Sara Beth Yurow On the Making Of “Twenty One Night Stands”
Can you share any interesting or unique musical elements or production techniques used in "Twenty One Night Stands?"
“Twenty One Night Stands” is probably one of the most unique songs I’ve ever written because I’ve never gotten a vision for anything quite like it before. It’s just so dynamic. But when you get a vision, you have to go with it. I think the most unique part of the song is the crow. If you listen really closely, there’s a crow sound in the chorus. The vision that came to me had a sort of creaking, squawking element to it during the instrumental part, and for the longest time, I couldn’t figure out how to make that sound. I even remember opening and closing doors in my apartment, trying to get the right squeak from the door hinges, but it just didn’t sound right. So finally, I went down to San Diego to visit some family, and I was taking a nap on my grandmother’s couch, and I heard a crow squawk really loudly outside and just bolted right up, like “That’s it!” and I incorporated that crow sound right into the chorus.
What was the initial spark or idea that led to the creation of "Twenty One Night Stands?"
The initial spark came from a conversation I had with someone I was involved with. He had a bit of a promiscuous past, and one night he told me that he wished he could take it all back for me, which I thought was just the sweetest thing, but he said sort of sadly, and I remember thinking, “Why is this sad? Don’t you see how beautiful that is?” I saw his transformation as the most beautiful, inspiring thing, and even after we broke up, I just remember sitting on the bus one morning and just being in awe at how amazing his metamorphosis was, so much so that I wanted to immortalize it in a song, so I did.
What has been one of your favorite memories along the path to making this track?
The song all really came together for me while I was visiting one of my best friends in Stockton. It was in the middle of the pandemic when there was a lull in between surges, and I was visiting her family from LA for Thanksgiving. We were taking a walk with her sister and their dogs along a levy, and I just remember it was freezing and my hair was fading from being dyed rainbow and we were walking and laughing and I was just so incredibly happy. And Everything just came together for me in that moment in my mind; how the song was supposed to feel, the melody, the instrumentals, everything while we were on this walk.
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
I don’t feel like there’s any friction between the two. I fundamentally believe we are more similar than we are different, so I feel that while we are all unique in our own special way and I am no exception to that it is those personal, “unique” experiences I write and sing about that are still hopefully relatable to others. That being said, I am mischievous and snarky as hell, so I don’t worry too hard about sounding like everyone else.
Who are some of your biggest musical influences, and how have they impacted your own sound?
Avril Lavigne taught me how to write. Her lyrics are so honest and raw it really feels like she’s talking right to you and that was so effective and impactful on me I guess that always stuck with me as the way to go. I started writing songs around the same time that I started listening to her, and I think you can hear the influence.
Christina Aguilera and Whitney Houston were big vocal influences for me; I was trained quite young to riff and to belt, and Selena Gomez also influenced me quite a bit now that I think about it. It’s subtle, but while I worked as a nurse during the pandemic, I would carpool with a coworker who refused to play anything for the first month or so but Selena Gomez. She wasn’t my first choice to listen to initially so it got frustrating at times, but I gotta admit her mixes are excellent and I learned quite a bit about pop hit structure; how beats, bass, and synth weave in and out to create a hit. I don’t think my coworker has any idea, but riding to and from work with her became like my little study sessions.
Darcy Winter On the Making Of "Save It"
What was the creative process like for this particular "Save It?"
The creative process/story behind “Save It” came from an experience in New York. I was in a new city, alone, and I started talking to a guy in a bar. He quickly divulged that he was a lawyer and started to tell me how little he thought of my career choice, how I would never make any money or be successful etc. I then rejected his advances and his retaliation was to spike my drink. Not only did it not work, it put me in the hospital, where my blood showed positive for opioids. I then had to spend 24 hours being watched over by staff - a horrendous experience. I came back to the UK pretty shaken, but I (after about 24 hours), sat down at my computer and started to write the song. The lyrics poured out of me -I was so angry but also realised how much I had loved NYC and wouldn’t hesitate to go back. It just sort of put a mirror up to a bigger lesson that when these things happen to you, you just have to turn them into something good. And in the end - I actually felt sorry for him (shown in the bridge).
Can you talk about the recording and production process for "Save It?"
After writing in all the instrumental parts to the song, I brought it to the producer that I had used (Ian Janco, a now good friend), who loved the song, and actually brought on another person, Jason Elvin and they tweaked the song and produced it together (Ian was by then based in the US and Jason in the UK), and they really brought it alive.
What has been one of your favorite memories along the path to making "Save It?"
Honestly, being in New York was just magical. The incident itself was of course traumatic, but actually, two of my closest friends who were in the city came to my rescue and literally saved my life. They called the ambulance, stayed with me the entire time in the hospital, checked into their hotel, and didn’t sleep themselves. It really just made me appreciate them and the people around me. I loved working with Jason and Ian on this one - I think everyone gets quite riled up when they hear the story of the making of it, which means everyone wants the song to do well.
Who are your musical influences, and how have they impacted your songwriting style?
Olivia Dean is a big influence, her depth of lyrics and lush jazz chords are just magical, and her energy on stage is second to none. I also take a lot of influence from Eloise, her ethereal voice and melody lines are something I also use in my music. I love the close mic sounds of Billie Eilish and her use of her experiences in a very raw way to connect with her audience. I love the old Jazz classics too.
Your lyrics often tell stories. Can you talk about your approach to storytelling through music?
I have ADHD - so I see things a little differently than other people, things that happen in the world process differently in my brain. Sometimes I find either it’s hard to describe to people my experiences, or I find it hard to understand them myself. When I write music, it seems that I can make sense of it.
Mat Hook On the Making Of “Runaway Road”
What was the creative process like for this particular "Runaway Road?"
As far as the songwriting it's all just a feeling, it's always feeling. All my songs come from the same place, It's a mix of carrying the past whilst looking to the future.
As far as production that's when it gets a bit more light-hearted. Me and Paul Tuffs (producer) just kinda bounced little ideas off for certain elements, just playing around with things until I was happy
What was your favorite moment in making the music video?
From what I remember the 'band' shot was pretty rushed as we had a rehearsal that night for a gig the next day. We did a few takes filmed at Sidney & Matilda in Sheffield.
I probably enjoyed the scenic shots the most, they’re actually all little spots me and a handful of mates chill at some nights and especially did during the lockdowns! So I’ve got an affection for those specific little spots.
Megan and Dylan (video producers) were cool kids to be around too.
Have you noticed any particular interpretations or connections that listeners have made with this song?
He'll be sick of me mentioning it now but a mate of mine, Franny, mentioned that the song felt like it was made for a kinda self-realisation moment in a film and I think that's a great summarisation for the feel of it. I think it has a feel of it’s-time-for-something-to-happen kinda vibe, or maybe it’s time to make something happen! Most people just tell me they have it stuck in their head or find themselves humming it randomly… You’re welcome!
Your lyrics often tell stories. Can you talk about your approach to storytelling through music?
It depends on what you mean by stories? I tend to tell my own story, in a roundabout way. I’m not someone who’s writing objectively about things I see or made up characters or observations etc. and I’m definitely not trying to convey a ‘message’. For me, like I touched on it’s just a feeling inside, a vibe I carry. I’m someone who spends a lot of time in my own head, I’ve always been like that. It can be both good and bad. These days for me I’m in a place where that’s generally good!
What do you enjoy most about performing live and connecting with your audience?
The main thing I enjoy is the energy and it’s always best if it’s obvious people are enjoying it. It becomes a walk in the park at that point.
The older I’ve got the more I like performing live. The gigs I play aren’t as big (currently) or atmospheric as I used to do (in Kartica) but I definitely enjoy them just as much, if not more.
I used to be more self-conscious when I was first starting out. In fact, I’d walk on stage with a kind of confrontational mentality back then... It’s strange in a way cos I feel quite disconnected from those days now. Who I was and how I felt just in general was so different. I can remember them but it all seems very dreamlike. Nowadays I’m a lot more relaxed to the point where often I can spend a gig sorta observing people in the crowd. With that relaxation, it becomes easier to connect with an audience. I think that relaxation comes from lots of experience but also in the realisation that I see myself as a complete chancer in this singing lark. The idea that I could be seen as this serious singer is hilarious to me internally, but the most hilarious bit, is knowing I’m as good as any of them.
nasmore On the Making Of "When It Feels So Fake"
Can you share any interesting or unique musical elements or production techniques used in "When It Feels So Fake?"
Absolutely! Producing "When It Feels So Fake" was a wonderful journey of experimentation and sonic exploration. There are several elements and techniques that stand out.
For example, to create a raw emotional connection between the two parts of the song, there is a moment of stark minimalism juxtaposed against a richly layered crescendo. This dynamic movement helps convey the emotional peaks and valleys of feeling out of touch with one's reality.
Also, throughout the song, there's a deliberate play with panning and space. Instruments and sounds frequently move from left to right, immersing listeners into a 3D sound environment. This mirrors the song's theme of navigating through the blurry lines of reality and fiction.
To make the track resonate more with the theme, I sampled and layered sounds from everyday life but manipulated them in a way that they sound slightly 'off' or 'distorted.' This subtle twist further plays into the song's narrative of things feeling 'fake' or 'distant.'
In essence, my aim with "When It Feels So Fake" was not just to craft a song, but a soundscape that evokes the uncertainty and unease of not being able to distinguish between what's real and what isn't."
How did you approach the arrangement and composition of the music for "When It Feels So Fake?"
Arranging and composing “When It Feels So Fake” was both an intuitive and intentional process. Here's a closer look at my approach:
Before diving into the technicalities, I wanted the song to have a narrative arc that corresponds to its theme. It begins with a sense of confusion, dives into moments of introspection, and culminates in a resolve or acceptance of the 'fakeness' of it all. The arrangement was designed to echo this journey.
I started the song with a sparse arrangement — very punchy but haunting kick drum to immediately capture the listener's attention and hint at the forthcoming exploration. As the song moves into its verses, the music gradually builds in complexity.
The chorus is where the arrangement is fullest. It's the emotional climax of the track, with all elements coming together to underscore the main theme. However, instead of making it overpoweringly dense, I ensured there's still space in the mix for each element to breathe, mirroring the clarity one seeks amidst the chaos.
Then there is a bridge after the second chorus. It breaks away from the established patterns, offering a sonic palette cleanse. It’s a bit experimental, reflecting moments of self-questioning and doubt. It then builds back into the third verse with renewed energy.
Compositionally, I wanted a balance between predictability and surprise. It was important to me that the musical choices served the emotional and narrative intent of the song, ensuring that the listener is not just hearing, but feeling the message."
What did you enjoy most about making this track?
Creating “When It Feels So Fake” was a truly enriching experience for me. What I enjoyed the most was the process of discovery. I ventured outside of my typical boundaries, experimenting with unfamiliar instruments and techniques, which made every studio session feel like a new adventure.
Also, the song's theme resonated deeply with my personal observations. Being able to channel those emotions into music was cathartic. I found joy in the small moments, like when a particular sound texture perfectly captured a sentiment, or when a lyrical phrase encapsulated a complex emotion.
Lastly, witnessing the song evolve from its initial idea to the final mix was profoundly satisfying. It's like watching a story unfold, and with each layer added to production, the narrative becomes richer and more vivid.
Where do you find inspiration for your songs or musical ideas?
Finding inspiration is a continual journey, and it comes from many different sources. Personal experiences, whether they're joyous, heartbreaking, or introspective, offer a lot of song ideas. A simple walk in the park, a deep conversation with a friend, or even a moment of introspection can all be catalysts. Reading a compelling book, visiting an art gallery, or watching a thought-provoking movie can evoke powerful emotions and ideas in me. Occasionally, I wake up with a melody or lyrical idea in my head. The subconscious mind is a mysterious and wonderful thing, and I often find that my most unique ideas come from dreams or daydreams.
How do you approach collaborations with other musicians and maintain creative synergy?
Collaborating with other musicians is one of the most rewarding aspects of my musical journey. It's like merging different worlds to create something new and unique. Every artist brings a unique flavor to the table. I believe, it's essential to respect and value each other's perspectives and ideas.
I also believe that listening is just as important as contributing. By actively hearing out my collaborator's ideas and understanding their thought process, I can respond more effectively, and together, we can craft something that represents both of us. We all know that not every idea will align perfectly. There are times when compromise is necessary.
Ultimately, the key to successful collaboration lies in mutual respect, open communication, and a shared passion for the music. When these elements come together, the resulting synergy can lead to something truly extraordinary. Even though I collaborate a lot, I still learn how to do it better.
Sandra Bouza On the Making Of “Sit By The Fire”
What was the initial spark or idea that led to the creation of "Sit By The Fire?"
The song was initially a very short acoustic ballad that I thought would be a perfect end to the album, in the style of 4&20 by CSN&Y. I was very overwhelmed with life one day, as we have all experienced I'm sure, and one night I picked up my guitar which usually centers me a bit, and I started writing this sweet little acoustic tune about being overwhelmed, and then it just started to expand to reminiscing about times of chaos in my life when I was just moving too fast, living too fast, planning too fast, and all the times people around me were telling me to slow down. The last verse is sort of a summary of what happens when you don't slow down and one day you are left with nothing but chaos.
Were there any memorable or standout moments during the recording sessions for "Sit By The Fire?"
Yes! This song was supposed to be an acoustic ballad, but when we all got into the studio we decided to add SOME instrumentation, the album was recorded live off the floor, so the band was together in the studio for the week tracking the whole record, and when it came to this song, it just didn't work. It kept getting heavy, and we kept trying to drag it kicking and screaming back to soul, or something softer, but the song wanted what it wanted. So finally, we just stopped trying to control, and let it be the awesome soulful southern rock tune that it became, and it is one of my favourite songs on the record!
What did you enjoy most about making this song?
This song really re-enforced for me the idea of letting go of control, and sometimes that's how you get the best results. Working with a group of amazing musicians, with no egos, who are all just invested in making the best product possible and not getting stuck in a box that you designed for yourself and refuse to see out of, even though there might be something really cool sitting just on the other side! It sort of fits in a lot of other areas of life, getting so stuck on a specific plan or idea, that you can't see that maybe the universe has another, better plan for you.
Can you share a bit about your musical background and the journey that led you to where you are today?
I was raised on folk, like Joni Mitchell, Neil Young, and the laurel canyon era, but then I discovered harder music from the same era and got pretty obsessed with Led Zeppelin and Janis Joplin, THEN I discovered jazz and soul and wanted to sound like Erykah Badu, so I was a bit of a confused musical lover, and my last album definitely has more soul pop elements. This album is a bit of a return to my roots, because when I met my producer; Ross Hayes Citrullo, we bonded over the Laurel Canyon era, and our love for that era and music, so this album has a lot of that influence. I still feel that all of those other genres that I love so dearly, deeply influenced my sound, I still love doing cover gigs and getting to sing jazz and soul, but I like to think that I have reached a point in my career where I can amalgamate all those styles but still have a common consistent theme that still remains very "Sandra".
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
Interesting question! I like to believe at the end of the day, that there is a human experience that almost all of us can relate to. I don't however try to fit into all of them or appeal to absolutely everyone, because I don't think you can, and I think people that try to run the risk of losing their own unique voices. So I focus on being true to my own stories, but listening to the stories of others and trying to find that connection. That is the music that appeals to me, is some artist, across the world, from some other place or time in some cases, who is spouting these lyrics that completely and beautifully sum up my experience. I think that is the magic of art, and I want to be a part of that! I also think that authenticity, and being yourself, in a society that does not really encourage that, IS a unique voice! Loving yourself is an act of rebellion in our society. And I am trying to do that every day. I don't succeed every day, but I think being honest about that specific journey in itself, can contribute to some pretty relatable art.
GREED CULTURE On the Making Of “Break Through Sight”
Can you share any interesting or unique musical elements or production techniques used in "Break Through Sight?"
I’d say the only unique element or production technique is just Beau Burchell himself. He knows how to make things sound good always. It’s such a great experience recording with him. He’s so easy to work with, always has great ideas on how to enhance the songs, and just has such a good ear.
Were there any challenges or breakthrough moments during the songwriting process for "Break Through Sight?"
The song came together pretty easily to be honest. Most of the music was demoed at home on my laptop and then once we all finally got together, everyone added their little tweaks to make the song what it is now.
What has been one of your favorite memories along the path to making this track?
Putting the group vocals to the song in the studio with Beau was a lot of fun. Adding up the layers to get that fun group vocal feel was a highlight for sure.
Can you tell us a bit about yourself and how you got started in music?
I am into a lot of different things. If you ask my wife, she’ll tell you I have too many hobbies. Music has always been at the top of the list though. I started playing guitar in junior high so that I could play punk covers with my friends. Once I learned about hardcore music I was hooked. I played in a number of different hardcore bands throughout the years but took a break from playing hardcore starting around 2010 and focused on some other types of music. I always had riffs and ideas floating around my head but it wasn’t until sometime during the lockdown that I began putting them to tape.
What role do you feel emotions play in your music, and how do you channel them into your performances?
Emotions play a key role in any type of music. Even though everyone in the band is generally happy and lighthearted people, the emotions of these songs are rooted in the frustrations we feel in the failures of our society. Particularly those that are rooted in greed. We are trying to recognize the issues and channel the frustration into a positive and hopefully motivational release.
LONG/LAST On the Making Of “Therapy”
What was the creative process like for this particular "Therapy?"
We wanted to write a song similar to some of the dirty, bedroom-produced pop stuff that's become so popular in the last couple of years. We collaborated with a few different writers and came up with the chorus guitar riff, and from there we wrote the song in the studio over the course of a few days.
What was the initial spark or idea that led to the creation of "Therapy?"
We were really into an artist called Boon at the time, so we decided to try and write something similar to some of his songs sonically. It didn't really end up sounding much like a Boon song, but we're still super happy with how it turned out!
What did you enjoy most about making this track?
We really went out of our comfort zone with the guitar work. None of us knew what we were doing and we just goofed around until we came up with a riff we thought was cool, and it really ended up shaping a lot of the record. It was a lot of fun coming up with a new way to approach writing guitar parts.
Where do you find inspiration for your songs or musical ideas?
We really tried to draw a lot of inspiration from top 40 pop and stuff like that for this last batch of songs. We wanted to try and write pop songs with heavy guitars.
What do you enjoy most about performing live and connecting with your audience?
It's always a ton of fun working with the crowd and giving them their own parts to sing and participate in. It's also always such a great feeling when enough people in the crowd know the words to your songs that you can hear them singing it back to you. There's nothing like it.
Mac Summer Releases “Let It Go”
The New Zealand producer continues to push boundaries on the innovative new track
Mac Summer has been one of New Zealand’s leading Drum and Bass producers for years, exploring everything from high octane dance tracks to gentle, soothing ambiance. On his latest track, he pushes the genre to its limit. A mixture of surprising electronic textures and ethereal vocals, it is the most captivating track to date from an artist poised for an international breakthrough.
‘Let It Go’ opens with a hypnotic blend of electronic sounds, eventually evolving into an uptempo, otherworldly electronic track. Its distorted synths and expertly executed breaks provide an instant shot of adrenaline. Mac incorporates an angelic vocal performance, which is an ideal counterpoint for the intensity of the production. ‘Let It Go’ strikes a perfect balance between electronic explo- ration and pop accessibility, showcasing everything that makes Mac such a unique artist. It will be well received by new fans and DnB enthusiasts everywhere.
‘Let It Go’ is available everywhere.
Dansy On the Making Of “Bad Actress”
How does "Bad Actress" reflect your musical journey and growth as an artist?
It took me a while to come back to such a heavy sound, feeling pressured to stick to genres like commercial pop or R&B. But this song feels like coming home to the sound that made me fall in love with music. Growing up listening to Paramore and No Doubt, I always wanted to make music that made you jump around. Something that would have me belting along to it, like I was letting my demons out. It would give me catharsis. Giving myself that permission to go heavy with “Bad Actress” has freed a part of my writing that has been waiting to be set free!
What was the initial spark or idea that led to the creation of "Bad Actress?"
I’ve always been told that my face can’t hide my feelings, and despite my best efforts, my face gives away my every thought. It has forced me into a place of radical honesty that I embrace, and the lyrics came out effortlessly when I was jamming on a riff that I was messing around with. I have a soft spot in my heart for pop-punk and rock that dominated the Australian music scene in the 2000s such as The Veronicas, Rogue Traders, and Jet, and I really wanted to channel that in this song.
What has been one of your favorite memories along the path to making "Bad Actress?"
I’ve been lucky enough to work closely with incredible producer Bailey Judd, who brought my initial vision to a whole new level. It’s hard to pick one specific time that was my favourite, as my memories of making this track fuse together in a blur of laughing fit over ridiculous vocal effects, hyper-active late-night sessions fuelled by energy drinks, and long drives testing mix after mix. It’s a blessing to find someone who understands your sound and make such a safe and creative environment to work it, and that’s what I found with this song.
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
I think it’s pretty easy once you realise that you aren’t special, and anything you’ve gone through, there are people who have gone through it or feel the same. Leaning into that gives you a lot of freedom, and takes the pressure off trying to be profound - and gives so much room for people to project their own story onto your art. Because that’s what it is all about. And people can feel authenticity, whether they consciously notice it or not. So giving the listener the respect of showing up authentic and honest is the most important thing.
Is there a specific song that holds a particularly special meaning to you? Can you share the story behind it?
A song that I always come back to with reverence is “What You Waiting For?”, the first track from Gwen Stefani’s Album “Love Angel Music Baby”. It’s such an amalgamation of genre, taking all of her rock background and redefining it in a pop context. It’s music like this that opens up so many people, particularly girls, into the world of rock. It makes rock feminine, sexy, empowering. Hearing so many contrasting sounds weaved together so powerfully with an aggressive and unapologetic female vocal, and an undeniable groove just set the standard for what I want to be able to achieve. If I can give people the feeling that that song gave me, I know I’m doing what I aimed to do.
Premanition Releases ‘Say My Name’
Following a string of dreamy releases including “Heaven”, “Worthy” and “Mars”, the gothic artist is now revealing the fourth single off her upcoming album.
Titled “Say My Name”, the self-written single emerged with a life of its own, chanting flirtatious statements like “I’ve been waiting for someone like you” and “I need your body”, over pounding pop synths, while having a sinister undercurrent with the song’s narrative - which is essentially about demonic possession.
“Say My Name was written in one of those ‘bolt of lightning’ moments. It was like something took hold of me and I had to play it out. I love fantasy and horror stories, so I wanted to write something sexy but also foreboding. The lyrics play with multiple perspectives. It can be a sensual club grinder, but it can also be the gothic anthem of a demon or ghost trying to possess an unsuspecting person’s body,” she explains with a grin.
Premanition is an independent Bangladeshi Canadian singer, producer, writer, director, voice actor, and engineer.
Chloe Mayse Releases "Mad In Love "
Toronto, ON- Hailing from Toronto of half Irish and half Chinese- Trinidadian descent, Chloe Mayse is claiming her space in the queer alt-pop scene.
Chloe is super excited to share her new single "Mad In Love " and the accompanying music video, set to release. Here's what she had to say about it: “I wrote 'Mad in Love' about my first serious relationship. I fell in love with a great friend of mine and we had a beautiful love story that lasted 3 years. I was so infatuated and deeply in love to the point of making her my sole purpose in life. I was switching back and forth between a manic and depressive state, and the only thing that felt stable and secure to me was when we were together". The music video, made with a few of Chloe's friends in her home city of Toronto, features flashbacks to that relationship. "There were certain activities and places we used to go together- that's what I was trying to show in the video" Chloe continues, "Each location has a scene of her and I together, then it cuts to the present day: me alone and reminiscing". The video is almost like a home video, taking us into Chloe's world as she re-experiences it through her memories.
Chloe is a strong advocate for the queer community in Toronto, and for creating and fostering more accessible spaces for queer people everywhere. With her confessional songwriting, she aims to bring awareness to mental illness and open up an honest and vulnerable conversation about the struggles we all face.
Päter On the Making Of “Something // Way”
What was the creative process like for this particular "Something // Way (Something in the Way)?"
I wrote S//W when I was feeling super blocked creatively and in my life. I was getting really frustrated and I felt like I couldn’t form a coherent thought. That’s where that intro came from, just pure ethos into the guitar. The rest of the song happened pretty quickly as this kind of protest against this thing inside me that was holding me back. When I got to the final chorus, I realized I had to end it on a hopeful note because I wasn’t ready to give up on myself and what I was doing.
Were there any challenges or breakthrough moments during the songwriting process for "Something // Way?"
The biggest challenge was just getting started. Bashing on that minor chord was the most honest thing I could have done in that moment haha. Then having the chorus shift to the major of the same chord really helped add some levity to the song where it’s needed. I hadn’t used that move before and I was very happy with how those pieces fit together.
Were there any memorable or standout moments during the recording sessions for "Something // Way?"
The vocal session for this was a particularly smooth one. I was working on a batch of songs together with my co-producer Howard [Redekopp] and some of them took a lot of finessing to get the vocal performance right. But with this, I remember feeling pretty relaxed going into it (contrary to the mood of the song) and I think it helped get the right nuances in there.
Another funny thing that happened was that we had borrowed this gorgeous, expensive telecaster to record the rhythm guitar on but we just could not get it to sound right. Something about how I was playing or how it was set up was making the tuning sound so off from chord to chord. In the end, I recorded the part on a $600 Gretsch guitar I had at my apartment through a Scarlett Solo interface, which is like some seriously basic tools (which work great). That ended up being a key layer in the sound of the song. Just goes to show how the right tools for something aren’t always the fancy ones.
What inspired you to pursue a career in music?
Music was my favorite company to keep growing up. I was a bit of a loner in my pre-teens, my family had just immigrated to Canada from Iran and the culture shift was pretty isolating for a while. I spent a lot of time in my room listening to my favorite bands and it didn’t take long for me to start writing my own songs and fantasizing about playing on stage. When I did finally start to play, it seemed to reach people in a way that I otherwise couldn’t. There’s a give and take in performing that’s so essential to me now. When you can see that you’ve gotten through to a room of strangers and made them feel connected to each other and to you, it’s the best feeling. Plus, I just love creating a world with visuals and letting that weird, imaginative kid in me go wild. That’s the stuff that’s kept me at it.
Can you share a memorable experience from a collaboration that enriched your music?
In the early days of perusing the Toronto music scene, I happened upon a guitarist named Alex Purcell who’s become one of my dearest collaborators and friends. We met at an open mic, he was a jazz school kid and I was a totally self-taught, scrappy songwriter and I think we were both really inspired by each other. He’s played in my band for many years and added a lot to the songs, including playing the lead guitar on Something // Way! Alex’s belief and investment in the project right from the start has been invaluable to me. He’s an incredible producer now - we co-produced Earth in Revolt together which is still one of my favorite tracks.
Tammy Mariah Releases ‘Can't Take It Back’
Northampton's rising pop star Tammy Mariah reveals her second self-penned single entitled 'Can't Take It Back'. Tammy Mariah uses her voice and a growing audience of over 130k TikTok Followers to spread her message of self-empowerment and self-love.
'Can't Take It Back' is a message of self-confidence and addressing betrayal around people who lie and let you down in life. The primary message is about ''Once someone burns you; they can’t take that back, they don’t deserve any more of your time - so be done with it and them''. 'Can't Take It Back' also acts as a taster of Tammy Mariah's debut album which expands on similar themes of self-confidence and self-empowerment. The video for Tammy Mariah's debut single 'Go Away' was on the UK and Ireland MTV playlist for 4 weeks, and reached Number 13 in the Club MTV's Big Top 20 charts. Also hitting Number 7 in the Music Week Commercial Pop charts. 'Go Away' is currently making waves Internationally on Radio, TV and Club promotions - paving the way for the release of 'Can't Take It Back'.
The video for 'Can't Take It Back' will premiere on YouTube and will coincide with the release of the Wilson & Smokin Jack Hill Remix and Radio Edit on that day too.
'Can't Take It Back' is produced by Jan 'Janski’ Lindvaag, and co-written with Tammy Mariah and Janski. It will be released on TamStarz Limited/Nip N Tuck Music via The Orchard /Sony distributor.
Lyia Meta Releases ‘Always You’
Multi-award winning singer, songwriter and exhibited visual artist Lyia Meta has an extremely rare contralto vocal range and a voice that straddles both blues and classical music, but she doesn't stop there. While her deep, resonant vocals conjure the likes of blues pop greats Nina Simone and Amy Winehouse. Lyia has been recognized in a wide range of genres throughout her almost two decade-long career. The obvious standout pairing has been in blues and jazz, but the Malaysian songstress has worked and been recognized in pop, Country music and even the metal world.
Lyia's latest release 'Always You' continues her jazz pop exploration of her take on love, life and fun via a lyrical collaboration with songwriter Denise Dimin. The title track is a sultry, loungey and dreamy song that hearkens to the rat pack days of jazz and blues and is a beautiful preview of what's to come with the EP's release in mid-June and proves why Lyia Meta is so renowned in her field: her contralto vocal range makes her unique, but it's what she's done with it that makes her special.
Lyia shares her inspiration behind this deeply personal new album.
"In my entire career as a live circuit performer and an artist, I have found that being true to myself and my influences is what makes me the artist I am proud to be.
What is uniquely 'ME'?
Who I am is very simply heard in my music!
With the album 'ALWAYS YOU’, the story continues as I attempt to retell the words written by songwriter Denise Dimin through my own experiences and emotions.
ALWAYS YOU is my latest chapter as I continue my musical journey!"
‘Always You’ is out on streaming platforms
RobinAugust On the Making Of “Boy Obsessed”
How does "Boy Obsessed" reflect your musical journey and growth as an artist?
Rediscovering Boy Obsessed after years of refining my style reminded me that I’ve always had a love for music with attitude. My interest in riot grrrl started at a very young age and continues to make itself present in the music I write now. Something that I have always admired about this style of writing is that it creates a theatrical environment to perform as a caricature of myself.
Can you share any memorable experiences or stories from performing "Boy Obsessed" live?
I performed Boy Obsessed for the first time this last Saturday at The Blue Room with my co-writer and childhood best friend, Mercy Capellino. It was so surreal getting to perform the song we wrote at 8 years old on a stage with people singing along. We had always imagined ourselves being backed by a band in a real venue. A few hours prior to performing together, Boy Obsessed was also played on the radio station, WNXP Nashville 91.1. The whole day was very emotional for us.
What did you enjoy most about making "Boy Obsessed?"
My favorite part about making Boy Obsessed was turning something I was insecure about into something that empowered me. As a kid, I was constantly told that I was too dramatic or “too much” for people. Instead of pretending I wasn’t, I created a character that allowed me to be as girly and dramatic as possible while simultaneously feeling indestructible.
What inspired you to pursue a career in music?
I’ve never questioned what I’ve wanted to do with my life. My earliest memories are performing a mixtape of songs sung by women (a cd made for drag queens) in front of my stuffed animals. It became clear to me that this dream was possible after seeing Joan Jett live and learning about her teenage band “The Runaways”. A week following the show I formed a Runaways tribute band called “Queens of Noise” which helped introduce me into the Nashville music scene. We recently stopped playing together after seven years of being active.
Are there any specific artists or musicians you dream of collaborating with?
If I could choose anyone to collaborate with right nowit’d be Haley Williams. The trajectory of her career perfectly aligns with the visions I have for my own . If not collaborating, I’d love to pick her brain over a coffee.
Sanjay Michael Releases ‘Rocking Into Midnight’
Much like mainstay genres like metal and punk, Rock music is always alive in the hearts and minds of those who believe in its sacred lineage and power to inspire. Singapore Rock Singer Songwriter Sanjay Michael is one such artist, carrying the torch of rock n' roll and finding new ways to express it's unrelenting, joyous energy to new audiences. Sanjay's fist-pumping signature sound revolves around electrified blues and rock influences.
Sanjay's appropriately titled new album "Rocking Into Midnight" is a modern rock n' roll tour de force, showcasing his love for the greats and passion for further evolving the beloved genre. Grooving with ample hooks and all heart, "Rocking Into Midnight" is a must-listen for rock music enthusiasts.
Sanjay opens up about the inspiration for the new album as well as his lifelong love of all things rock.
"I sought to recreate the kind of 'monster' albums that I listened to when I was younger - a large collection of hit singles that were carefully curated and arranged so that the album was a journey in itself. I worked with both the keys and the sonic textures of each song so that as you listen through, each new song is a pleasant surprise.”
Chris Caulfield Releases “Antigravity Mind Chamber”
Renowned artist Chris Caulfield continues to captivate with his groundbreaking projects, and his latest single "Antigravity Mind Chamber" is no exception. This mesmerizing track marks the third release from his highly anticipated album "Catharsis," set to redefine the boundaries of modern music.
"Antigravity Mind Chamber," the latest offering from Chris Caulfield, delves deep into the tumultuous world of emotions and experiences. The song vividly portrays the intense feelings of dissociation, adrenaline, and the physical effects of anxiety and anxiety attacks. Sonically, Caulfield meticulously recreates the chaotic nature of these moments, enveloping listeners in an immersive soundscape that reflects the raw intensity of the emotions portrayed.
Ideal for enthusiasts of Palaye Royale, Layto, and Jake Daniels, "Antigravity Mind Chamber" promises an exhilarating journey through Caulfield's artistic vision. With a fusion of electrifying melodies, evocative lyrics, and dynamic instrumentation, the song emerges as a powerful exploration of the human psyche.
"Antigravity Mind Chamber" is set to release on all major music platforms. Fans and music aficionados alike are invited to embark on this sonic adventure, as Chris Caulfield continues to redefine the boundaries of contemporary music.
Josh Tepper On the Making Of “Guide Me Meron (Acapella)”
What was the creative process like for this particular "Guide Me Meron (Acapella)?"
It was so simple. I heard the raw vocals of the track and decided to publish an Acapella version. I think it captures the spirituality of Mount Meron.
Were there any memorable or standout moments during the recording sessions for "Guide Me Meron (Acapella)?"
I felt so grounded and connected to the Universe.
What did you enjoy most about making "Guide Me Meron (Acapella)?"
The multiple spiritual awakenings I had.
Can you share a bit about your musical background and the journey that led you to where you are today?
I’m always evolving and try not to look back.
Do you have any memorable on-stage moments or performances that stand out to you?
Every performance is so special. I feel grateful every time I do it.
Tomm On the Making Of ‘ATLAS’
How does 'ATLAS' reflect your musical journey and growth as an artist?
I think 'ATLAS' was a big leap from my previous LPs, and I'm glad that with every new release, I can see myself growing as an artist. After my previous LP, I was really struggling to find a new idea for a concept album, and I was also worried that the two of them would sound too much alike. However, in the end, changing the approach from writing songs on my keyboard to laying the foundation on my bass or my guitar really helped achieve the change of style I was looking forward to. It still sounds like Tomm, but different, I think.
What did you enjoy most about making ‘ATLAS?’
I really loved experimenting with panning. Queens Of The Stone Age were a big inspiration for that. Once I found myself gravitating towards this desert rock-ish sound, I decided to play around with panning in a similar way to how Josh Homme does. Additionally, I wrote many subtle guitar and bass parts that function as "textures." I believe 'Humbug' by Arctic Monkeys played a significant role in shaping that aspect.
Have you noticed any particular interpretations or connections that listeners have made with ‘ATLAS?'
Not yet. I've noticed that some people are intrigued by the meaning behind 'The Liver is The Cock’s Comb', but I believe the album's message is fairly straightforward this time. I would be interested in seeing some people analyze it though. I briefly mentioned 'ATLAS' being this malevolent persona that emerges towards the end of a relationship when I announced the LP. However, I'm not sure if listeners who have just experienced the album have picked up on that interpretation yet.
How did you get started in music, and what inspired you to become a singer-songwriter?
Oh, this is actually a funny story. I self-produced a song jokingly while I was in high school and said to one of my friends, "Wouldn't it be fun if I put this on Spotify?" So, I did it. But when I was about to publish the song, I realized that I was paying for a full year of Spotify releases. So, I decided to make the best of it and start writing songs consistently. Looking back at it, I actually had more to say back then. Nowadays, I find myself often struggling when it comes to lyrics. I guess that carelessness really helped me, huh?
Are there any genres or styles you'd like to explore in the future?
I have a plethora of styles that I would love to explore, mix, and match. However, the choice isn't up to me; it's always up to my fingers when I pick up my guitar or sit at my piano next time. Nowadays, I'm trying to involve some of my friends in my writing process. I believe that will play a significant role in my upcoming releases as well.
Frankie Bird On the Making Of ‘Grassroots’
How does 'Grassroots' reflect your musical journey and growth as an artist?
It is really nice to have a cohesive body of workouts rather than just individual singles. I do think of 'Grassroots' as a concept record as the songs all tie in together thematically about my move to London and getting started in the music industry. I think that the range of styles of songs in the EP shows my growth as an artist even in just the past year as they range from catchy pop songs to emotional rockier ballads.
Were there any memorable or standout moments during the recording sessions for 'Grassroots?'
Hearing the bass and drums come in on the tracks was really exciting for me as I had been so used to hearing the acoustic versions. I always write with a full band sound in mind as that's what I prefer to a stripped-back sound most of the time. The songs were recorded in a north London studio earlier in the summer and I like to think that's translated into the songs having an upbeat, summer vibe especially 'Background' and 'Hidden Away' as they are more pop-leaning.
What is your favorite song from 'Grassroots' and why?
At the moment, it's probably the first song 'Background' as I'm kind of promoting it as the lead track due to its big anthemic chorus. I'm looking forward to performing it live as I think it will get a good response from audiences.
What inspired you to pursue a career in music?
I've always loved writing and telling stories and to do this through songs seemed to be what appealed to me more than anything else. I love performing live and meeting other musicians at gigs too. I've wanted to be a singer-songwriter since I was fourteen so it's incredible to now actually have music out that people can listen to.
What is your songwriting process like? How do you usually start crafting a new song?
I'm a very traditional songwriter, to be honest. I just sit on my bed with my guitar and a notebook. I don't really write on my laptop or anything like that. I tend to start playing a chord progression, then come up with the melody and then the lyrics. Once I start a song I have to finish it pretty much straight away. I don't really come back to ideas I've left behind. I'm always moving on to the next thing.