Review: Evoletah ‘Calliope Dreaming’
Like an epic film score that soaks you into a spiraling illusive dream, Evoletah’s latest record, Calliope Dreaming is immersive and hard-hitting from the start. You’d not want to climb out of its sound world. Flashing black and white, retro and modern, the album is a collage of palettes, floating above the crossroads of genres and styles. It’s a stunning experiment with intense emotions. Sharp and thoughtful lyrics that seem to penetrate walls.
It’s hard not to get stirred and wrapped up in these unfulfilled dreams and questions. The sounds initiate a question, but it does not provide any answers, and it results in this lingering, haunting feeling — Calliope Dreaming doesn’t end on its last note. It follows you like a shadow, leaving its own bag of ghosts to ponder at midnight.
“The fool & the candle” is absolutely haunting with indie rock core mashed up in the free spirit of jazz and chiming melodies that get stuck in your head. It builds a kind of mood and state with great depth and unpredictability. “A glass against the wall” evokes a time-traveling, retro nostalgia but the way they combine it with elements from hip-hop gives it a revolutionary edge.
“Calliope dreaming,” the title track, is lo-fi against introspective piano. It’s moody and unresolved, but much less intense. “Ain’t that peculiar,” the ambitious track has sort of a rebellious soul of its own. It questions the question itself — What’s not peculiar about it? A reaction to an understatement because the track is so very unique, and probably the most standout in this record. “I cry out the hallelujah While everyone around me thinks ain’t that peculiar?”
Calliope Dreaming stings a little and leaves listeners ultimately haunted. In the slapping bass and spicy complexity, “Volatile cocktail” marks the end of a tornado of conflicts and proceeding. You think about how it leaves you. It’s not something you hear every day. That’s for sure.
Five Questions With Evoletah
Can you tell us about the story/concept behind 'Calliope Dreaming'? What is your overall artistic vision?
Matt: That’s a great question...We've always looked for themes or stories that could connect our albums together as a whole, from the sound, lyrics & vibe, right through to the artwork, so when we found out that 'Calliope, as the eldest of the Nine Greek muses, was the Goddess of music, song & dance', we felt like we'd won the jackpot. As she was also responsible for 'epic poetry', it really felt like the theme of the album was already there & we just had to write it.
Ben: I think you’ve captured this Matt – and we've certainly come to learn that we do create songs best when we follow the muse.
Have there been any challenges when making 'Calliope Dreaming'?
Matt: There's obviously always challenges when making any album & God knows, EVOLETAH has had its fair share of them, although this one was strangely, fairly smooth sailing. Mainly as we'd started writing about 6 months into the pandemic, so here in Australia, there were plenty of lockdowns & as any musician will tell you, we used that to our complete advantage. The biggest challenge that we faced at the end of the album, was the distance between us had widened, in that now we're living in separate countries.
Ben: As mentioned by Matt, being separated in different countries at the end of production was extremely tricky but full credit must go to Matt, we have a musical affinity and I trust his input and ideas implicitly. Matt's creative force and work ethic is amazing and his instrumental arrangements and ability to massage a song to completion, I find inspiring. We feed off each other’s ideas however what Matt brings to the table is always heartbreakingly beautiful.
What has been one of your favourite memories with music/this album so far?
Ben: Every part of making this album is a great memory, from long nights playing and jamming out ideas together in the studio right through as the final compositions formed. What trumps all this is spending time together drinking our favourite South Australian Shiraz, talk music of all genres and noodle on song ideas.
Matt: I think Ben has captured the essence of what has made the journey of this album an amazing memory in whole, although I do remember a moment when I was feeling a bit self conscious about the song 'The Fool & the candle'.
Then, when Ben heard it mixed completely for the first time through the studio monitors, I caught him 'eyes closed' and seemingly immersed in the track as if he was hearing it for the first time & so I have this acute memory now, of kind of hearing it through his ears. This in fact went a long way towards how I view the album now, as a whole.
Can you tell us a bit about yourself and how you got into rock music?
Matt: There's always been a deep desire to play/listen & be involved in music for me, since I was very small. My earliest memories of singing were around four years old & just harmonizing to my grandmother's piano playing, while sitting at her feet.
When I hit high school, one of the very first things I did was join any band I could to get as much experience as possible. I eventually got signed to the first of many record deals in my early twenties & spent thirteen years playing live & touring, then eventually building my own recording studio.
Ben: I started very young also, classically trained on piano from 5 years old. I frustrated all my music teachers as I just wanted to make up songs and play my own pieces!! I started up little original bands in primary and high school, writing eclectic songs and was always creating my own pieces. I formed an indie band later with some success, but work and life got in the way. It wasn’t until I reconnected with Matt (after many years previously playing as a session musician on one of 'The Violets' tracks) that I had a new musical lease on life. We found a musical connection that was invigorating and inspiring where great ideas flowed together."
How do you balance creativity and commercial success in your music career?
Matt: For me personally, it's never been an issue. I have had commercial success in the past & it's never been any kind of having to 'sell-out' type of thing. I find that if you're true to the art that you conjure, then if any of it gets recognized in any mass kind of way, then you can rest in the knowledge that it's genuinely representative of your true artistic self & not a contrivance aimed at being popular. In fact, I'd go as far as saying that there's definitely a real sense of liberty in not being popular!
Ben: I wholeheartedly agree with Matt, and I must say that working alongside him has been an extraordinary experience. The most remarkable aspect of our collaboration is our seemingly instinctual ability to craft music that truly encapsulates our authentic selves.
A-Zal Charts on iHeartMedia’s Mediabase Activator Chart – New York Artist Cracks it With Debut Single
A-Zal, the latest American singer coming into limelight in the American pop music world, has got some success on US radio charts. On August 11, 2023, the singer released his debut single, "Movie Script," which quickly catapulted into the spotlight. In its second week of release, the single entered the charts in the USA on iHeartMedia's Mediabase Activator Chart, making A-Zal one of only three independent artists to break into the top 51 for the week. The song climbed to the #51 position in its fourth week, marking a remarkable ascent from #62 in the third week and #93 in the second week of its release.
The artist first came to limelight for his work with Marvel Studios on two of their well known series, Loki and Ms. Marvel. A-Zal's debut single didn't go unnoticed beyond USA, as radio stations in the UK, Ireland, and Australia swiftly picked up "Movie Script," putting it into their spins. This accomplishment is a significant achievement for an independent artist and underscores A-Zal's rapid ascent in the highly competitive US pop music industry. Mediabase, a division of iHeartMedia, is well-known for its charts and airplay data, which are frequently featured on popular radio countdown shows and televised music awards programs.
he song released with an animated music video and A-Zal also marks his directorial debut with this self-directed music video for the single. While it's uncertain whether he will direct his future music videos, this animation-style video has garnered significant attention. The music video heavily incorporates animations to visually represent the song's lyrics. In the chorus section, there's a playful depiction of a small-sized A-Zal dancing on the hands of a regular-sized A-Zal, creating a captivating dreamlike world.
A-Zal's journey serves as a reminder that any dream can be if you have the talent and the will to do it. With the success of his debut single, audiences eagerly await to see if his upcoming songs will match the groovy and danceable style of "Movie Script" or if he will venture into new musical territory.
Geezzup On the Making Of “The Illusion Of Life”
What was the creative process like for this particular "The Illusion Of Life?"
For this project, I wanted something new. I started by composing without guitars. I only did the guitars at the end, after the vocals. The version without guitars is nice but the guitars are what make this project unique.
Can you talk about the recording and production process for "The Illusion Of Life?"
All the recording and production have been made by me. Writting, Recording, Mix, Master, all designs and lyrics video. I'm actually doing everything alone and now I'm starting searching for help because the tasks are bigger.
What are you most proud about this track?
Mainly, it's that I'm finally able to express myself. I've worked a lot on myself the last two years and now I can channel all the torments I have inside into a piece of art. This is actually Therapy for me. I'm also proud that it's my first release that I do the Vocals. Started a year ago and worked hard.
Can you tell us a bit about yourself and how you got started in music?
I've been playing music my whole life but only started recording myself 6 years ago. I started my main project The Sheep Destroyer Crew. A mix of Metalcore and Melodeath. After a while, I was in need of more extreme stuff and I created a Black Metal band called Misanthropic Therapy. Both will have releases coming this year and next year.
What role do you feel emotions play in your music, and how do you channel them into your performances?
I do music as a therapy. I literally get a piece of me out in art. Every song reminds me of a specific event in my life. It's not only in the lyrical part but in the melody and vibration of the song. I had vocals because a song needs to have some. But the music is already talking without it.
Rella Releases ‘ETERNAL’
Palmerston North, New Zealand - Primed for a breakthrough in 2023, rising artist and musical innovator Rella is set to share his debut album ‘ETERNAL’ on September 29th across all platforms and DSP’s. With seductive melodies and melancholic, introspective lyrics, the album is primed to propel Rella to the next level. Home to recent video singles like the Astari-directed “ROCKSTAR”, “ETERNAL” plays out like a series of memories, regrets, and half-hearted resolutions running through a troubled mind on a sleepless night. Kicking off the spiral with the dizzying atmosphere of the intro track, “BELONG” the 26-year-old rapper’s first full-length project quickly pivots into “BROKEN,” a high-energy yet melodic track produced by sound
architect SOGIMURA. The album ebbs and flows comfortably through somber guitar melodies and irresistibly catchy hooks, effortlessly telling the tale of Rellas journey through lovelorn grief and the dizzying highs and lows of a music career.
As the project progresses, Rella begins to put the past behind him on the emotional project highlight, “SELFISH” and though he soon discovers it’s not so simple, he finds closure in realizing his pain is as
valid as it is inescapable, and he’s only as real as his ability to feel it. The album then flows into “ALL ON MY OWN”, a catchy, nostalgic emo-track featuring one of only two project guests, Tommy Ice.
Rella is a rap artist from New Zealand. His music is best described as being both melodic and emotional, with an emphasis on rap and bedroom pop vocals over melancholic guitars and heavy drums.
With over twenty million total Spotify streams and collaborations with popular underground artists like Tommy Ice and 6obby, Rella has managed to cultivate a following that has seen him grow to over 200,000 monthly listeners. Despite this success Rella has been independent since the very beginning, as he believes this allows him to communicate his message in the most authentic way possible.
Aisle Five On the Making Of “Evil Eye”
What was the creative process like for this particular "Evil Eye?"
Our guitarists initially came up with the beginning melody you hear throughout the song. They wanted to write something dreamier than our usual sound. The first title for “Evil Eye” was “Twinkle Song” because of the twinkling guitar in the intro. The name stuck around for a while until we finished writing the lyrics to the chorus, which felt like a perfect fit.
Was there any challenge that you encountered while making "Evil Eye?"
The entire vocal melody for both verses and pre-choruses went through several alterations before its final form. If you listen back to earlier versions, it sounds like a completely different song. This was the biggest challenge in completing “Evil Eye.” We just kept pushing to create a melody that clicked with the arrangement.
What has been one of your favorite memories along the path to making this track?
“Evil Eye” was the first song we recorded in a “real” studio. All five of us saved and split the cost of renting a studio for a day to record all of our upcoming releases. Everyone was so excited to be working at such a cool recording studio that would capture our music at such a high quality. We spent over 12 hours recording and perfecting the songs that day.
Where do you find inspiration for your songs or musical ideas?
Each of us comes from a fairly different musical background, so it is difficult to give just one answer. As it comes with the territory, we are all very big music lovers and draw from a wide range of styles and artists. However, we continue to inspire each other and play off of each other's ideas constantly. Our true inspiration comes from our very strong collaboration and bond as a band.
Are there any specific venues or festivals that you dream of performing at?
We would all really love to play Metro in Chicago again someday. We have been lucky to perform there for a battle of the bands event multiple times, but coming back to headline a show would be incredible for each of us. Aside, we all got to attend Lollapalooza this year and have dreamt of playing at festivals like that.
Candace In Wonderland On the Making Of “Tom & Jerry (hail mary!)”
What was the creative process like for this particular "Tom & Jerry (hail mary!)?"
The creative process was a rollercoaster haha. My fiance/collaborator Keyler Matthews was messing around with a lyrical idea that was super silly and nonsensical. “Bloody Mary with the zing-zang, Mary Jane with the zigzag” and we were all in the mood to write something upbeat, and it kind of unfolded from there. Tony Chetta produced the song, and he built out the whole instrumental while we were messing with concepts. I remember telling him to “make it weird” and his eyes lit up like a kid in a candy shop!
Could you discuss the lyrical themes or messages conveyed in "Tom & Jerry (hail mary!)?"
The lyrical themes started out with the play on words relating “Bloody Mary” to “Mary Jane” to “Hail Mary!” and we kind of found the common ground to be the concepts of duality, chaos, and escapism. I’m often struck by the realization that the world can be a very scary place, and the day that we wrote this was one of those days. The news was bleak, we were all struggling in different ways but I got the sense that none of us were in the right headspace to talk about it, so we made a hard pivot and wrote an upbeat (possibly slightly sarcastic) song to cope with it all. It was extremely cathartic.
What did you enjoy most about making this track?
I had a ton of fun recording vocals for this track. We pretty much used all the demo vocals from the day we wrote it. Singing the “YEOW” idea was really funny and recording the gang vocals, featuring all of the songwriters (Chuckie Aiello, Michael Aiello, Keyler Matthews, and Tony Chetta) was definitely a magical moment.
Could you share some of your musical influences and how they have shaped your sound?
My earliest main influence would probably be Paramore, who really shaped my idea of confidence and expression through writing and singing. These days I am heavily influenced by artists like Remi Wolf, Billie Eillish, UPSAHL, Benee
Can you share a memorable experience from a collaboration that enriched your music?
It’s hard to pick just one! I truly love my collaborators and I feel so lucky to have them in my corner. My “write-or-die” Keyler Matthews (...whom I’m marrying next month!) inspires me every day. Ever since we started working together I have felt seen and understood as an artist and that is a very powerful thing. I can’t wait to see what crazy idea we cook up together next :)
Raiaan On the Making Of ‘Love-Notes’
How does 'Love-Notes' reflect your musical journey and growth as an artist?
I would describe ‘Love-Notes’ as not really my introduction to music, but more as my first serious project that I spent a lot of time and effort, to get absolutely right. While I've worked on previous music projects, I definitely scrutinized all the details of this project, from mic placements for the reach instrument to the overall aesthetic of the album with the general sound of each song, as well as what the cover art would need to look like. Even though I've learnt a lot while creating this album, I think I still have a lot to learn and grow as a songwriter, artist, musician, audio engineer, producer, and let’s not forget about content creator.
Can you talk about the recording and production process for 'Love-Notes?'
So over 2 years ago, I decided what the theme of my album was going to be about. So since then, I sat down with just my guitar and wrote all the songs. Once the songwriting process was complete, I worked with my co-producer to create the instrumental behind the lyrics and melody, which in itself took around 3-4 months. Once that was complete, the fun began. I booked out a recording studio for 6 days straight which involved my co-producer and I recording all the instrumentation & vocals for the entire album. After the studio recordings, I had the songs mixed/mastered in about 2 months, and the project was complete.
What has been one of your favorite memories along the path to making 'Love-Notes?'
I would say my favorite memories of making this album would probably be the 6 days spent in the recording studio. Each day was its own adventure according to what we had planned to record that day. Also being able to bring in all the session players and just vibing with them in the studio to my music, was definitely a treat. Luckily, I had a videographer record the entire 6-day process, so I have those great memories recorded.
How do you ensure that your creative vision aligns with the artist's while maintaining their unique style?
I would say that artist’s styles change over time, depending on what they are listening to during that time. Personally, I've always been a fan of acoustic singer/songwriter style music, but over time my music taste has expanded and grown to what it is today, which is why along with the writing and recording process, I would add little hints of other genres underneath my songs.
How do you balance incorporating new trends while maintaining a unique and timeless production style?
I try to be clever with wordplay and melody in my songwriting, while still keeping the overall sound of the songs rather simple and relatable, but catchy. This allows for the listener to relate to my songs, while still getting the melody stuck in the head, which I would say is almost every songwriter’s goal.
Danil On the Making Of “These Thoughts”
What was the creative process like for this particular "These Thoughts?"
“These Thoughts” is about the voices in my head that always whispered to me "You're not good enough", "You can never make it" or "You're too weak" and the memories of my youth and school days in which I got bullied and excluded a lot because of my sexual orientation, my clothing style and my personality. The daily struggles with my own identity led to me eventually believing these negative thought patterns myself. Even though it all happened a long time ago, it wasn't until I was in my mid-30s that I really noticed the effects of this time. I was severely depressed when I started writing 'These Thoughts' and the song accompanied me on my way back to life and to myself. That's why it's a kind of liberation for me. Since things are unfortunately getting worse for queer people these days and there is so much hate out there, I would like to use 'These Thoughts' to remind everyone to at least keep your own thoughts positive towards yourself. Because our thoughts shape our reality, right?
Can you talk about the recording and production process for "These Thoughts?"
I've always been in love with 80s and 90s music elements. That's probably because I listened a lot to the radio when I was growing up. I really like the versatility of synthesizers and like to mix them with more organic sounds. I love changing guitar or piano sounds so that they are no longer recognizable as such and I'm really into sampling sounds myself and using them to conjure up ambient textures for my music. I was able to do all of that in the production of 'These Thoughts'. But since I do everything from songwriting, arranging, recording, producing, mixing, and mastering on my own, and had no prior knowledge of music production at all, I had to work pretty hard to realize the vision I had for “These Thoughts.” The nice thing is that you learn something new every day and your skills continue to improve. It is important not to give up and follow your vision.
Have you noticed any particular interpretations or connections that listeners have made with "These Thoughts?"
I've received a lot of feedback from people who really identify with the topic of intrusive thoughts, and who repeatedly use “These Thoughts” as a reminder to be mindful of their thoughts. I've also received a lot of stories about mental health, especially from queer people who have had similar experiences to mine. Many people also feel musically inspired by “These Thoughts” because it reminds them of the sound of the past. But the most exciting story that reached me is about a woman who separated from her fiancé on the day of their civil wedding because she realized through “These Thoughts” that she only had this relationship because she had thought patterns with which she didn't trust herself to get along without this man.
What role do you feel emotions play in your music, and how do you channel them into your performances?
I think emotions are one of the most important ingredients for my music. If I don't feel anything, I can't write or create anything. For me, emotions are a motor that sets energy in motion. Some may use this energy for sport, but many people today don't know what to do with this energy and unfortunately use it for hatred against others or against themselves and I use this energy to express myself creatively. Since my songs are mostly created through emotions, they are forever linked to the song, and every time I hear or sing them, these emotion resonates again. And of course, this is also transferred to other listeners. For me, that's one of the magical things about music and also a reason why I'm not afraid of AI replacing us artists, as some of my colleagues fear. As long as there are people out there who want to feel something when they listen to music and don't just consume music as background noise, there will be artists who will create fantastic music with passion and a lot of emotion.
Are there any specific artists or musicians you dream of collaborating with?
There's actually no particular artist that I would necessarily want to work with, I'm pretty open to all kinds of collaborations. The only thing that's important to me is that the vibe is right and everyone involved can develop authentically. Because then, in my opinion, you can get the best out of the collaboration and really create the coolest things. I'm currently working with many different people on completely different projects and this diversity is the most exciting thing about collaborations for me. If I had to choose someone who I would really like to work with, it would probably be John Lennon. Because we have in common that we both record our music with a 432hz tuning and I love his songwriting. But so far John hasn't responded to my emails. :)
Belle Butler On the Making Of “Quick”
What was the creative process like for this particular "Quick?"
I wrote the song many years ago while living in a small town. It felt like an in-between phase of life for me and I struggled to give into it. The song came out of a sense of time rushing by while I was standing still. I felt stuck, but like time was changing me despite my inability to move.
I made the stop motion video years later during another transitional time of life - the year my youngest child started school. I was grieving the losses that came with this change and trying to find a new sense of self. If the song is about change and the loss, grief, resistance, and acceptance that comes with it, then the video is about the beauty in all of that.
Can you talk about the recording and production process for "Quick?"
I recorded “Quick” in Melbourne with a wonderful producer, Anna Laverty. It was in between Covid lockdowns, so I felt lucky to squeeze it in. I had suffered a really bad chest infection in the lead-up to recording so my singing was pretty weak. Ultimately I decided to re-record the vocals closer to home with another wonderful producer, Josh Shuberth. Well worth the extra effort.
What has been one of your favorite memories along the path to making "Quick?"
Collecting leaves to make my stop motion. I'd go on long walks and discover the most beautiful leaves of all different colours and textures. I could hear the song in my head and see how the leaves might come together and move to tell my story. It was a really pleasant part of the project.
Can you share a bit about your musical background and the journey that led you to where you are today?
I started playing piano when I was about 5 or 6. My mum bought the piano for herself, but it was clear that I was keen and she gifted me the lessons instead. After moving around a bit as a kid, music became my escape and my friend. I taught myself the guitar as a teenager and wrote songs as a way to deal with all those big teenage feelings. I think music is a great life-long companion.
I did some gigging in my 20s, but the demands of live performance didn't fit well with my life. So I retreated a bit and continued to just play music for myself.
Now that I'm a parent I see the value in sharing songs. So I've recorded a few and will continue to do so over the coming years.
Your lyrics often tell stories. Can you talk about your approach to storytelling through music?
More and more I believe that telling stories is the ultimate goal of my songs. I worry less about how I sound or what people might think, and I just focus on the story I'm trying to tell. I find that people relate to my music and engage with it the most when I'm deeply committed to telling the stories of the songs.
Solar Bloom On the Making Of “This Tiny World”
Can you share any interesting or unique stories or perspectives in "This Tiny World?"
“This Tiny World” is about the non-verbal ways people connect with each other and express affection for each other. Around the time I was writing the song, I was sitting with my cat and thought to myself, "Despite not being able to communicate with this little creature I feel like we each understand each other. What's up with that?" This thought evolved into the message of “This Tiny World.” So much expression and affection between people is done non-verbally and those little gestures and subtleties can build into the glue that holds people (or people and their pets) together.
How did you work with the producer or engineers to bring your vision for "This Tiny World?"
After a few trial and error runs, me and my producer buddy, Joey Papa from Sonoma Beach Studios may have finally perfected our recording process. I recorded most of the song at my house and did as much production on it as I could in order to get across the idea of what I wanted it to sound like. I brought that demo to Joey and after a few re-recordings, he masterfully molded the song into something much better than the demo I came up with. He has a special talent of knowing what I want and having better ideas of how to achieve that sound.
What has been one of your favorite memories along the path to making "This Tiny World?"
Both a favorite and one that irks me a bit, I almost didn't push forward with the song. I had a demo idea in the works years ago and decided it wasn't really working at the time and nearly abandoned it. After coming back to it several years later I suddenly knew exactly what I needed to do to achieve what I wanted from it. After coming back to it the whole process of writing and recording this song ran exceptionally smoothly for me. Everything really fell into place.
How has your music evolved since you started as a singer-songwriter? What have been some key milestones in your artistic journey?
Absolutely! My music used to be much more guitar-focused since guitar is my main instrument. In 2017 I got a KingKORG synthesizer and that changed the way I was writing. Now my music has become a mix between my guitar-based influences and some more electronic-leaning artists that I admire, particularly the artist Tycho. This song is probably my most electronically influenced track to date but I did make sure to get in some notable guitar parts.
How do you approach collaborations with other musicians and maintain creative synergy?
That's something I'm still figuring out. I spend so much time writing on my own that I have my own internal understanding of what I want and sometimes that's hard to communicate. I did have the good fortune to collaborate with the band Human Zoo recently in a really exciting 12-hour song-writing experiment where we started with only the vaguest sense of an idea and ended with a fully recorded track. One of the biggest things I learned from that experience was how much of a killer creativity overthinking is. The time constraints forced us to really communicate and commit to ideas and the song (Incognito Eyes by Human Zoo) wound up coming out sounding great! I hope to apply a lot of the techniques I learned from them to songs in the future.
Foley Street On the Making Of “No In Between”
Can you share any interesting or unique musical elements or production techniques used in "No In Between?"
For us, it’s all about getting under the skin of the song....knowing what feeling and mood we want to create. “No In Between” is a great song... our challenge was turning what was a very simple singer-songwriter voice and guitar production into something multi-layered, beat-driven, and electronic. Our approach involved building the music in a way that really amplified the emotion of the original. We gradually added layers and elements until we reached this wide, epic blend of music layers with Poppy's pure voice right in the centre. And you know what? We tried cranking up the tempo a bit too.. and it worked. We think we created a crafted electronic pop production but kept true to the meaning of the song but added a fresh, energetic twist to it.
What has been one of your favorite memories along the path to making "No In Between?"
A standout moment was when we first played Poppy this new and very different version of her song and hearing her reaction! We had to scrap her off the studio ceiling she was so excited. It’s always nerve-wracking at this moment as the style of the original is so ingrained in the songwriter’s mind and you never know the reaction you’ll get. But we do this all the time in our own songwriting process with Richard often writing the song alone in a very simple format –just voice and guitar or piano -and Marc then taking it and ramping up the production to transform it... so we were well prepared! Ultimately witnessing the song's transformation from concept to full production is always great forus.
How does this single fit into your overall artistic vision?
"No In Between" aligns with our goal of creating emotionally resonant music. As producers and songwriters, we often shift genre and style in the pursuit of the emotion behind whatever track we are working on, and “No In Between” was now different. Ultimately, it’s about our love of the song and storytelling. Whether working just as FOLEY STREET or collaborating with other artists like Poppyour aim is just to continue to create a suite of great songs.
What genres of music do you primarily focus on, and what draws you to those genres?
We don’t stick rigidly to specific genres but our primary focus is on pop, indie, and electronic. We like to keep the creative freedom to allow explore wherever the vibe takes us. We have many influences across loads of genres and it’s great to just see where your mind and the mood take you when writing.
Collaboration is often crucial in music production. How do you collaborate with artists and other professionals to bring a project to life?
When we collaborate, as with Poppy, like so many things in life the key to success is in the relationship. Do you get along? Do you share the same vision and ambition? Does the relationship feel authentic and honest? Whenever we explore the idea of a partnership, we are always clear that honesty comes first. So much studio time is wasted on poor communication and not feeling free enough to express opinions. So start by getting to know each other...it saves time in the long run. It doesn’t always work out ..it’s like dating, sometimes it doesn’t but it’s better to find out sooner rather than later! The magic happens when each individual brings something unique to the project that perfectly complements the others...that’s certainly what happened with “No In Between.”
Olle Vahlgren On the Making Of ‘Steelbolt’
What was the creative process like for this particular 'Steelbolt?'
I produce a lot of music and I have been in the midst of also producing a futuristic LP. That full-length album is the most conceptual work I've done so far, so while I was producing and writing for that album I still wanted to make something just for fun...something clubby. That feeling turned into ‘Steelbolt.’ I just wanted to make something witty and energizing for the club while I was making my bigger album. I view ‘Steelbolt’ as a kind of appetizer for my bigger upcoming work, and that is also how I've treated it during the creative process...something for me to just sit down, bop my head to, and write something witty and unique too. In many ways, it has given me a chance to breathe, and jump between feelings and ideas. So ‘Steelbolt’ still means a whole lot to me.
Were there any challenges or breakthrough moments during the songwriting process for 'Steelbolt?'
A challenge was for sure to make it something original, with my identity ingrained in it. I want all of my projects to be original and offer something out of the ordinary from what is usually written about. I think I succeded with that pretty well, all of the texts address much personal stuff while still being witty, and they all have a deep meaning for me.
Which song do you like the best and why?
I have a hard time deciding between "Turn It" and "23.55". They both go super hard and make me energized. However, I think I'll have to go with "Turn It". I feel like I managed to write some really cool rhymes and flows to that one, and I also feel like my percussion for "Turn It" is just right.
Can you tell us a bit about yourself and how you got started in music?
I've basically always been interested in listening to music. When I was very young I have a lot of memories of listening to Iron Maiden and AC/DC with my dad, we went to an AC/DC concert when I was 9. I remember it was so loud that I started crying, but it was still fun. I also started playing guitar when I was 9, and later jammed with a band of friends from when I was like 10-12 years old. During my early teenage years, I had some years where I didn't play as much music, I still listened to a lot though. It was just that played handball at the same time, so I pretty much prioritized that over playing guitar. When I was 18 I got injured though, and during rehab, I picked up the guitar and started making short snippets, which then turned into me wanting to make an album. And from there I've just been producing, writing, and mixing more and more.
Where do you find inspiration for your songs or musical ideas?
Everywhere basically. From all the music I listen to, from my family and friends, from movies or other forms of art, or from nature or the weather. It's very much a day-to-day thing, some days I'm not that inspired, but still inspired enough to make something, whether that is a beat or page for one of my books...and other days I get inspired very easily, from a variety of stuff...I think this question is difficult to answer concretely, maybe my answer says nothing.
Carson Ferris On the Making Of “1999”
What was the creative process like for this particular "1999?"
The creative process for this song was a pretty long one. Way back in 2021, my producer at the time, Nate Jolley, sent a track to a songwriter named PAU, who wrote the first version. PAU and I worked on it together from there, tweaking things until we both liked it. The original key it was written in was slightly too low for me on the verses, so we had to transpose it up a little. I ended up re-recording vocals for this song multiple times. The production also drastically changed multiple times. The final vocals used for the track were recorded in the summer of last year, and when we arrived at the studio to track vocals, we ended up shortening the choruses a little bit to smooth the song out. It went through a lot of revisions, but I am extremely happy with how it turned out.
Were there any challenges you encountered while making "1999?"
As I mentioned before, “1999” went through a ton of revisions in so many ways. The “1999” you are hearing now is very different from the original demo.
Were there any memorable or standout moments during the recording sessions for "1999?"
Well, when we were getting ready to record, we decided to shorten the choruses and tweak a few things last minute. I love being able to go into the studio and be creative with songs in the moment.
Was there a pivotal moment when you decided to follow your path as a musician?
I've always loved music and been interested in it. I like to say that I was born singing. But I didn't really pursue music seriously until the COVID-19 pandemic when I had a ton of time on my hands to deal with.
How do you continuously grow and evolve as an artist?
I am always trying to get better, and something I have always struggled with is talking about myself, but I have gotten a lot better at that recently. And it's kind of funny because when I listen to old recordings of myself singing songs I wrote a while ago, I almost want to laugh and cry because of how far I have come. I mean, the first time I ever performed, I was curled up in a chair because I was so scared to go up.
Marcus Mackey On the Making Of “S.E.L.”
How does "S.E.L." reflect your musical journey and growth as an artist?
Even though it’s my first "official" release, my musical journey has been a lifelong one. I am very proud of being able to be in the place in my life where I can share this bop with the world. Something I don't know if a year or two ago, I could've had the mindset to do.
Through "S.E.L.," I wanted to create a compelling exploration of modern relationships and the complexities of today's dating landscape. It's a song that takes listeners on a rollercoaster ride through the layers and complications of love. My inspiration for this track comes from my own personal experiences, and I wanted to infuse it with raw emotions to make it as authentic as possible.
Can you talk about the recording and production process for "S.E.L.?”
I am so thankful for Luke Villemur. Since day one, I've felt such a connection with him musically and also as a person. I am thankful to call him my friend. He's a pop music genius and he doesn't know it yet!
”S.E.L.” wouldn't be what it is without him. The moment we decided to work together our chemistry flowed so well and basically after a session had the bones of what is today my first song.
What impact do you hope "S.E.L." will have on your audience?
I knew that I didn't want to make a sad song, I wanted to inject a positive perspective into the moments of sorrow that dating tends to take us through. When people hear it, I want them to feel optimism in the face of chaos and also be able to dance through these moments.
Was there a pivotal moment in your life when you decided to follow your path as a musician?
I always knew this was what I wanted to do. I just didn't give myself the chance to fully pursue it because I had spent so much time of my life, listening to others' ideas of what I should do, how I should live, and where I should be. I think for the first time I decided to not listen to anyone and get to work.
The work is internal, the work is in the soul, you have to shut the noise and focus on your inner voice. What would truly make me happy? And creating "S.E.L" was what I needed!
What are some of the biggest challenges you have faced as a musician, and how did you overcome them?
The biggest challenge that played off the previous answer was overcoming my demons, doubt, and the voices inside my head. We all have them! That inner voice that keeps us frozen from doing what we want to do because of fear of failing or what others will say. I've shed that skin and every day is a bit easier to come to terms with putting me and my music out there for the world to judge.
Reese Warren On the Making Of “Keep You Close”
What was the creative process like for this particular "Keep You Close?"
The creative process for “Keep You Close” was a new experience for me. It was my first time working with the amazing team of Danny Hajj and Timeline. They took the time to get to know who I am as an artist and we created three awesome songs. I can’t wait to work with them again.
Were there any challenges or breakthrough moments during the songwriting process for "Keep You Close?"
For the most part, things went very smoothly during the writing process for all of the songs we did. I like to be challenged and the high parts of the song pushed me. We were still working on the final lyrics when I laid down the vocals. It was a long and fun day.
What did you enjoy most about making this track?
My favorite part of making this track is the process of making the song and listening to the demo once all of the hard work has been completed.
What has been the most memorable experience or achievement in your music career so far?
The most memorable experience in my music career so far has been performing to a packed house at the Avalon Hollywood and working with Danny and Timeline.
How do you continuously grow and evolve as an artist?
I continuously grow and evolve as an artist by TRAINING. Talent only goes so far. One must TRAIN to reach the goals one sets for oneself.
Marlene Larsen On the Making Of ‘Galore’
What was the creative process like for this particular 'Galore?’
Well, first I have to say I wrote hundreds of songs over the years. I’ve been in several small bands and explored different genres. This EP is super special to me because it is my solo debut. It was important that it showcased what I can do musically, lyrically, and vocally, and that it also showed who I am and where I come from as an artist and person. I’m very much inspired by all those female-fronted bands and artists from the 90s and early 2000s. I wanted the same saturated guitars, the heavy drums, the dreamy vocals. I also wanted the songs to be modern, catchy and the lyrics to be authentic well written stories.
At the time, when I started putting the record together, I was obsessed with the concept of « abundance », of manifesting my dream life. I felt like it was time to stop the self-sabotage and be brave enough to dare being in the spotlight for real. I knew I wanted to name the record ‘Galore’ way before I had written the song “Galore.” It’s one of my favorite words ever and yeah, I was obsessed with it.
So I wrote the 5 songs on the record and produced them in my bedroom for over a year, then I went to the studio for a week to record the instruments and vocals, and after a few mixing sessions… it was done, and it was even better than I had ever imagined.
Could you discuss the lyrical themes or messages conveyed in 'Galore?’
‘Galore’ is definitely about daring to become who you are meant to be. Figuring out the real you, not the version of you society expects, and not what you think close people expect you to be. It’s about being fine on the surface but going through deep inner change. It’s about being truly honest with yourself and others for the first time ever, with self-derision as a way to lighten it all up. It’s nuanced and hopeful, dense and delicate.
What has been one of your favorite memories along the path to making 'Galore?'
When I listened to the first mixed version of the songs: I cried like a baby. I will always remember this moment. I was in my home studio with Helene, my right-hand woman, and we were very anxious to listen. I cried because it was good, because I was relieved that it wasn't bad, and I couldn’t stop asking Helene « I wrote this? I made this? This is all mine, are you sure? ». A big emotional moment for sure.
Can you share a bit about your musical background and the journey that led you to where you are today?
I’m from rural France, and I do not come from a music enthusiast background at all. But! My mother owned The Beatles’ Red Album. I listened to that record until it broke. In high school, I made a girlfriend who played guitar, and we started writing songs. Then I was very lucky to spend a big part of my teenage and young adult years in the UK, and it opened my ears and mind. I quickly became a FAN, of Paramore, Taylor Swift, of many bands and artists. I was obsessed with having my own band and made that dream come true as soon as possible (meaning as soon as I moved to a big city). I never studied music. My first band was a heavy rock ACDC type of band, I was 17, and since then I have tried many genres of music. And now, voila! This is me, debuting my solo career, making the music I’ve been wanting to make since I was a kid.
What do you enjoy most about performing live and connecting with your audience?
PEOPLE SINGING MY SONGS. It is the most exhilarating thing EVER, and it started happening a couple of months ago since my first single “Galore” was released. It’s AMAZING! Makes me feel like the luckiest girl on the planet.
Johnny Nasty Boots Release “Deadline”
This single, “Deadline,” is about something mot of us can relate to. If you've ever been short on rent, gas, or feeling behind in life, the song proves that you're certainly not alone in that experience! Inspired in spirit by the psychedelic and blues sounds that defined the 60s and 70s, the song became Reactor 105.7FM (Mexico City's #1 rock station) #1 song of the year.
This song is a part of the digital release of the physical album in preparation for Johnny Nasty Boots to release 5 new singles in early 2024!
Is there a particular ethos behind the single/EP/album or any particular music styles or events that inspired it?
Johnny Nasty Boots is a powerful rock band bringing the roots of the psychedelic and blues sounds that defined the 60s and 70s into the souls of the people of today, creating effortlessly gripping modern sound that has resulted in their single, Deadline, becoming Reactor 105.7 FM (Mexico City's #1 rock station) song of the year.
Where was the single/EP/album recorded and who was involved in its production?
Their first album was recorded at Sonic Ranch (Texas), under the production of Grammy award winner Yunuen Viveros, and mastered at Vlado Meller by Jeremy Lubsey. With 6 singles that came out from their debut album Johnny Nasty Boots (2017) and a live album Hollywood affair / Live At The Whisky A Go Go, that was recorded at the iconic venue during their 2019 tour. They are a well-known band in the underground rock scene in Mexico. The current release is a digital release of their physical CD, and are currently working with Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Chris Cornell, Arctic Monkeys) mixing 5 new singles recorded and co-produced with Grammy award winner Mark Rains (Marilyn Manson, Black Rebel Motorcycle Club, Tanya Tucker).
Are there any other interesting or amusing happenings – no matter how small – that the band have been involved with that would be of interest to those who like your music?
They have played and shared the stage with a variety of different bands and acts, including Radio Moscow, Jean Whitmore, Fatboy Slim, LA Witch, 1000mods, Stoner, Dizzy Reed, Gin Wigmore, Brant Bjork, James Leg, and Disidente. Their song "I'm Cursed" was featured on an international Vans ad campaign, leading to their sponsorship by the company!
Have you played any notable gigs, festivals or other events? Likewise radio or TV appearances?
they have played in venues such as The Viper Room and the Whiskey a Go Go in Los Angeles. For festivals, they have played at the 2023 Earth Day Beach Festival in Santa Monica, Pizza Del Perro Negro 10th Anniversary Celebration 2021, Festival Caminante 2019, as well as Semana de las Juventudes in the year 2017.
Matya Releases “Nobody's Home”
Los Angeles, CA - Multi-hyphanist artist MATYA announced that she will be releasing her debut track from her upcoming EP ‘Nobody’s Home’ set to release on all platforms.
‘Nobody’s Home’ encapsulates the essence of fleeting nostalgia. “The song came from a place of longing for a simpler time. It’s a reminder to stay dreaming” says MATYA herself. An eclectic fusion of lofi-rock snares and dreamy french touch synths, MATYA’S sonic landscape defies traditional categorization, manifesting in a genre she calls, avant rock. MATYA’S upcoming project is meant to create generational anthems for today’s countercultural rebels who go against the grain of the traditional American Dream. Her debut single, "Nobody's Home" is an invitation to dream through one's own rose-colored lens.
MATYA is currently in the finishing stages of production on her forthcoming EP set to release in 2024. MATYA shares her time between LA and Paris where the EP was produced at Catmilk Studios, working with names like John Velasquez (Broods, Zella Day, Vacations), Dan Bailey (Father John Misty, Lana Del Rey), Gabriel Cheurfa (Draumr, Dorcas), Pierre Duval (Philippe Zdar, at Motorbass), and mastered by Mike Marsh (Calvin Harris, Jonas Blue, Ellie Goulding).
Denni Ian Releases “I Plan To Run Out of Darkness”
Just prior to the album release of SALT KING premieres the video for the ambitious and brooding album opener "I Plan to Run Out of Darkness”. The video is directed and filmed by Denni Ian and features his brother as leading character. "I Plan to Run Out of Darkness” delivers a three act alternative folk-rock ballad with a haunting anthem, poetic narrative and dramatic vocal solo. The video itself has a feeling of absence of home and presence of tragedy.
Denni Ian's SALT KING is an expressionistic statement, one heavy with vivid melancholy, yet unreserved in its search for intimacy. The album features a delicate blend of traditional and experimental songwriting, echoing a distinctive sense of amore disperato. Ian’s songwriting is characterised by a poetic and enigmatic lyrical quality, flickering between confessional writing and cryptic poetry.
Inspired by uncanny symbolism, classic folk songwriting traditions and post-punk aesthetics, SALT KING finds itself at a dynamic musical crossroad somewhere between indie-folk and art rock, with a prominent emphasis on the lyrical narrative. With an organic approach to unintended chaos, expanded instrumentation and a collaborative spirit, Ian steps into the role of conductor, opening up a dense and intimate song world, insisting on romance and genuine connection against a backdrop of apocalyptic roars.
The post-folk troubadour has long operated on the fringes of the Danish underground culture and arts scene as a poet, musician and visual artist working with video art and expressionistic paintings. After a decade of playing in various bands, he embarked on a solo career. His debut record The Sad Saint of South End came out in 2020 and was praised for its odd and sensitive nature. The following year he debuted as an author with the Danish poetry book “SALTSUITEN” in which he deals with themes of alienation, ecological collapse and suicide.
ARSTIDIR On the Making Of ‘BLIK’
What was the creative process like for this particular 'BLIK?'
Similar to when Radiohead did OK Computer, or when the Beatles did Sgt. Pepper's Lonely Hearts Club Band. We went into the studio with no rules or limitations and just said “Ok, let’s just try everything and see what we end up with!”
We wrote some great catchy songs and then we spent months experimenting with different sounds, instruments, and arrangements. No idea was deemed too crazy or weird, we just ran with it and had fun in the process!
This all took place during the COVID lockdowns of 2020, so we literally had nothing else to do but to hang in the studio and pass the time, which also helped give ‘BLIK’ a focus and freedom that none of our previous albums have had. And then we spent the past two years perfecting the mix and production. We’re pretty damn happy with the result!
How does 'BLIK' fit into your overall artistic?
Usually, we sing in both Icelandic and English on our albums, roughly 50/50. ‘BLIK’ however is the first album that we composed entirely in English
It’s also the most upbeat album we’ve ever made, with some real dance-floor bangers on there.
What did you enjoy most about making 'BLIK?'
The fun!
Are there any specific themes or messages that you aim to convey through your music?
Honesty. This is perhaps the band’s greatest asset. We always play and sing and compose music exactly the way we hear it. We never rely on a script and we’re never trying to prove anything. Both in the studio and on stage there are no charades. The music we play reflects who we are as individuals, and our fans really appreciate this honesty!
What has been the most memorable experience or achievement in your music career so far?
After 13 years as a touring band we’ve ticked quite some memorable boxes: Flying with a helicopter to our show in Svalbard in the middle of the polar night; our tour bus breaking down in a corn field in Iowa in the hottest month of July during a 6 week US tour and hitchhiking to Kansas City with our instruments; playing with symphonic orchestras in Siberia… these are just some of the things that stand out.
We also taught the world to love Iceland’s oldest hymn (Heyr himna smiður from 1208), when we got drunk in a train station in Germany and felt like singing. The video of our performance went viral and in the years after we’ve heard the song pop up in Hollywood movies, Netflix series, and the like. Each time we hear the hymn appear like this we give ourselves a pat on the back. We’re the ones who made this one famous outside Iceland!