enthusiasts and modern music lovers alike.
Kavita Baliga Releases “Will You Miss Me Then”
FROM OVERCOMING CANCER TO BOLLYWOOD TO LOS ANGELES: INDIAN-AMERICAN SINGER KAVITA BALIGA RELEASES NEW SINGLE “WILL YOU MISS ME THEN”-AN ALT R&B/AYNTH POP TRACK ABOUT BREAKING FREE
Classical singer Kavita Baliga is taking a dramatic left turn into pop songwriting through her new release, "Will You Miss Me Then.” The song dives deep into the emotions of a complicated relationship. With heartfelt lyrics and a captivating melody, Kavita explores the intricate chemistry between two people caught in the struggle of love and conflict; the desire to fly away; break out of the cage, and soar free.
Shadeland On the Making Of ‘The Swimmers of Lake Baikal’
What was the creative process like for this particular 'The Swimmers of Lake Baikal?'
The plan for this album started with us wanting to simplify, and return to a more straight forward and riff heavy sound, with no added keyboard or filler, short and simple songs you can bob your head to and easily digest with no aftertaste. I definitely think we managed to maintain that initial plan, to a certain extent. But then it slowly started evolving into something on a much larger scale, albeit with a guaranteed divisive aftertaste now I’m sure. We’re all pretty open minded guys, but when I brought forward the concept, I certainly expected some push back. There was none, everyone was on board. We’ve all been fascinated with the unknown and more ethereal and supernatural parts of life since we’ve know each other, the impossible stories from friends and family and seemingly sane people we’ve never met. This album is a love letter to the never ending search and fascination with the unknown, and the people we share this passion with.
Were there any challenges or breakthrough moments during the songwriting process for 'The Swimmers of Lake Baikal?'
The challenge was not being too on the nose with the concept. I did still want this album to resonate with the average listener aside from the concept. It’s a human story ultimately, and I hope it can stand on its own without any idea of what this album is about.
Have you noticed any particular interpretations or connections that listeners have made with 'The Swimmers of Lake Baikal?'
The connections have been huge! When you actually have conversations with your friends and family, or even acquaintances, you start to realize that this is no longer a far fetched idea. Most people believe, and rightfully so, because this is real, and we’re watching it unfold in real time.
What has been the most memorable experience or achievement in your music career so far?
Wow, hmmmm, ok I’d say it’s our longevity, age is truly a number, and we’ve watched so many of our friends bands fall off the map, and we’re extremely lucky to still be playing. Right, wrong, or indifferent I can’t stop, I’m too god damned stubborn.
How do you continuously grow and evolve as a band?
You don’t stop, you challenge yourself to write outside of your comfort zone, but you also stay true to what feels good. You don’t write shit for other people, you write what is genuine from you at the time. If you’re honest with what you’re releasing, that’s the best you can do.
MOON AND ARIES On the Making Of “Blurred Vision”
What was the creative process like for this particular "Blurred Vision?"
Hello, thanks for speaking with us today ! You've got Jordana Moon here 🌝 I really appreciate this question. Because yeah this song came about a little differently. I actually had some lyrics left over from another song, it wasn't that these lyrics didn't make the cut, it was that the song ended up transforming so much from the original version. I kept on going back to these lyrics and thinking "they still need their moment" and I reminded Tom of these lyrics. I said to him "we just need to find a title to go along with these… I got it ! Blurred Vision!" Tom felt so inspired by these title, I think he sent me a first draft of his instrumental within two or three days. I nearly fell on the floor when I listened to it. I was obsessed from the first note and I knew exactly how I would finish the lyrics and sing to it.
Can you talk about the recording and production process for "Blurred Vision?"
I actually sang and practiced “Blurred Vision” for about a month before I went into the studio with it. The studio is in my room, so, it's always waiting for me when I'm ready. Certain songs need my emotions to be just right. Vocally, it's easy to get there, but being emotionally vulnerable with a song, takes time. This is why I will sing it to the point that it's so deep inside me, it's pumping through my blood. When I have that feeling, is when I know I'm ready to record it in the studio. And then in there, of course there are more hills to climb to get it right. But I love singing this song so much, the recording process was fun. That's always the time when I figure out all of the harmonies and how many to put in.
How do you feel "Blurred Vision" represents your artistic identity?
“Blurred Vision” is definitely a pinnacle moment for us. This isn't a song you write when you are first starting out. This is like your 500th song. We are so proud of it and it's definitely in our top 5 favorite songs, where when we need to show someone what we are all about, this is one of our go to songs. It represents our spiritually charged music and message. It's also got our signature retro / futuristic style and it's the type of song I wish to hear.
How did you two initially come together?
We found each other on Instagram back in early 2020 ! We were instant fans of one another and after 6 months of encouraging friendship, we figured it was time we collaborated. And it was magical, so we kept going. And the magic keeps growing.
Are there any specific themes or messages that you aim to convey through your music?
Illumination. Enlightenment. Tom and I always say, we are theming the great awakening. Something big is shifting in this World, and these new potentials and understandings and looking at this reality from a higher perspective, is how we craft our music. Thanks so much for taking the time to speak with us today ! Jordana Moon.
Bromsen On the Making Of “Read About It”
What was the initial spark or idea that led to the creation of "Read About It?"
Karlo- the initial idea came when I was sitting in my living room, watching a montage of heck. I was grabbing my guitar and there it was. Sometimes (not that often) it’s these magic moments where everything is there at once and just seems to float out of you like it was always there and for that theme everything else would have not suited.
What was the creative process like for this particular "Read About It?"
I was sending the rough structure to Richard and he was extremely enthusiastic about it, feeling a kind of “Irish Songwriter in a pub” atmosphere. We initially created a rather intense & pure version, which we both love as well (and maybe we’ll release it someday). It was clear for both of us, that this song would need to be on the album and Richard said “let me give it a try and add some electronic magic to it”. I said “magic sounds great” and then Richard created these mesmerizing synth soundscapes and that amazing drum pattern and we both loved it at once.
What impact do you hope "Read About It" will have on your audience or the music industry?
We both love the song, we don’t know what impact it will have but it is our tribute to all these genius artists & songwriters we admire, so we hope some people can connect to the picture we’ve created.
Can you tell us a bit about yourself and how you got started in music?
We're two guys in their mid-40s who strangely decided to follow dreams from 20 years ago. It was a crazy time in the mid 2000's and we shot ourselves in the leg back at the time. If either of us had been a talented novelist at least there would have been the perfect story for an incredibly charming, funny and tragic novel. But since we're not the best novelists, we have to rely on our strength, the songwriting and finally wrap it up - that's our mission. Richard and I both found rock music through Nirvana. Kurt, Krist and Dave kind of pushed the button and then we both dived into the world of music and through a long journey we got to what we are today.
What are some of the biggest challenges you have faced as a musician, and how did you overcome them?
You won’t believe it, but it is the fucking hardware and software issues, which can really kick you off the road, especially when you are producing everything yourself, like we do. Out of nowhere, while you are in the middle of a very creative process of recording a song, something does not work anymore. We are in the final stages of completing our album and it happened again to us…..These things require taking a deep breath and re-confirming with yourself that it is just a long and winding road and everything will be fine in the end.
Lazywall Releases “Dem 3la Dem”
New single “Dem 3la Dem” by Moroccan band Lazywall is about climate change, what we can do to make a change on The Earth we inherited and the one we leave behind.
Lazywall are a Moroccan rock trio whose oriental rock/metal hybrid is a tagine of traditional Arabic time signatures and instruments and powerful altrock. Singing in Arabic, the band covers topics like climate change, social injustice, integration and corruption with a visceral intensity that removes language barriers and unites cultures.
Lazywall set out to write songs in Arabic. “We don't talk about politics because we don't care. We don't talk about religion because it's a personal thing. But singing about that underage girl who was forced to marry her rapist is tough in any language.”
Bec Leigh On the Making Of ‘Inside Out’
What was the creative process like for this particular 'Inside Out?'
The creative process behind the “Inside Out” album was an incredible artistic journey, filled with passion and a desire to create something beautiful. Each song began with an emotionally charged backstory, and a captivating song concept, providing the foundation for a deeply personal and expressive musical experience. As I was working with a co-writer, we engaged in profound discussions to capture the essence and emotional depth of each song.
Together we discussed the musical style and explored various lyric ideas, gradually weaving together the foundation of each track. We carefully shaped them with raw acoustic melodies that beautifully complemented the heartfelt lyrics.
At the heart of this musical endeavour was the desire to establish a profound emotional connection with the listeners. Every musical element was carefully curated, from the evocative melodies to the vulnerable and honest vocal performances.
Once the initial vocal tracks were recorded, I teamed up with my producer to embark on a joint musical exploration. Together, we delved into the albums musical direction, focusing on evoking powerful emotions from our audience. For me, creating songs with a sincere emotional impact was of utmost importance.
With the musical composition finalized, I re-recorded the vocals, adding delicate harmonies to enrich the overall sound. My producer skilfully mixed and mastered the tracks, giving them a polished and professional finish that would resonate deeply with listeners when the album was eventually released.
What is your personal favourite song from 'Inside Out' and why?
Oh that’s a really difficult question! It’s almost like choosing between my own kids and my preferences change daily. I feel they are all special in their own way. But okay, if I have to choose, my personal favourite song from Inside Out would be “Inside Out” itself.
This song is close to my heart because it tackles the issue of judgement and societal pressures head-on. It takes a deep dive into how we are all affected by superficial standards revolving around appearances and material possessions and how damaging they are. The song urges us to see beyond these facades and embrace our shared humanity, fostering a world that’s more compassionate, accepting and inclusive.
What impact do you hope 'Inside Out' will have on your audience?
With the album “Inside Out”, my ultimate goal is to create a transformative and resonating experience for the listeners. The collection of songs delves into various aspects of life, touching on themes like self-discovery, relationships, societal pressures, and the importance of empathy.
Through the album, I hope to challenge societal norms, and the judgement tendencies that often lead us to overlook the shared humanity of others. I want to encourage listeners to see beyond appearances and material possessions, fostering a more inclusive and compassionate world.
Moreover, the album aims to inspire introspection and personal growth. It invites listeners to reflect on their own experiences and relationships, acknowledging the impact of deceit and the value of open communication.
At its core, “Inside Out” is a celebration of authenticity and empowerment. It urges listeners to prioritize their own well-being, to recognize their worth, and to pursue their dreams fearlessly.
In essence, my desire is for the album “Inside Out” to leave a lasting impace on the hearts and minds of its audience. By sharing personal stories and heartfelt emotions, I hope to connect with listeners on a profound level, inspiring positive change in their lives. Through the power of music and storytelling, my aspiration is to foster empathy, understanding, and kindness, contribution to a more compassionate and united world.
Can you tell us a bit about yourself and how you got started in music?
My musical journey began with a love for singing, but it took a life-changing event to propel me towards a career in music. After going through a traumatic break-up in my early twenties, I found solace in music and performing. It became a way to connect with others and rediscover the joys of life.
I took on the role of co-lead vocalist in the Alan Barnes Band and performed as the lead singer in various bands across Adelaide for many years. I had the incredible opportunity to open for James Reyne during his Australian tour and even headlined at the Tunarama in Port Lincoln.
While performing other artist’s songs was gratifying, I felt a strong desire to express my own voice through music. This lead me to venture into song writing, creating my own unique compositions.
In addition to my artistic pursuits, I derive great satisfaction from teaching young musicians. I aim to empower and encourage them to embrace their individuality and passion for original music. I currently teach voice at Faith Lutheran College and Barossa Music School, while also offering private lessons from my home. It’s a privilege to share my knowledge and inspire the next generation of artist to set their voices free, embrace their uniqueness, and build the confidence to shine.
Where do you find inspiration for your songs or musical ideas?
The inspiration for my songs and musical ideas comes directly from my own life journey an experiences. I draw from the raw emotions and valuable lessons I’ve gained, particularly from my encounters with both loving and abusive relationships. Sometimes, inspiration strikes when I least expect it – a simple conversation with a friend or a line from a movie can spark an idea. However, at the core of every song, you’ll find elements rooted in my personal experiences and thoughts.
The Love Ways On the Making Of “I'll See You When”
What was the initial spark or idea that led to the creation of "I'll See You When?"
MARK SHREVE (Music + Instruments) - I came at ISYW from a bunch of different angles. I think it’s less of a specific spark/idea and more of a kind of list of things that I wanted to accomplish. One of the ways James & I always discuss what we want to do is “let’s make our version of ____” and here we wanted to do something darker, a bit more serious, less easy to grasp and a lot more ambitious. We wanted something that felt different to the rest of our catalog. To get there I looked to “Everlong” by Foo Fighters, “Tonight, Tonight” by The Smashing Pumpkins (that’s why you get strings at the end), and “Change in the House of Flies” by Deftones. Those songs were the kind of beating heart of it but then the confidence to do some weirder things came from my love of Biffy Clyro. I really tried to channel them in putting together the structure. When I think back on it - I think a lot of how this came together is predicated on it being recorded at the same time as our last single, “Desire Lines”. We knew DLs would be the one we released first, we knew we wanted it to be something that registers with our audience immediately, a structure that feels familiar rather than challenging, something that felt lived-in by the time you’re in the first chorus. With that done, ISYW was here to do the opposite - I wanted the structure to be weird and confusing: a maze you’re being chased through. Something that doesn’t feel lived-in until you’ve listened through a few times; something that gets more rewarding with time. So to sum up - spark #1 was to do something deeper, darker, heavier and kind of paying homage to the later-90s stuff we like than we’d ever done before. Spark #2 was to have a structure that’s labirynthine and builds to something spectacular as the walls shrink in around you. Spark #3 is to do something we’re proud of, always.
JAMES LANGLOIS (Lyrics + Vocals) - When I first heard Mark’s initial concept for the music I was sparked a bit by both by its general velocity and its push and pull between that propulsion and a certain stillness. That then made me sit with the idea of the various emotions memory can take shape as. Remembering specific times in your life can be tempestuous and comforting. It can also be conversational. You remember the words you said and the words you wish you had. The emotion of the song came easily through that lens as I thought of the various fires, seas and comforts I’ve lived through and the words came from there.
What impact do you hope "I'll See You When" will have on your audience or the music industry?
MARK SHREVE - Difficult to say what impact I expect this to have on the music industry (laughs). How about this: if Jared Leto hears it and thinks it’s so good that he quits music (and let’s throw in acting while we’re at it) forever that’d be a win. Outside of that, I’d be thrilled if I heard another artist say it gave them some confidence to go out and try to do something ambitious. I’d love to hear someone say it made them more interested in trying something heavier, or that they grew the scope of their ambition for what they could attempt/accomplish with a music video. Or even that it made them want to do a video at all. As far as our audience, as always I think we really just hope they like it as much as we do. I’d be really happy if it makes them excited for us to explore even more new ideas and sounds. I kind of think of it like if “Desire Lines” is TLWs at our most perfectly balanced, pH of 7, etc., our goal as a band for the next few songs is to knock that balance a bit in either direction. With some of the other new songs we’ve got locked and loaded - I can say for sure that they go in different directions but none of those directions is the same direction as “I’ll See You When”. To kind of sum it up, if someone listens to ISYW and leavse saying like “damn, ol’ boys were just getting started huh I cannot wait to hear what other new ideas they’ve got cooking” or like “this isn’t what I was expecting but it’s what I didn’t know I needed”, that’d be a bullseye for us.
JAMES LANGLOIS - I mean, as far as impact, I can only really speak to any sort of connection that someone can make with the song. Do they engage with the fun of the music itself? Do they sit with any different emotion or memory the words dredge up? Can they bounce between a variety of reactions that allow them sit with themselves while also rocking the fuck out? I hope all of those things ring true to somebody and that they come back for more.
What was your favorite moment in making the music video
MARK SHREVE - (laughing) Definitely when we got back from our first full day of filming and I sat down, dumped all the footage on my computer watched it and was like “this is all un-fucking-usable we have to do the whole thing again”. Mostly kidding BUT that first day of filming (which ended up being basically a pre-production day) was definitely the best part of it. James, me and one of my best friends (Ryan) went down to Fort Tilden which is this abandoned civil war fort on the outskirts of NYC and had some loose ideas of what we were doing and we started filming. It was fantastic - we were hopping fences, breaking into these abandoned, off-limits areas, keeping watch for cops, trying to get as much footage as we could. And at the time the idea was that James & I were like BLOODIED UP so we were absolutely caked in fake blood and we were carrying around an axe and a baseball bat with nails drilled into it and ‘TRY ME’ written on the side (laughs) - like tossing it into the bushes as a police cruiser circles by. It was a day with my best friends and it was like pure creativity and ambition and ingenuity and honestly you don’t get a ton of days like that that often.
JAMES LANGLOIS - Just like Mark said, being able to pop around the abandoned buildings at Fort Tilden is always fun. The art that people have left behind over the years forms all these layers. The sediment just grows and grows. Finding that perfect Ouija board that someone had stenciled in one of the factory buildings was so awesome. Being able to poke at and find new layers in places that are close to us is so fucking fun.
How do you continuously grow and evolve as artists?
MARK SHREVE - It’s a good question and something I think about often. I believe that a lot of being a good artist comes from being a good fan. Part of that is like - take the bands and artists that you like and ask what about them makes you want to show up? Is it moments in songs, specific things they do live, what is it? And then how do you take what makes them great and special to you and translate that into what excites you about your own music. To do that you need to go to a lot of shows, you have to listen to new stuff as well as old stuff, it’s necessary that you continually show up for the artists. I also grew up listening to like hardcore so it’s pretty ingrained in me that you don’t just show up for bands you like but you show up and support the scene at large. So really that means you can’t consider yourself a good fan if you’re not challenging yourself to find new things and support new artists. Like if I say “I’m a fan of rock music” it really doesn’t mean much unless I’m looking for new artists, checking out their shows, helping push things forward rather than backward. Put another way: the number of people who “love rock music” and have access to all recorded music in human history and use that access to basically listen to like Stairway to Heaven 8 times a week is fucking soul-crushing. The other way I think about this is that I always think of songwriting as just a series of problem-solution exercises. I know more or less what I want to accomplish and there are always an infinite number of ways to get there. Evolution and growth, to me, is knowing how we’ve solved those problems and kind of paved those paths before and making sure we don’t do the same things again. I’m really proud of “I’ll See You When” because the entire song was an exercise in trying new things, introducing our listeners to some of the weirder ideas we’ve got and hoping it all works.
JAMES LANGLOIS - Always consuming new things helps me to move forward. Despite the comfort I take in listening to my favorite records, re-reading my favorite authors and re-watching my favorite films there is always some new to be dug up or thrown over or transformed by a friend or association. I find inspiration to be a mountain of references I stand on and process so I only ever want to make that pile taller.
Where do you find inspiration for your songs or musical ideas?
MARK SHREVE - For me it’s always kind of a draw between paying homage to the things that truly inspire me and being inordinately competitive with the things that don’t. Something I really love about working with James is that because our influences and ideas come from some pretty different places, whenever there’s something that inspires us both it’s a slam dunk, like full-steam-ahead with that idea. For example, our song “Wild Life” from a couple years ago was a pretty direct homage to “Dimed Out” by Titus Andronicus - we were inspired to write a song that sounds like a fucking heart attack. Even the video for Wildlife is a massive nod. For “Desire Lines”, we wanted something that felt like what we loved about early Killers stuff; we were inspired by how they showed up with “Mr. Brightside” and after one listen you couldn’t imagine your playlist without it. Again, for anyone paying attention, some similarities that flow between the videos as well (laughs). For “I’ll See You When”, as I said a little bit ago we looked pretty deliberately to early Foo Fighters, Smashing Pumpkins, Deftones, kinda that later-90s stuff that was brave and big and ambitious but also really vulnerable. There’s definitely also some Finch & Biffy Clyro bubbling in the stew so to speak. (Laughing) Listen this ain’t the first and won’t be the last time I serve you up something inspired by Everlong. So that’s kinda side one of my inspiration and then side two is that for me personally, I’m pretty competitive so I also get really inspired to write by things that I think are just garbage. For example I grew up in the UK and a few times a week I’ll throw on Kerrang and see what the like “New Rock Hits Right Now” playlist is and there’s so much there that’s just disappointing - I’m truly inspired by how abrasively uninspiring it is. It really makes me think like “alllllllright I guess I’ll just do it myself”. Or very, very much gives me a feeling of “shit, I can beat that” and then I spin up Pro Tools, send James a million texts with ideas and do everything I can to create something better.
JAMES LANGLOIS - Either listening and reading to new things or listening and reading to the old things. There’s so many times where I look both backward and foward and say “damn I need to know more” and find it easy as hell to dig in deeper and deeper. There is always some amazing music I’ve never listened to waiting for me to discover it or some novel or chapbook that’s waiting to be uncovered. It’s easy to jump down rabbit holes but it takes some discipline to document what I find and keep it all straight in my head. There’s so much of it that I want to keep with me and so I find that I’m always taking notes of my thoughts so they don’t evaporate. When I’m able to keep all that new, great shit top of mind or at least middle of mind and am able to combine it with what I am going through in my daily life, inspiration is the easiest of things to come by.
Shanan Estreicher On the Making Of ‘All You Shining Stars’
What was the creative process like for this particular 'All You Shining Stars?'
In 2016 I attended a performance of the Itamar Borochov Quartet at the Montreal Jazz Festival. I had always wanted to compose a work for a soloist that involved extended ornamentation and improvisation but never found a musician whose style matched my musical aesthetic. I knew instantly I had found a kindred artistic spirit in trumpeter, Itamar Borochov.
My inspiration for this piece came from a summer evening in the Upper Peninsula of Michigan watching a meteor shower against the Milky Way. My thoughts turned to Psalm 148 and the line, “Praise him, sun and moon; praise him, all you shining stars.”
Could you discuss the lyrical themes or messages conveyed in 'All You Shining Stars?'
Movement 1 “All You Shining Stars” is based on three musical ideas. The first is a celestial texture in the upper strings representing the praises offered from the heavens in the psalm. The second idea is a gentle but declamatory melody in the trumpet which is freely ornamented. The final idea is chords in the low range of the strings which represent the praises offered from man, the earth, and the sea.
Movement 2 “Arrows” is a meditation on Psalm 38. The title comes from the line, “Your arrows have pierced me.” The intention of the music is to reflect the intense pain of the psalmist as he repents to God for his guilt and sin. I reference the Jewish liturgical music of my youth to create the lamenting cantorial melody. The rhythmic pulsing motives in the introduction and middle section represent the arrows piercing the psalmist’s flesh. The cantorial melody is first performed in the trumpet with minimal embellishments and a static accompaniment. The second repetition of the melody is highly ornamented with complex polyrhythmic patterns in the strings.
Movement 3 “Woven”, the tender conclusion to this work, is based on Psalm 139. The psalmist expresses intimate feelings to God when he writes, “My frame was not hidden from you when I was made in the secret place, when I was woven together in the depths of the earth.” This final movement features an extended trumpet solo where Borochov plays freely over a chord progression in the strings. The overall musical texture is based loosely on the polyphony of sacred Renaissance vocal music with the trumpet and five string parts playing independent melodic lines, woven together to create a lush sonority.
What impact do you hope 'All You Shining Stars' will have on your audience or the music industry?
I hope the audience will feel they have taken a beautiful musical and spiritual journey after listening to the work. I want them to be exposed to the amazing talent of Itamar Borochov and his unique sound which combines elements of jazz, Middle Eastern music, and other various traditions. Additionally, I want to help develop a classical-crossover genre that incorporates improvisation specifically with non-traditional soloists.
Can you tell us a bit about yourself and how you got started in music?
I am a composer, songwriter, and educator living in Queens, NY. I studied classical piano as a child at The Mannes College, Preparatory Division in New York Cit. My interests soon turned to composing and songwriting. I then received a bachelor’s degree from the Manhattan School of Music in classical composition. Once I completed my studies, I dedicated myself to both songwriting and composing. I performed and recorded as a singer-songwriter and fronted the alt-country band The Brown Trousers. As a composer, I wrote music for the stage and film, as well as art songs and chamber music.
How do you balance the artistic aspects of your music with the business side of the industry?
It is always a challenge to balance my art with business. The truth is, I struggled for many years to make a living as an artist. There simply were not enough opportunities to make a survivable income through my songwriting, performing, and composing work alone. I always supplemented my income by teaching private music lessons. In my late 20s, I decided to pursue my master’s degree in music education and teach music in the New York City public schools. Now after 18 years of teaching general music and choir, I can honestly say that having a reliable income has minimized most of the anxiety I experienced in my early years and has allowed me to blossom as an artist. It has also been a tremendous gift to share my musical knowledge, passion, and experience with thousands of New York City students over the years. This can be seen in a documentary we made with my middle school choir called “Rise Up and Sing”.