Jacob and the Starry Eyed Shadows Releases “Rise”
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.
It's about love overcoming adversity through hope, and people being there for each other through tough times. It's about not giving up. I like to keep my lyrics quite ambiguous so that listeners can make their own minds up about what the song means to them. Sometimes my songs are about something very specific, but rarely. I think it's important for listeners to be actively involved in the experience of music, and so I like to leave as much room for that as possible so that it can be personal to everyone.
Where was the single/EP/album recorded and who was involved in its production?
I mostly write, record, and produce in my small and modest home studio here in Scotland, and this song was no different.
Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?
The song is about depression, but it's still very optimistic and positive like most of my releases. it's about overcoming adversity and has a very defiant chorus and overall feel.
Who are the band members and what do they play?
I am currently a solo pop-punk/indie-rock musician from the west coast of Scotland. I play, write, record, and perform everything myself. I'm currently in the process of getting a band together to get touring again soon with this new material.
Have you played any notable gigs, festivals or other events? Likewise radio or TV appearances?
I've had extensive radio airplay over here in the UK, including on the BBC, and have been a finalist in the UK Songwriting Contest. No recent gigs due to recently becoming a father, but looking to change that soon with my new band.
DG Adams On the Making Of “Social Media Love”
How does "Social Media Love" reflect your musical journey and growth as a band?
It reflects a focus I've come to as a songwriter about the dangers and drawbacks of internet activity, first with my previous single "Screens" and now with "Social Media Love ".
What did you enjoy most about making "Social Media Love?"
I enjoyed collaborating once again with ace producer Vinay Lobo, master drummer Shane Wilson, singing angel Anna Katarina, best bud Torquil Campbell, and longtime engineer Kaj Falch-Nielsen at Blue Light Studio.
Were there any memorable or standout moments during the recording sessions for "Social Media Love?"
I think nailing the vocal in one or two takes in my living room was a stand-out.
Can you share a bit about your musical background and the journey that led you to where you are today?
I was an actor for many years before I became a recording artist. I think that discipline and passion are injected into my present work.
What do you enjoy most about performing live and connecting with your audience?
I most enjoy the sense of danger, like anything can happen and probably will!
Penny Lame On the Making Of “Holes in My Armor”
What was the initial spark or idea that led to the creation of "Holes in My Armor?"
Honestly, this song took years to make. I was always the weird kid growing up. I had this secret traumatic childhood that no one knew about in school that really affected my young life. The people that I opened up to, I considered my best friends and they saw the world I was living in. Some really empathized and are my friends to this day, while others really used it against me. I never got closure on a lot of those “friends” that hurt me, and for years I tore myself down trying to understand what I did that was so unforgivable. I had tried to write every time I thought of one of these “friends”, but was so caught up in the way that I wouldn’t be able to get a word out. So finally after years of therapy and forgiveness, I was able to let it go. Let go of the fact that I would never get closure. Let go of my insecurities. Let go of their opinions and their impact on me years later. It took years. Sometimes people just aren’t meant to be in each other’s lives.
Can you talk about the recording and production process for "Holes in My Armor?"
Yes!! So I started producing about 3 or 4 years ago. I learned on Ableton and have used it since. Basically, I will make a demo as I write the song- I sing my vocals and lay out a track. I work with a band out of Nashville, Naked Gypsy Queens, who record the live drums and guitar/bass. I am from Nashville, so I will just fly home and take my laptop, and record straight to the session. Then from there, I get the song where I like it. After it is to a point where it is just mixing and mastering, I send it to my friend David Kerckhoff and he gets everything up to streaming standards!
What do you like the best about this track?
I think this song is my most danceable song. It is just an easy listen that makes you bob your head. If we are talking specifics, I love the end of the song. I added it really late after the fact and it is a nice surprise at the end!
What role do you feel emotions play in your music, and how do you channel them into your performances?
The most important role. My music is emotional. I write songs like my diary and always have some sort of emotional release making them. I grew up singing a lot of soul music, R&B, rock n roll… all super emotional genres both lyrically and in the sonics. I think that is exactly what music is for, to make you feel- and that is what I strive for. My goal is to make music that heals.
Can you share a memorable experience from a collaboration that enriched your music?
Working with Naked Gypsy Queens has been such a fun process. My favorite memory was doing a live show in the middle of the desert. We all really got our Pink Floyd Live in Pompeii fix. They have added their own flare to my music. We work together a lot, and plan on having a show together in December in Los Angeles!
Rusty Reid On the Making Of “Rio Frio”
Were there any memorable or standout moments during the recording sessions for "Rio Frio?"
"Rio Frio" was memorable for me from the moment it was being created. This was the last song I wrote for a would-be "rock opera" based on the history of Texas. I had been working on this idea for a few years, writing about ten songs altogether. There were songs about Indians and explorers and pirates and Mexican colonizers and Anglo colonizers and the Texas Revolution... but the project was flailing. I was realizing that the songs just weren't very good. But I continued on. Chronologically I was up to the period of the Republic of Texas and I wanted to do a song about the "Nueces Strip," a contested strip of land between the Nueces and the Rio Grande Rivers that both Texas and Mexico claimed. As such, it was not policed... the perfect place for outlaws, from both nations, to hide out. Out of the blue, came "Rio Frio," the story of which is set on a beloved little river in Texas, a tributary of the Nueces, which back in olden times would have been smack in the Nueces Strip. And the emerging song was in 3/4 time... a waltz! Where that comes from, I have no idea. Shortly after its writing, I finally gave up on the opera, but not on "Rio Frio." It quickly became a favorite of my original fans. The first recording was pretty similar to this new version, including the Mexican-flavored accordion, along with my same old orange Gretsch Country Gentleman guitar. Helping out on this recording was my Houston/Los Angeles collaborator Steven Beasley, an outstanding multi-instrumentalist and excellent singer-songwriter in his own right. We also brought Pacific Northwest drummer extraordinaire Darin Watkins to provide percussion. It's a quirky song and record... and I like that.
Have you noticed any particular interpretations or connections that listeners have made with "Rio Frio?"
Pretty much everyone who has heard the song is not aware of the historical context that it was supposed to portray as part of that ill-fated opera. I initially thought that would be a problem. But, to my pleasant surprise, a lot of people seemed to love it anyway, just interpreting the lyrics as they would. I get requests for "Rio Frio," or "that cowboy song," quite often. Yet, really, I think the melody, and perhaps the 3/4 time signature, are also very appealing aspects of the song. I do think it's one of my best melodies.
What did you enjoy most about making "Rio Frio?"
The impetus to release my new album, "Bayou Line: Songs from Houston" sprang to a significant degree from wanting to get this particular song, along with a few others, out there to the public. Following the release of my album "Head to Heart" a few years ago, I thought I had really hit my stride in terms of finding my "style" and "message." I was eager to keep going in that direction. To now stop, and go backward to my older songs, did not hold a lot of appeal for me. Yet many friends were saying, "You have to release some of your older material." Well, there was a problem with that. Those old recordings just weren't up to par with the modern world. So everything would have to be re-recorded. Ugh! What a chore! But once I got into that process, it was wonderful re-discovering these songs and seeing them come to life better than ever.
Your lyrics often tell stories. Can you talk about your approach to storytelling through music?
Well, storytelling comes naturally to many Texans. Even if they are actually "tall tales," exaggerations upon reality. A lot of Texas songwriters are master storytellers. I mean, "Pancho & Left" by Townes Van Zandt; it doesn't get much better than that. Maybe I inherited some of that. But I think more likely I was influenced by story-telling songs I heard as an impressionable child. I just loved songs like "Jambalaya" by Hank Williams, "El Paso" by Marty Robbins, "The Battle of New Orleans" by Johnny Horton, "Old Shep" by Elvis Presley, "Only the Lonely" by Roy Orbison, "Sloop John B" by the Beach Boys, "Eleanor Rigby" and other songs by the Beatles, "Proud Mary" by Creedence, "America" by Paul Simon, "The Wreck of the Edmond Fitgzerald" by Gordon Lighfoot, pretty much any Chuck Berry song, most Bob Dylan material, a lot of Jimmy Webb tunes, and just tons and tons of those kinds of stories set to melody. So early on as a songwriter, I was trying to invent fictional scenarios which to transcribe into music. Then at some point, I thought maybe I was doing too much storyteling and not enough personal introspection and/or exploration of my own experiences and emotions in my songwriting. With my current songwriting I think I have at last stumbled into a good blend of storytelling and personal experience to share. Indeed, just a teaser, but on an upcoming album I'll be releasing a song that I figure is about as good of storytelling as I'm capable of, and also a 100 percent true heart-crushing personal experience.
What advice would you give aspiring singer-songwriters looking to develop their craft and share their music?
First and foremost, don't give up too quickly. Practice. Persist, Persevere. Be your own worst critic. Don't be too easily pleased. Demand more from yourself. Admit when you fall short. When you do that, you aren't wounded by critics dissing you. Also, be careful of sticking to what comes easily or "naturally." I think I tried to do that for too long. Sure, be true to yourself, but remember that "yourself" is potentially so much more than you think. Be ready and willing to explore new things, stretch, grow, risk, change, evolve. Not change for the sake of change, but evolution into higher, better ways of being... which then can infuse and enrich your art. Paul Simon is my model for all of that. What an outstanding catalog he has produced, just soulfully wandering through the golden fields of genres. Like Paul, accept your gift of songwriting and/or singing talent as the doorway to a journey of personal discovery... with the side benefit being more gifts you can give away to others.
JohnTaglieri On the Making Of “Talk To Me”
What was the creative process like for this particular "Talk To Me?"
Munk Duane and I sat down last summer to start writing a new song and had a few ideas that we banged around. We settled on the start of this song as one we'd focus on. We got it about half way done and then we both got busy. We came back together in December and we finished the song in about 20 minutes. I had come back not wanting to finish this one and try to start another, but Munk felt this one was where we should focus. We did and I'm really glad I listened to him. His gut was telling him that this was a song we should move on and it was definitely on point.
Once it was finished, we sat and started to decide more on the structure and what we wanted musically. As my producer, I left a lot of it up to him to flesh out. We decided to recruit two absolute LEGENDS in Kenny Aronoff (John Mellencamp, John Fogarty, Michelle Branch, Goo Goo Dolls) & Leland Sklar (James Taylor, Carole King, Phil Collins, Lyle Lovett) to be our rhythm section. I’d worked with Kenny before and he’s my favorite drummer ever. So it’s a treat having them both on the song.
Were there any memorable or standout moments during the recording sessions for "Talk To Me?"
The song was mostly recorded in Munk's studio in Whitman, MA. The drums were recorded in Kenny's uncommon Ground LA studio in Los Angeles, and Leland Cut his parts in a hotel room on the road with Lyle Lovett. So that’s always fun to have it recorded all over the country and then set in and assembled.
What has been one of your favorite memories along the path to making "Talk To Me?"
So, as I said I was sort of passed the song as far as when we came back to it in December. That said, I've always said instruments have stories to tell and it’s our job as musicians to listen. Last summer, my father-in-law found a beautiful Ibanez acoustic in a dumpster!! I had to do a small amount of work on it to make it playable but its a great guitar! I brought it to the session in December and when we decided to try to finish this song, it was the first time I tried to write on that guitar. And the song just fell out of us. LOL. So the dumpster guitar kicked out a gem for us that who knows if another instrument would have. LOL.
What has been one of the most significant moments of your musical journey so far?
In my career, I’ve been lucky to have many. But the one that will ALWAYS stick out as my favorite was the first time I opened for my musical idol, Rik Emmett. He was the guitarist/singer for the band Triumph and has always been my biggest influence. I opened for him at The Bottom Line in NYC in front of a sold-out crowd. At the end of his show, he asked me to come join him on stage to play 'Hold On'...a song of his I grew up learning and loving. So there I was on stage with my idol, playing a song I'd learned when I was 11 years old in front of a sold-out crowd....and nothing will ever top that moment!
Are there any specific artists or musicians you dream of collaborating with?
Honestly, there are SO many. I’ve toured with and played on bills with most of my idols and favorite bands, but there are a ton more I'd love to work with in some aspect. I’d love to write with Kenny Wayne Shepherd, Kevin Cronin from REO Speedwagon, Tommy Shaw from Styx, and then some newer bands that are out now like Wolfe Van Halen. Just so much great music out there and people I'd love to work with.
Juliana Strangelove On the Making Of “Dead Poets”
Can you tell us about the inspiration behind "Dead Poets" and the story it tells?
This is a story about the time when I was 20 years old, and I came to London without cash and connections to become a famous musician, but I ended up exhausting myself to such a state that I ceased to seem normal to myself.
Were there any challenges or breakthrough moments during the songwriting process for this track?
Songwriting was smooth, but during the recording, I had a terrible sore throat, because as soon as I arrived in England, I caught a cold.
What do you like the best about this track?
The guitar solo made me fall in love with my other half again (my husband plays guitar). And I am absolutely happy with the production, kudos to The Animal Farm label.
How did you get started in music, and what inspired you to become a singer-songwriter?
I was skipping math at school and accidentally wandered into a music class.
How do you channel your emotions and connect with your audience during live performances?
Sometimes I don't, but when I get it, it's one of the best moments in my life. Who knows what the magic is?
Gene Pritsker On the Making Of ‘Only A Game’
What was the creative process like for this particular 'Only A Game?'
Robbie Fieldes sent me a libretto he wrote decades ago for a ballet then never was produced. I liked the story and decide to write music for a string trio capturing the events, moods, emotions and over all character of the story. Next year we will premiere the ballet with dancers, realizing its full artistic scope. The premiere will be in New York City in March 2024, presented by my organization Composers Concordance.
What did you enjoy most about making 'Only a Game?'
I really liked having the story dictate where the music went. Sometimes writing a piece of music can be an abstract exercise, one I enjoy very much, but having a narrative that evokes certain images, sounds and moods is really fun, since you have to go to places musically you might have not if you were just writing an absolute composition. And, unlike film scoring, where the music is mostly supporting the action on the screen and tries not to get too much in the way, here with the ballet you have to have the music be interesting and tell the story along with the dancers and the libretto, so its very different form, that I think is much more creative and artistic.
Are there specific musical elements or techniques you enjoy experimenting with to create something fresh and innovative?
Yes, I use a bunch of extended techniques to create new sounds on various instruments. In ‘Only A Game’ there is not too much of this but I do use some rhythmic techniques like chopping and arrastre since it is a ballet, and we need some motion. This piece was interesting to write because there are only 3 string instruments and you have to create a whole world with just 3 instruments, so the writing is rather busy.
Can you share a composition that resonated particularly well with your audience?
I have many compositions (900+) for various ensembles and genres, and all are very eclectic. Recently my new song ‘Time Does Not Bring Relief’ from my album ‘Better Now’, has been resonating with audiences. The song mixes a classical soprano and a male R&B voice. You can hear the song and see the video I made for it here: Youtube
What advice would you give aspiring musicians just starting their musical journey?
Find your voice and stick with it, be yourself don’t try to please anyone except your own artistic passion. Be honest and ask yourself these 3 important questions: How, What & Why? How do you write your music, What kind of music are you going to write, and most importantly, Why are you creating music? You can read more about this on my blog: GenePritsker
Flares the Spirit On the Making Of “Where You At?”
How does "Where You At?" reflect your musical journey and growth as an artist?
Where You At? is almost like a bookmark in my musical journey. I’ve been writing and making music for a while but since rebranding a few years ago I dropped 2 EPs in 2021 and 2022 that varied greatly in style. Where You At? almost reflects both sounds of those EPs with the instruments and vibe matching the first EP and the energy, carefree style, and wordplay matching the second.
Could you discuss the lyrical themes or messages conveyed in "Where You At?"
Lyrically this kind of works as a recap of what I’ve been up to since the last project. I’ve been working hard since the last release being in the studio, networking, going to shows, etc. whilst also just going through life stuff. Where You At? talks about that but also me just observing things that are happening in music in general. The general message of the song is not being able to see everything that going on and preparing in the shadows.
What has been one of your favorite memories along the path to making this track?
Performing it live for the first time was a good memory for me. I had a show in Hoxton, London and nobody knew the song existed. I announced the song’s release date on stage and everyone was so engaged that by the last chorus, everyone was singing along.
What has been one of the most significant moments of your musical journey so far?
I would definitely say just the people I met along my musical journey. A lot of the people I keep around me I knew outside of music prior to anything else but there is a handful of people I connected on a musical level first that has helped me progress in my art.
Looking ahead, what are your long-term goals and aspirations as a musician?
The sky is the limit for this question. Honestly, I just want to make music I enjoy that reflects myself as a person and is sonically good. I want to take whoever wants to hear it on that journey with me and show them the different layers of a person.
Basically, my aspirations and goal are to make good meaningful music that I enjoy, that people can listen to, and understand more about Flares The Spirt as a person. Everything else on this journey is a plus.
Guardrail On the Making Of ‘Content’
How does 'Content' reflect your musical journey and growth as a band?
‘Content’ is our first full-length album and our first release with all 5 of our current members contributing to the songwriting process. It has a little of everyone’s taste and influences, and if you know us individually well enough, you might be able to pick out which songs started from which member. We are becoming more mature as songwriters and also know how to take one’s initial song idea and mold it into a proper ‘diet punk’ song. We love the new songs and believe ‘Content’ is our best work yet.
What is your personal favorite song from 'Content' and why?
My personal favorite on the album changes day-to-day but the one I tend to pick the majority of the time is ‘Joke’s on Me’. It’s a slightly different vibe from our fast skate-punk mantra, and it features Alyssa on lead vocals and the trumpet, which makes for a pretty unique pop-punk song. (This is Ken, the guitarist, btw)
Were there any memorable or standout moments during the recording sessions for 'Content?'
We had a very lengthy writing, recording, and mixing process that we wish was a bit more condensed overall but our pre-production trip to work with Nick Diener (of the Swellers and Oneder Pedals) was one of our favorite times as a group. We were tweaking all of our demos with Nick each day, and then also having a blast hanging out at night sitting around a bonfire while having fun, deep conversations about life. I think those moments seeped into the final product of ‘Content’, especially the lyrics.
How did your band members initially come together?
Kevin and I met back in 5th grade when our love for Weird Al and SpongeBob brought us together. After playing together in a handful of bands, Kevin finally came up with the idea to start a punk band. We’ve always loved listening to punk and pop punk and it only made sense that we play it. Might’ve taken a handful of years to realize this but glad we did it. Then over the first few years of a rotating lineup, will eventually find Alyssa, Doug, and Xack through friends and our mutual love for punk music.
How do you balance the artistic aspects of your music with the business side of the industry?
This is a constant battle for us, especially in the modern age of TikTok. We are in our 30s and try our best to post as much as we can, but dang it’s time-consuming and soul-sucking. We’ve always been about quality over quantity but what do you know, that’s the opposite strategy when posting on social media to gain more views, followers, etc. Besides that, merch seems to be the only reliable source of income these days, but it’s also tougher to get people to come out to shows in the past few years. Not sure if COVID had anything to do with it, or if consumers’ attention spans are shrinking due to how pop music’s top songs rotate every week and are forgotten about. The struggle is real for up-and-coming bands but we have to try our best to keep up!
Zenodro Releases “All I Ever Wanted Remix”
ZENODRO HAS THE SUMMER ANTHEM OF 2023 WITH THE ‘ALL I EVER WANTED’ REMIX
Following the release of his single, ‘Villain’, New Jersey native Zenodro continues to show the world why he can not be matched. The melodic prominence embedded throughout his new single, ‘All I Ever Wanted’ remix, is amplified by the catchiness of the pop-inspired beat which will be in your head for days. Joined with rising artists, Hoges and Brian Xavier, ‘All I Ever Wanted’ promises to catch listeners ears and have them yearn for more.
Nelson Alejandro Ordoñez aka Zenodro is a New York City-born rapper and songwriter who was raised in New Jersey. His eclectic sound has been hard to pinpoint to one-genre, with influences including hip-hop, pop, jazz, rock, bachata, and diving into his Colombian roots: cumbia. His lyrical inspirations stem from Eminem, Kanye West, Kendrick Lamar, The Beatles, and Kid Cudi.
R.M. Hendrix On the Making Of ‘Blindur’
What was the creative process like for this particular 'Blindur?'
I was in Reykjavik a couple of months and kept a sonic diary. Each day I'd write a song inspired by something that happened. I'd never worked this way before but I made a plan to do it before arriving there.
I had written a few instrumental and ambient songs before. There's a long outro on my Can It Find Us Here? record. And I did another for Shamblegloss. There wasn't really a plan for them, they just felt like the right creative choices in those moments.
But this time I wanted to do it deliberately. I created a simple structure. Whatever I wrote would have three layers: atmosphere, terrain and sub terrain. Atmosphere was high frequencies, always changing like the weather. Terrain was mid frequencies and could move from smooth to rugged, fast or slow. Sub-terrain was the earth below. That was bass notes.
Every song sketch had these elements. I didn't worry about linear structure like verses and choruses or beats, which is normally how I write.
Can you talk about the recording and production process for 'Blindur?'
I rented an apartment with instruments—a stand up bass, piano and acoustic guitar. But I ended up using none of them. Instead I used an electronic kit I had brought with me. I had a new input device from Roli that I had been waiting to use. It's kind of like a combination of a piano and a squid if you can imagine it. It has the keys but it's also squishy like it's filled with gel. I couldn't really play it like a piano. It was more like massaging the skin of an alien. The sensitivity is unique because it responds to pressure on all axis. The sounds you can create can bend or become quickly saturated. It opened a whole new world to me.
What is your personal favorite track from 'Blindur' and why?
Each track is the shadow of a memory. I kept the names really direct so that I could recall where they started. I wrote over thirty tracks like this and chose eight of them for Blindur. They're sequenced for a flow rather than chronologically like they happened.
I don't really have a favorite. The ep builds from a mysterious major composition toward anxious minor compositions. So it depends on my mood where I suggest you start. To get a feel for the record you could begin with the first track, "Stokkseyri" and then skip to "Yellow Alert." That will give you an idea of the range.
Every composer has a unique style. How would you describe your musical "voice" or signature style? What sets your compositions apart?
Like I said earlier, this is a new way of working for me. But there are some similarities here to my other songs and it's mainly in choices about texture and mood. I prefer broken, worn, and dusty sounds with depth. So if you listen to my earlier shoegaze records or the trip-hop records I think you can hear a certain vibe. War Is On Its Way is a pretty good mix of the two styles. I'm drawn to imperfection and decay.
Are there any particular skills or techniques that you have been working on lately?
I've been trying to unlearn. Trying to forget habits. Releasing myself from long-built expectations. These songs are the result of that.
Marshall Fassino On the Making Of “Promised Land”
Can you tell us about the inspiration behind "Promised Land" and the story it tells?
I like to say it’s a not-so-loving ode to the struggles of trying to live in our current world and reconciling the choices that got us to where we are now. It seems like these days if you aren’t a tech billionaire or an Instagram influencer the cards are really stacked against you and a lot of the time we feel like crap because of it. “Promised Land” is sort of my way of dealing with that notion. Life certainly knows how to kick you when you’re down, and it seems like the only explanation we’re ever offered is that “nothing’s promised.” So we just have to learn to cope in our own ways. Some of us are better at it than others but at the end of the day, the best policy seems to be simply making peace with all the scars we accumulate along our journey and plugging along head first into the void. It may not be a hopeful song, but I don’t want it to feel hopeless either.
Can you talk about the recording and production process for "Promised Land?"
The recording process was quite simple but tells a lot about my album that’s about to come out. I actually recorded, produced, performed, and mixed these songs entirely in my home studio. On this particular song (along with a couple of others from the record) I did have help with writing from my former roommates Keyler Matthews and Candace Brown (who performs as Candace in Wonderland). They also contributed harmonies to the final track as well.
When I first started these songs I was considering them nothing more than demos. Some of the material is almost 4 years old at this point. But after sitting on them for so long I came to the realization that I had put a lot more work into these than what normally encompasses the scope of a demo. With most every project I’ve been a part of in the past, the mentality was if we didn’t go into a full studio and record them the “proper” way with an engineer and/or producer then they shouldn’t see the light of day. This time around I decided that didn’t matter. Putting these songs out has been my way of affirming that I am capable of doing this on my own, which has been both scary and rewarding all in the same breath.
What do you like the best about this track?
The lyrics really shine on this song. I’m a big lyrics guy in general and I feel these are some of the best on the record. With so much of today’s music, the lyrical content seems almost like an afterthought. I grew up idolizing artists who really used their words to add a deep level of emotion to their storytelling. I’m a firm believer in the transformative power of music and quality lyrics play such a huge role in that. I read somewhere once that most of today’s top charting songs read at a 3rd-grade level. I’m not Leonard Cohen, but I’d like to think I’m hitting at least a 6th-grade reading level with mine.
Also, I dig the guitar solo I played on this one. Kind of reminds me of Neil Young.
What inspired you to pursue a career in music
Probably that feeling I got the first time I ever took the stage in a band and had a whole room of people feeling the same joy and elation I was feeling. Once you get that first taste it’s a hard one to shake. But then you keep going. You develop and hone your craft. You get better at being a performer. You write music you hope will resonate with people. You strive to put good art out into the world. That’s the stuff that fans the flames and keeps the fire alive. But for me it always comes back to being on stage, everything clicking with the people you’re playing with, and the audience reciprocating all that energy and enthusiasm. There’s no other feeling quite like it. I don’t know if I’ve got it in me to be a road warrior like great rock bands once were, but I certainly can understand the appeal.
Who are some of your biggest musical influences, and how have they impacted your own sound?
My taste in music is pretty wide-ranging. There isn’t much I don’t like or that I can’t pull inspiration from. About the only stuff I’m not big on is (most) mainstream Pop and Bro-Country, which is tough because I live in Nashville. I went through my punk and emo phase in high school. I was enamored with the golden age of Indie Rock in the mid-2000s. I like Rap and EDM stuff too. All that lives inside me. But as I’ve gotten older I tend to gravitate towards the stuff I guess you’d consider “classic” nowadays. I think the names most people would throw out when deciphering my influences are Tom Petty, Wilco, and the Replacements. My dad is a massive Tom Petty guy so that one seeped in pretty early on. Then as a young man finding his way through the world in and just out of college, Wilco really struck a chord with me. I’m a massive fan of Jeff Tweedy’s writing and that emotional weight he’s so good at throwing around. Later on, like any self-respecting music snob does, I dug deep into finding all the cool stuff I missed as a young person and quickly fell in love with the work of Paul Westerberg and the Replacements. To me…they are the perfect kind of band. Messy but profound in so many ways. And not afraid to take the piss out of any situation that wasn’t up to snuff for them. Like repeating a line in a song about taking pills over and over again on national television even after they had been explicitly told not to. There are so many other influences I could list but I think those ones are a pretty good distillation of what I’m trying to accomplish with my sound. There’s a pretty famous quote about only needing “three chords and the truth” to write a good song and I think that’s an excellent rule to live by when it comes to music. I’d like to think Tom, Wilco, and the Replacements would all echo that same sentiment.
REAFFINITY On the Making Of ‘Tether’
What was the creative process like for this particular EP 'Tether?'
From the beginning, I wanted to keep the process as simple and fun as I could. Over the years, I’ve tended to over-complicate writing and recording to the point where I felt like I couldn’t finish anything. I tried to remove as many obstacles as I could focus more on the creative side. I spent a lot of time trying to get the right “feeling” of the sound and the vibe, which then inspired me to try new sonic directions.
What is your personal favorite song from 'Tether' and why?
I’d have to say my personal favorite right now is “All Along”. While it’s not the fastest-paced song in the set, there are several intricacies hidden beneath the surface that I love about it. How it all came together kind of surprised me too. It has a cool groove and is such a fun song.
How did you work with the producer or engineers to bring your vision for 'Tether' to life?
Tether was actually all self-recorded, mixed, and produced. So you could imagine at times it could get heated! Loneliness aside, one very important concept was making sure all the songs fit to tell a story. Each song had to be different enough but also cohesive in feeling with the others. I really hope that this came across in the final result. Hopefully, on the next release, I will get the chance to work with some great producers and engineers!
What inspired you to pursue a career in music?
It just feels like something I’ve always had to do, ever since I was introduced to music. I think for many people who love music in whatever form it takes, it’s a constant in their lives. There are not too many things in this world that do what music can do.
What are some of the biggest challenges you have faced as a musician, and how did you overcome them?
There are lots of challenges you face as a musician (and I’m still facing new ones each day). Self-doubt, motivation, rejection, and a constantly changing industry just to name a few. It’s the music, of course at the core of it all that keeps you going.
Fake Dad Releases “So Dramatic!”
"So Dramatic!" exemplifies a minimalist alt-pop approach, characterized by a distorted, bass-dependent arrangement. The track displays eccentric spoken-word bilingual lyrics, confidently delivered with an unbothered tone, and conveys a message that embraces shamelessness, cavalier spirit, and unabashed imperfection.
LOS ANGELES, CA – Indie-pop duo Fake Dad has experienced a remarkably prolific year, and their upward trajectory continues unabated as they prepare to release their new single "So Dramatic!" available on all major streaming platforms. The single serves as the final prelude to their forthcoming EP, Yerba Mala, set to release in October. The track, characterized by its bratty bravado and sardonic delivery, serves as an anthem for those who celebrate and take pride in experiencing their emotions deeply. As a first-generation Cuban American and fluent in Spanish as her first language, lead vocalist Andrea de Varona infuses the track with Miami Spanglish. The lyricism and production masterfully portray a paradox: while its message revolves around personal melodrama, its musical demeanor remains peculiarly nonchalant. The track exudes a delightful playfulness and a tongue-in-cheek charm that creates an almost flirtatious and enticing atmosphere. As the track unfolds, it personifies the unfettered liberty and directionless spirit of young adulthood. Fans can expect sounds reminiscent of artists such as Wet Leg, LCD Soundsystem, and The Marías on Fake Dad’s new single.
Chloé Sautereau On the Making Of “Ten Thousand Stories”
Can you tell us about the inspiration behind "Ten Thousand Stories" and the story it tells?
Ten Thousand Stories was born out of this mixed sensation of excitement and feeling overwhelmed after spending my first month fully living in New York and starting college for music. Moving from Geneva to Switzerland, I suddenly felt like there were so many opportunities I wanted to say yes to, and a desire to be able to be everywhere at once. Ten Thousand Stories is about recognising all the things you'll reach for but understanding they’re not all going to be possible but that it’s worth daring to try. It’s an ode to accepting and cherishing the new and the stories that make us who we are.
Were there any challenges or breakthrough moments during the songwriting process for "Ten Thousand Stories?”
I wish I remembered the details of it a little more specifically (3 years ago!) but I’ve always loved this song for the way it somewhat gives a double meaning to its title. It’s about all the stories you want to live and experience and the growth those provide you with, the exhilaration that comes from opportunity and a new city but also the physical and literal height of the buildings in New York and feeling intimidated by it all. “I’m flying, I’m ten thousand stories tall but I’m falling, cause I know I’ll never live them all.” I remember realizing that lyrically that could work out this way and that was really cool.
Were there any memorable or standout moments during the recording sessions for "Ten Thousand Stories?”
This is the first song I fully engineered myself in terms of recording in the studio, so it’s really exciting to have it out!!
Laying down bass lines with my friend Emma Wellons was particularly fun because she got really playful with it and I think some of them really serve as important sonic sweeteners on the track and contribute to its depth instrumentally.
Can you walk us through your creative process when writing and composing music?
I’m usually figuring out a strumming or picking pattern and bouncing back and forth through some chords on the guitar until something sticks and words come. Or I’ll think of a line that feels like it could be the start of a verse pro chorus, so I’ll put it to music and go from there. Music and lyrics have a particular relationship with one another to me and they’re definitely interdependent, where one informs and inspires the other and so forth.
What are your future goals or aspirations as a musician?
I’m trying to song-write as much as I can; I love telling stories, and with that try my best to provide a space where people feel understood or at least can attempt to. I’m planning on keeping these releases as regular as possible, to further grow an audience, so keep an eye out :)
Currently still based in NYC and playing live here as much as I can!
A.W.M. On the Making Of ‘Paper Thin Authority’
What was the initial spark or idea that led to the creation of 'Paper Thin Authority?'
'Paper Thin Authority' is taken from our track 'System of Oppression', which kind of summarises our philosophies about questioning authority, and abuses of perceived power and privilege. We have songs about people being awful on the internet, including the far-reaching influence of right-wing conspiracy theories, indoctrination through an archaic education system, and hypocrisy in the punk scene.
Were there any challenges or breakthrough moments during the songwriting process for 'Paper Thin Authority?'
The biggest challenges for El P and Big Earn were doing their GCSEs (the UK equivalent of a High School Diploma) right in the middle of recording the album. Frustrations with this are pretty clear in our cover of the classic Pete Seeger song ‘What did you learn in school today?’.
What has been one of your most favorite memories along the path to making 'Paper Thin Authority?'
It was kinda hard to get gigs when two members of the band were not old enough to get into venues. The first and only gig to date was an all ages sell out (it could also be said that this description kind of reflects the band). It was an absolute blinder and we sold all our merch, too.
How did your band members initially come together?
At fifteen years old, El P and Big Earn met and decided to form a punk band. Realising they needed a bassist, they called on Earn's dad, Gob, to fill in until they found one. After being in a number of bands, including Four Letter Word, Gob enjoyed it so much he just won't leave the band.
What inspired you to pursue a career in music?
A love of the music, a desire to support a pretty lackadaisical punk scene in our hometown (Cardiff, UK), and a need to vent.
Deer Park Avenue Releases “Cave”
Deer Park Avenue’s Ambient Grunge Reverberates in New Music Video “Cave”
The sister duo brings a fresh vibe of melodic rock across Europe this summer with their atmospheric track produced by GRAMMY-winning producer Reto Peter.
The music video was directed and produced by Martin Stonard of the Film Creative. “Cave” opens on a quick succession of violet-hued scenes, panning across the “cave” of downtown Munich’s underground gem, the Milla Club. The video shows the rock sisters jamming together in their natural habitat, with the raw energy that has come to signify their live shows.
Cave is a song about making a change and doing something fresh and bold, which is exactly what the sisters have done with this track. With an expert command of dynamics, the song creates a dramatic and inspirational mood, building up to the explosive chorus: “They say just fake it until you make it—don’t want to take it anymore.” Sarah’s vocals shift between ethereal whispers and gritty intensity, demonstrating her vocal range and control, while Steph’s masterful drumming drives the song with intuitive Bonhamesque dexterity, telling a story in the most rhythmic way.Steph says, “‘Cave’ is about leaving the cave of doubt, stepping out of the shadows and letting your light shine. It’s about being comfortable in your own skin and having the determination not to cave to pressures around you. This is us at our realest.”
M. Cross Dougherty Releases “Transmission”
M. Cross Dougherty is a North Carolina-based multi-instrumentalist and ambient producer. Serene and engagingly present, his production style reflects a love of FM, analog, and modular synthesis, sampling, and DAWless recording. Dougherty writes with a nod to pioneers in the industry, such as Brian Eno, Boards of Canada, and Hiroshi Yoshimura, to modern practitioners r beny, Jogging House, and Chihei Hatakeyama.
Dougherty's upcoming EP, Cosmic Engine, is an ode to his father-in-law, Anthony Louis Acampora, who passed in late 2022. Each song colors a sonic landscape, with themes centering on Eastern practices and aesthetics. The EP's final track, "Desatita," is Sanskrit for "the place beyond space" and an autumnal reminder of where creativity and life intertwine.
Transmission" is the first selection of a four-part homage to M. Cross Dougherty s father-in-law, Anthony Louis Acampora, who recently passed away after battling parkinsons and dementia for over a decade. The ambient construction of "Transmission" consists of warm synth pads - comparable to Anthony's late-in-life moments of clarity - frayed with randomized samples coursing with LFO modulation, delay, and reverb; symbolic of the unpredictability of Anthony's illness.
Majeska Releases “John Hughes Movie”
What does it feel like to be in love? As Majeska tells us in her new track debuting, it feels exactly like a John Hughes Movie.
Produced by *repeat repeat's Jared Corder (The Black Keys, Michigander, Nordista Freeze), "John Hughes Movie" is a step-out Electronic Dance moment for Majeska. Corder and Majeska have been nonstop since meeting in November 2021 to record breakout track "Greenville." The pair have released both a full length album and EP alongside consistent singles.
“I promise to always be so honest with you until it scares me. Because that’s when the real stuff happens,” said the 23-year-old artist to her audience on a recent radio broadcast (Lightning 100/WRLT 100.1). Inspired by everything from early Stevie Nicks and Prince to fiery EDM powerhouses like Odesza and RÜFÜS DU SOL, Majeska isn’t concerned with sticking to any formula or tradition, but tapping into something much bigger than us. Perhaps that's why the artist's newest sound in "John Hughes Movie" isn't just larger-than-life—it's massive.
With entrancing John-Hughes-esque visuals alongside the release, "John Hughes Movie" is an escape from 2023 back to a time when boom boxes on shoulders and picking up the girl in your car after school were enough to make for the greatest love story ever.
Telling Secrets On the Making Of “Tired of Waiting”
What was the creative process like for this particular "Tired of Waiting?"
I wrote the song such a long time ago that I can’t exactly remember, but I did find the original project file. The working title was ‘boring’ because before I had the hook it was a really ambient vibe and at the time I was trying to go for more explosive, active rock stuff. It came together in the end but it was definitely one of the ones that took a bit of graft to get over the line!
Could you discuss the lyrical themes or messages conveyed in "Tired of Waiting?"
99% of the time my lyrics will be very honest and exposed to the point where the true meaning is hiding in plain sight, but somehow it ties into more than one event, theme or is relatable for other people. I think those are the best lyrics. I was sick of the fact that nothing in life is guaranteed anymore. Everyone is stressed out about something, there are millions of details to pay attention to and it can all end in an instant. It’s a conversation between two people who are close to each other with one begging the other to communicate, become vulnerable and find some sense of security and comfort to combat the outside chaos with a deeper connection.
How has the audience response been to this song during live shows?
It was crazy when we played it at the Spice of Life in London. We weren’t even headlining but we had that room packed completely. After the set, we had bands asking us to go on tour with them, random people being like ‘who are you?!’, promoter trying to immediately book us for the next show. It was like a movie scene or something. We are coming back to London at The Macbeth on 5th October and it’s a free show. The RSVP link is in my Instagram bio - It’s free, but you still need a ticket!
Where do you find inspiration for your songs or musical ideas?
Just the things you live through. Sometimes it’s an immediate spark, sometimes it can take months for the thoughts and emotions to curate. I really hate it when artists, especially in the alternative/heavier scene, sing about stuff that isn’t real. You need to live to be able to tell the story. I’ve not necessarily had hardships, in the sense that a lot of rockstars have with drugs, prison time etc, but I have lived an interesting life so far. I’ve lived in Budapest, London, Surrey, Manchester, and Los Angeles - I’ve seen a lot, I have my issues and frustrations, and I try to take them out on my songs and videos. I am not doing this for anyone. I just like to create and I plan on being up there at the top someday.
How do you balance creativity and commercial success in your music career?
I have my favorite parts of the process and then my least favorite parts that feel like chores almost. The feeling of just coming off stage after a show or writing/recording the demos is probably my favorite. There’s stuff like editing vocals that I don’t really mind but I like to take my time with it. Recording guitars is something that I hate with a passion because I get paranoid that either it’s out of tune or there’s weird noises or that something won’t sound as close to perfect as possible. My least favorite part is restricting myself from posting my content too early! I got into photo and video editing recently so for half of the singles I made the artwork. I’ve been editing short covers for a while but I recently edited together a music video that is coming out this year and I’ve been slowly making my way towards doing VFX myself as well. I do humble myself a lot, but I also take pride in the fact that I want to be like the Prince or David Bowie of this modern rock genre. Like an artist, singer, producer, and creative director and actually be able to contribute if not execute at every single stage. I am the one who writes the songs 100%, I record most if not all of it, I edit a lot of it, then I call in help for mixing, I make the artwork and a lot of the videos, I send the emails and organize the gigs and the video shoots and I try and make sure everyone is looked after and happy at the end of the day. I love every moment of it, even the ones I hate.