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Isla de Luca: Crafting Sonic Alchemy with ‘I already am one’

Posted on 2 February 2024

Step into the enchanting universe of Isla de Luca, the rising (alt-)pop luminary from the heart of NYC. As they prepare to unleash their debut single, “i already am one,” on February 16th, Isla takes us on a spellbinding journey, intertwining Y2K sleaze, Pop Rock, and a fearless exploration of cultural dynamics. In this exclusive interview, we unravel the layers of their musical tapestry, exploring the vibrant nuances and unapologetic persona that defines their sonic realm.

Your upcoming single, “i already am one,” weaves together Y2K sleaze, Pop Rock, and cultural dialogues. Can you delve into the artistic alchemy behind this fusion and how it encapsulates your vision for the track?

The fusion of Y2K sleaze and Pop Rock in “i already am one” is a deliberate choice to evoke nostalgia while engaging with contemporary themes. The Y2K sleaze brings a sense of bold, unapologetic fun and freedom, reminiscent of the music I grew up loving. The Rock element adds an edge and depth, grounding the track in a sound that’s both familiar and fresh. It also reflects another core inspiration for this song– the whole glamorization of the “rockstar’s girlfriend” aesthetic, which I wanted to comment on.The cultural dialogues woven throughout the song reflect my interest in ongoing societal discussions about femininity, empowerment, and the breaking of conventional norms. This fusion is my artistic signature, encapsulating a vision that’s both reflective and forward-looking, inviting listeners to explore the complexities of identity and empowerment with me.

The persona you adopt in your songs is that of a hedonistic, ultra-confident, maybe-evil siren. What led you to embody this character, and how does it contribute to the overall narrative and atmosphere of your music?

Embodying this persona is a way for me to explore and express power dynamics, allure, and autonomy in a hyperbolized form. She allows me to navigate through themes of empowerment, desire, and rebellion against societal norms in a theatrical and immersive manner. It contributes to the overall narrative and atmosphere of my music by providing a lens through which listeners can question and redefine their perceptions of femininity, strength, and independence. It’s a reflection of my innermost fantasies and a critique of the roles traditionally assigned to women, serving as a vehicle for listeners to engage with deeper themes under the guise of entertainment.

“I already am one” draws inspiration from Cher’s empowering response to societal expectations. Could you expand on the influence of Cher in your work and how their bold spirit shapes your perspective on femininity and unconventional relationships within your music?

Cher’s spirit resonates with my perspective on femininity and unconventional relationships, inspiring me to craft music that challenges the norm, celebrates individuality, and encourages listeners to embrace their own power and autonomy. “Mom, I am a rich man,” is a rallying cry for self-sufficiency and breaking free from the confines of traditional roles. Her ability to navigate the entertainment industry on her own terms, constantly reinventing herself while staying true to her essence, mirrors the journey I aspire to take my listeners on—where the exploration of identity is boundless and the celebration of your truth is paramount.

In “i already am one,” you incorporate elements from the cultural conversations about femininity and unconventional relationships. How do these themes resonate in your personal experiences, and what do you hope listeners take away from the intersection of your artistry and these societal discussions within your music?

These themes are deeply personal, reflecting my own navigation through the expectations and constraints placed upon femininity and relationships. It’s like my diary, a peek into my world of wrestling with the “shoulds” and “musts” of femininity and love. They’re conversations set to melody, inviting you to see the world through my eyes, even if just for a song. It’s been a journey of self-love, coming out, and embracing the beauty in the unexpected. My music is my megaphone, hoping to echo the thoughts and struggles of many, offering a beat to dance to when the world feels a bit too heavy.

Your music is often described as a journey within itself. How do you go about creating this immersive experience for your audience, and what key emotions or themes do you hope they absorb from the sonic odyssey of “I already am one”?

Crafting “i already am one” was like building a world from scratch—a place where every note, every beat, and every word invites you into a story. It’s all about setting the scene for an adventure in empowerment, discovery, and the sheer thrill of breaking free. I wanted every listener to feel wrapped in a sound that not only moves but speaks, urging them to find their own rhythm in the chaos of life.

Find out more here.

A Deep Dive into Dom Ultra’s Sonic World

Posted on 1 February 2024

Embark on a journey through the musical cosmos as we dive into the creative mind of Dom Ultra, the visionary artist behind the upcoming album. From inspirations to production insights, we unravel the mysteries behind the beats that define his unique sound.

Your music has a distinctive and captivating sound. Can you share some of the key inspirations that fueled the creation of your upcoming album, offering listeners a glimpse into the creativity at play?

I would definitely say that I feel like the music I wear my inspirations on my sleeve. Im a big Bon Iver and Kanye guy. But my favorite rappers are like Roc Marciano, Earl Sweatshirt, Theravada. People like that. I really enjoy the alternative scene. Especially like the Folk and electronic scene. I like James Blake a lot. I just sample the stuff I like for the most part.

Crafting an album is a labor of love. Could you shed some light on how long it took to bring this project to life and the artistic process involved in its creation?

It took about two years technically. But realistically since i started because I was tryna just find a unique style and sound. It really came together during a dark time. I was listening to my old demos and I found an album in that. Most of it at least.

Speaking of singles, could you walk us through the ones that have already been released and provide a sneak peek into what listeners can expect from those yet to come?

I just released a single called DAYSINBOSTON. It’s a lot of that kind of stuff. Folk and Rap. Just another alternative rap album basically.

Your previous EP ‘Ill get to you later’ showcased a unique sonic identity. How does the upcoming album build upon or diverge from the themes explored in your last EP, and what can fans anticipate in terms of musical evolution?

If you heard the last song Southside, I really delved further into those kinds of sounds. Just a more polished version you could say. My raps are a little different now as well. Different stories I want to tell.

Can you take us behind the scenes and share some details about the production process, collaborations, or unique techniques that contributed to the distinctive sound of this  upcoming album?

I have been clearing samples and getting the last touches done on the album. We’re almost there! I didn’t do a lot. I just used what I had. Next album I wanna do more around samples and try experimenting more on the next. But this album here is my healing journey so I hope it can relate to people in a similar way.

Find out more here

Interview | Revelations and Resurrections: Giant Killers Unleash ‘Songs for the Small Places’

Posted on 25 January 2024
Songs for the Small Places by Giant Killers

Diving into the indie pop scene with a nostalgic twist, Giant Killers, are set to release their long-awaited debut album, “Songs for the Small Places.” Originally crafted in the mid-’90s, this collection is finally seeing the light of day, packed with melodic tunes infused with a gritty lyricism and a nod to the iconic sounds of the ’90s. In this exclusive interview with Mike and Jamie, we unravel the journey behind the album’s resurrection, the band’s experiences, and their enduring influence on the music scene.

Your debut album, “Songs for the Small Places,” is a long-awaited gem that was originally intended to be released in the ’90s. Can you share the story behind the resurrection of this album and how it feels to finally bring it to the audience after nearly three decades?

M: For a long time, we considered ourselves to have been ground up by the Music Industry mill – we spent the entirety of our late teens and throughout our twenties in the back of a van, on the road, and in studios – we started our own label, then went on to have not just one but two major record and publishing deals in that period. Ultimately, we got unceremoniously dumped out of the business, essentially for not selling enough units. This was in an era with an unrecognisably different business model to that which exists today – back then, the expectation for any artist on a major label was to sell 100s of 000s of physical product in their first releases.

J: This whipping away of the carpet beneath our dreams triggered a period of reflection and re-evaluation, and inevitably disillusion. We changed our dreams, had lives outside of those narrow ambitions, had kids etc, in one sense we forgot about those older songs, even though we wrote many more new ones…

M: But this time just for the sheer pleasure of it, for the joy of creation. It was after a friend asked us to reunite Giant Killers for a birthday gig  in Leeds that we were reminded of the power of those old songs when we played them live again.  That was when we thought, hmmm… maybe it’s time to do something about this – to bring us to where we are now…

J: And we’re very excited to see how these songs will be received. But as we say in one of these songs, we’re older and wiser now, so  we’re  managing our expectations – our history in the business has imbued us with a deep layer of realism.

The ’90s sound is a significant influence on your music, and it’s making a strong comeback in today’s music scene. How do you see your sound fitting into the current musical landscape, and what elements from that era do you think still resonate with listeners today?

M: Undoubtedly, the present-day music scene, and to large extents, current fashion trends are skewed heavily to the 90s, but we wouldn’t say we are attempting to fit in with that. We’re big believers in the power of the song – the words, the melody and its combined emotive pull should rise above the way the song is produced, whatever producer, production techniques and technology were fashionable at the time a song was written or recorded.

J: Sure, the sound may reflect an identifiable era, but we truly believe a good song will always be recognised as that. We think the messages in the album, what the songs are about, and the melodies that deliver the emotive pull are universal and timeless; but we don’t want anyone to take our word for it. All we want, all we’re hopeful for, that these songs will reach the ears of the discerning listener and be given a fair chance to be loved, or otherwise, on their artistic and creative merit alone.

Your history includes opening for Blur and touring with Dr Robert and Nick Heyward. How have these experiences shaped your musical journey, and do you have any standout moments or lessons learned from sharing stages with such iconic artists?

M: Don’t trust them! Blur nicked our original keyboard player after we opened for them at a gig on Cleethorpes Pier as part of their Country House tour. A very talented musician called Diana Gutkind, who went on to tour the world with Damon and co for many years – I guess it was a valid career choice, so we don’t blame her, or Blur!

J: We also toured with Squeeze which was fantastic because we considered Difford & Tilbrook as the best song writing partnership since Lennon & McCartney. We once opened for Motown legend Edwin Starr, bizarrely with a whole host of boy bands; we also shared a stage with Boyzone at a Capital Radio Roadshow at Chessington World of Adventure!

M: This latter experience at the hilariously un-rock n roll backdrop of a theme park gave rise to a rude awakening: Our record label sent a Limo to take us to the show – the one and only time that happened to us. When we arrived at the back of the compound to slowly drive into the backstage area, it was full of screaming teens, who saw the Limo with its blacked-out windows and drew the conclusion that Boyzone were inside. It turned into pure chaos as fans started prostrating themselves on the bonnet and the roof of the motor. We got to appreciate, all be it very briefly and under false pretences, what it was like to be the subject of mass adulation…

J: But then we had to get out of the Limo! When we did, the deafening roar turned instantly to pin-drop silence, and after a couple of seconds, as we stood looking at the gathered multitude and they at us, a lone, adolescent voice enquired… who the f**k is that!?  From such experiences it’s tempting to say we’ve learned valuable lessons in the art of live performance, and in the craft of song writing. That is true to some degree, but our biggest lesson has been in the cultivation of the quality of resilience.

The decision to donate a portion of Bandcamp sales to the Campaign Against Living Miserably is commendable. Can you elaborate on why this cause is significant to you, and how do you believe music can contribute to raising awareness and supporting important social issues?

M: In Brighton where I live, there seems to be a lot of young bands willing to stand up for good causes and to write about them in their work. There’s a great club night I’ve been to a couple of times called Agitation; it’s at the locally revered Green Door Store, and I’ve seen amazing young bands such as The Damn Shebang, and the fabulously named Joe Perfect and the Champagne Socialists giving their time and energy to raise money to help striking nurses with their food bills, or helping catering industry workers campaign for a decent wage. In my formative years there were campaigning movements such as Rock Against Racism and Red Wedge, in which mainstream bands were politically engaged, but that fell away for some time. I’d like to think we’re seeing a re-emergence of that kind of thing, perhaps as a response to the difficult times we’re living through.

As far as mental health goes, like CALM, we’re against living miserably – poor mental health is often an unwanted bedfellow with creative people. Look at the very public developments last year with Lewis Capaldi for instance. If people who need help, don’t get the right signposting, advice, or counselling, then that is potentially fatal. You know, 1 in 5 of us will harbour suicidal thoughts over the course of a lifetime – CALM is getting that fact out into the open, to destigmatise the conversation around suicide so that we can all talk about this at a societal level. Everyone should support that ambition.

With a diverse background that includes Glastonbury and Proms in the Park, what unique aspects do each of these musical experiences bring to your artistic expression, and how do they contribute to the rich tapestry of Giant Killers’ musical journey?

J: In one sense, they are a validation, because they are the sorts of experiences that you dream about at the outset of your journey as a musician, but at the same time, we didn’t do either as the headline act, but as jobbing musicians. For Glastonbury, we were both part of a dirty jazz, swing, big band collective called The Kingsize Five – as such we weren’t playing the Pyramid Stage but a collection of smaller stages there – multiple gigs over the course of the festival in both 2008 and 2009. So, while we didn’t get helicoptered into the backstage enclosure, we did stay in artists camping and got to use the open air jacuzzi they have in there (yep, its true), every night.

M: Proms in the Park is a great case study in the life of a jobbing musician and its pertinent to the tribute scene – which gets a lot of stick from so called serious musos, but the scene has undoubtedly kept the wolf from the door for a lot of talented musicians who may otherwise have starved! I opened as the sax player for the heavy gigging Madness tribute band, One Step Behind. We were the warm-up for Lionel Richie when he headlined Proms in the Park in Hyde Park – I think this was 2009. As we were on early around 530pm I wasn’t expecting a full house, but when I walked out there where 55,000 very enthusiastic people in front of that stage.

J: There’s a fabulous little story from when Mike was using the backstage gents, when who should join him at the adjacent urinal than the great man himself…

M: Ha yes, to break the silence, I made an enquiry as to which song Lionel would be starting his set with. When the former Commodore replied with his own question – what would you recommend, I made a lame attempt at wittiness with an observation that Dancing on the Ceiling should perhaps be avoided given it was an open air gig. Lionel left without saying a word, shaking his head as he retreated to his green room.

J: These experiences are a case of so near yet so far in terms of what our musical dreams were at the outset, versus what they actually where in real life. But it’s all an opportunity to grow as a musician, a songwriter and a human being!

M: Ha ha… maybe!

Support Giant Killers on Bandcamp here.

Interview | Unveiling Venerate: A Deep Dive into Riven By Ravens’ Debut Album

Posted on 23 January 2024

As anticipation builds for the release of Riven By Ravens’ debut 14-song album, “Venerate,” we had the privilege to catch up with the band’s founding members. With a musical journey that spans decades and influences ranging from Tool to A Perfect Circle, the California-based hard rock duo shares insights into the creation of their progressive masterpiece and the driving forces behind their musical endeavour.

Can you take us through the journey of creating your debut album, “Venerate”? How did the concept and theme evolve throughout the songwriting process?

I’ve been making and playing music since I was 5 years old, and I have to say that creating this album was one of the most memorable experiences of my life.  “Venerate,” may very well be the most interesting and beautiful piece of music and art I have been a part of so far.   Brian and I are so incredibly proud and excited to share this album with the world.

 What started as simply recording a song together instantly became a massive 14 song concept album and a full band.  There was something so exciting and special in the studio when we recorded that first song.  We both knew that we were at the start of something unique and we just let it unfold.  Having a history in our previous band, Ghost Army, we had a foundation of riffs and ideas that gave us a nice template to work off.  We spent the better part of a year and a half writing, recording, and mixing our music in our Visalia home studio.

Brian and I share a very similar drive and passion for creating music, so the writing and the recording came very organically.  We have really good communication with each other and very comfortably feed off each other’s ideas.  As we got deeper and deeper into the recording process things began to get more and more creative and the pieces of the album seemed to just naturally fall into place.  The album concepts began to explore a variety of things including personal relationships, traumas, pain, loss, death, respect, the media and even government corruption. Both of us write and perform from a place of extreme passion, more than any sort of technical standpoint.  So, in some way we just let the music send us in different directions.  By the time we finished the entire album it had taken on its own strong personality and presence.

Your music is described as a blend of progressive rock with melodic metal tendencies. How did your shared influences from bands like Tool, Architects, and Deftones shape the unique sound of Riven By Ravens?

I feel like that’s a great description of our sound.  We are super heavily influenced by metal and hard rock but we are not a metal band.  I don’t even consider myself a metal drummer.  I’m much more like a Abe Cunningham style of player than a Tomas Haake.  Brians vocal style has an interesting range of heavy screams to super clean melodic tones.  Representative of our favorite bands and influences like Tool and Deftones.  I think we touch in the prog side of the realm with our songs averaging around 5-7 minutes and having some very different structures and odd rhythms.  I think as musicians and music listeners we grew up with these bands being extremely influential on us developing as players and writers.  Then there’s a point in your music endeavors where you step away from those influences and develop your own sound and image.  I think we have achieved that with this project.

What drives Riven By Ravens to continue making music, especially considering your extensive experience in the industry? Are there particular themes or experiences that serve as a wellspring of inspiration for your creative process?

Being a musician can sometimes be a very odd thing.  There’s this deep, primal urge to create stuff with little expectations.  Creating music and playing live is so therapeutic for us.  It’s the most comfortable way to really express how we feel. The drive to continue making music has never really been a question, it just changes form as we get older and have families and kids and different lives.  Being a musician and a drummer has always been something that just makes sense to me.    Life can be so complex and generally can be very difficult, but music has always been such a constant and grounding thing for us both.  It’s so personal.  I think the drive to be in a band is different though and it really comes down to the right mindset and the right players around you.  I think what made this album so special was that Brian and I have the same understanding of this concept, so we were able to be very vulnerable and confident at the same time to create this music.  Also, I think at the end of the day there is an addiction to the process of writing, recording and then performing.  It’s just a satisfying procedure to repeat.  So, as we continue to live and have experiences it’s easy to continue to have the drive to keep making music with new ideas and concepts.

Having been former, founding members of Ghost Army, how did the collaboration between you, Brian and Paul, lead to the formation of Riven By Ravens? Were there specific musical goals or ideas that sparked this new venture?

Back in 2020, Ghost Army had just performed for the second time ever live at Ace of Spades in Sacramento for a sold-out crowd of 1,000 people.  Then the Pandemic hit and shut down all our shows.  Like many bands, this difficult time caused us to ultimately part ways.  After the smoke cleared, a few years later Brian and I got together and created Riven By Ravens.   It felt much more like the evolution of where Ghost Army needed to go more than a new project. Being that there was just the two of us we started the project as just a recording project but quickly realized it was a living, breathing band.   From the beginning we developed a much more serious plan and idea as to what we wanted to try and achieve with this project.  We recorded the entire record ourselves playing all the instruments.  Brian mixed and mastered the entire record.  We both share the same goal with this project which is to create music we feel proud of and inspired by as well as to share it with as many people as we can around the world.

How do you perceive the current state of the music industry, and in what ways do you think people’s consumption of music has changed since your earlier years as musicians? How does Riven By Ravens adapt to these changes?

I think there are many new shifts happening in the industry. It can be such a vile, dark, corrupt place.  It’s very easy to get sidetracked and feel hopeless and endlessly defeated in a massively oversaturated market of fame hungry hollow humans with zero attention spans.  Overrun by rich suites and sleazy club owners with zero artistic credibility taking all the authenticity out of the bands and bleeding them dry.  I think sadly for most bands touring has become a luxury that just isn’t financially available anymore.  As the digital platforms take all the band’s profits and venues continue to take higher and higher percentages from bands merch, more and more bands will just stop touring. People just don’t really value music like they used to.  They feel entitled to it for free.

I think on a positive note people are starting to miss tangible albums and art and it’s circling back.  Brian and I come from the 90’s generation of music consumers that waited in line at a record store to buy a new album and physical tickets to shows.  There’s a very important relationship that is built when people physically buy and get a actual product like a vinyl record or cd and really absorb the art work and think about what the band is saying and showing you.  It builds this real connection with the band and the music listener.  I think that’s something we lost over the years with digital media and hopefully will get back again.  There’s a ton of good music and bands out there but if the industry doesn’t make some major shifts soon to actually support these artist things will just keep crumbling.

Find out more about Riven By Ravens here.

Interview | Navigating Nostalgia: A Musical Journey with Lotta St Joan

Posted on 23 January 2024

Dive into the sonic realm of Lotta St Joan’s latest release, “Once,” as we explore the intricate blend of nostalgic folk vibes and modern pop structures. In this interview, we’ll unravel the self-reflective lyrics and cinematic orchestration behind the song, shedding light on the artist’s unique musical perspective.

Your song ‘Once’ beautifully combines elements of vintage folk and modern pop. How did you conceptualize this distinctive blend, and what inspired the incorporation of Golden Age Hollywood orchestration into the track?

I wrote the song as a pretty classic folk song, just the guitar and voice. But it immediately felt like it was asking for more than a normal folky tune – it was demanding more intricate and lush arrangements. It went through many stages, was recorded many times and once Cameron, my producer, came up with the string arrangements and the trumpet melody, it felt like the song had been served. 

The lyrics of ‘Once’ reveal a self-reflective narrative about navigating a destructive lifestyle after a relationship breakdown. Can you share more about the personal experiences or emotions that fuelled the creation of this song?

As all songs it’s a photograph of my inner life at a certain moment in time. I remember sitting in my room on a winter afternoon and the song was written very quickly. One of those ones that feel right instantly with music and lyrics coming together very easily. I wouldn’t be able to add more about what I was feeling at the time, I am hopeful one might understand when listening to the tune.

The horn solo in ‘Once’ takes listeners on a journey reminiscent of 60s Arabian cinema. What led you to include this unique musical element, and how do you feel it enhances the overall emotional impact of the song?

Funny that you ask about the horn solo, it’s actually a trumpet, but it was originally a horn in the compositional phase. Milad Khawam, who plays the part, used a trumpet with an especially deep and full tone, which puts it more into the horn frequencies and just felt very fitting. In the original demo there was a heavily distorted guitar solo there but after we put in the string trio we knew the song needed something else. This part of the song had become this soaring orchestral score and the horn gave it the right blend of solace and euphoria needed to rise above the grandiose backdrop of the rest of the orchestra.

The song has been described as a potential festival closing anthem. How do you envision your audience connecting with the emotional nuances of ‘Once’ in a live setting, and what elements do you believe make it a powerful performance piece?

Whenever I play live, this is one of the songs that the audience wants to talk about after. It has a certain pop appeal and the chorus seems to get stuck in peoples heads.  I think the overall sentiment of the song is also very relatable to people – I am happy whenever someone tells me so. 

Beyond the music, we’re curious about your journey as an artist. Can you share a pivotal moment or experience that has significantly influenced your career?

What influences my career most significantly are the people around me who support me. Most importantly my producer Cameron James Laing, who runs a recording studio in Berlin called The Famous Gold Watch. It’s home to many folk artists here, not only for recording purposes but also for finding community –  a musical home. Right at the start of my career, around four years ago, when I first stepped foot into this place I experienced an abundance of support and passion for my music which has made a huge impact on me. I recorded my second album ‘Song for the Undecided’ with Cameron, which will be released on March 22nd 2024.

Find out more here.

Interview | Exploring the Sonic Skies with Wayne Wei: A Dive into ‘Cloud Chaser’

Posted on 23 January 2024

Dive into the ethereal soundscape of Wayne Wei’s debut EP, “Cloud Chaser.” In this exclusive interview, we unravel the intricacies of the creative process behind the EP, exploring the musical landscapes that inspired its conception and delving into the visual storytelling brought to life through two accompanying music videos released in the past few weeks.

Congratulations on the release of your debut EP, “Cloud Chaser”! Can you share the inspiration behind the title, and what it signifies for you as an artist?

Thank you! The first song on this project that I started working on was “Out of Control”. I wrote the piece during a time when I was making an effort to quit smoking cigarettes. The quitting never succeeded in short, and the lyrics sort of reflect on that toxicity similar to any relationship in this world I suppose. While you are in a toxic situation, it is the dreamy and intoxicating world that blinds you to the chaos. That is the feeling is what I was trying to capture in this EP.
Before this project, I had a hard time letting the creativity flow naturally and just let it come out of me during the writing process. This EP certainly made me learn to just let go and roll with whatever comes to me. I would say this EP signifies the most raw version of myself as an artist.

The EP features four self-produced songs. Could you walk us through your creative process in bringing these tracks to life? How do you navigate the intricate balance between being the artist and the producer?

My writing process usually came first on an acoustic guitar or piano. Then the production and arrangement came second to finish the songs. Most of the songs on this EP were done in that way. However, the title song “Cloud Chaser” for me was almost a complete track without any melodies and lyrics being written beforehand. It was certainly the most challenging one for me as a writer to navigate back to the writing. I felt that I had gotten lost after producing the track, no words or melodies would come out of me. It took me the longest to really put myself back in where I first started making the track. At the end of the day, I think it is okay to take time to let the song sit for a little, then come back to it after your mind is clear.

Accompanying the EP, you’ve released two music videos in recent weeks. How do you approach visual storytelling, and how do these visuals complement the sonic atmosphere of “Cloud Chaser”?

I am a massive fan of the legendary director Wong Kar-Wai from Hong Kong. I surely took a page or two out of his book to make the music videos for this EP. His movies were my biggest influence growing up. While the subject love and toxic romance are constant themes in his movies, I thought the chaotic “chasing” theme in the songs would fit in the style of Wong Kar-Wai perfectly.

As a self-produced artist, what challenges did you face during the creation of “Cloud Chaser,” and how did you overcome them?

As a self-produced artist, I played and arranged most of the instruments on the recordings. However, the drum recordings on this EP were the most challenging for me. I think drums are one of the most important aspects in a song. It could completely change the course if it was not done right. Luckily I had the chance to work with great drummers. It was mainly about communicating with the session musician to let them understand what you want for the song and what the song truly needs.

With the EP now out in the world, what do you hope listeners take away from the musical journey you’ve crafted in “Cloud Chaser,” 

I would love for the listeners to also let go of any emotional baggage or any self-loathing thoughts. And just let the music take you on a chaotic spiral like a merry-go-round. I hope we can all find something beautiful and worthwhile in a world that is often out of control.

Find out more about Wayne Wei here.

Interview | Dejai Unleashed: Igniting the Hip-Hop Scene with Authenticity

Posted on 18 January 2024

In the pulsating realm of hip-hop, Dejai emerges as a force to be reckoned with, bringing a unique blend of authenticity and passion to the stage. In this exclusive interview, we delve into the artist’s upbringing, the sparks that ignited their musical journey, and the driving forces behind their relentless pursuit of innovation in the industry.

In the pulsating realm of hip-hop, Dejai emerges as a force to be reckoned with, bringing a unique blend of authenticity and passion to the stage. In this exclusive interview, we delve into the artist’s upbringing, the sparks that ignited their musical journey, and the driving forces behind their relentless pursuit of innovation in the industry.

Can you share a bit about your upbringing and how it shaped your musical journey?

I spent a significant portion of my adolescence in a small town in Arkansas—a place where everyone knows everyone, and for generations, few manage to break free. Limited by both resources and entertainment options, my sister and I found joy in making the most of what we had. Raised by my grandmother, who had a deep connection to church and gospel, Sundays were filled with hymns that showcased her angelic voice. Inspired by her, I aspired to sing like her.

Alongside gospel, my sister and I explored various musical genres, delving into old jams from artists like Backstreet Boys, Eartha Kitt, Ella Fitzgerald, and Mahalia Jackson. Our musical taste was eclectic, and we paid careful attention to the lyrics. Meanwhile, my father, a talented musician himself, produced, wrote, and recorded his own music. He exposed me to a diverse range of sounds.

A pivotal moment in my musical journey occurred when my aunt Monica gifted me my first mp3 player for Christmas. Loaded with a variety of songs by my father, my attention shifted towards rap and R&B. Artists like 2Pac, Jay-Z, and Outkast became my new musical companions.

Music became my primary mode of communication and a means to connect with others. This profound connection, along with a desire for expression, fueled my passion for music. Motivated by a longing to break free from my small-town roots, I aimed to become someone who defied the odds. My goal is not just personal success; it’s about achieving something monumental leaving a lasting impact from where I come from, and eventually returning to rebuild my entire state on a grand scale.

What initially sparked your interest in music, and how did you find your way into the hip-hop scene?

I’ve had interest in hip hop specifically since the first time I had a whole catalogue of hip hop songs at my finger tips on my first mp3 player. From there I’ve always played with the idea of what if I can really be a rapper and do this for real. I really gave it a long thought the first time I heard a song by j.cole called “show me something” and I was like yeah I want to reach the people the same way he does. It didn’t happen until years later, but I created my first album at my home studio and released it because of that.

What motivates you to continue pursuing music today, and can you tell us about your most recent/upcoming projects?

What keeps me motivated to keep pursing my craft even when I feel like I’ve hit a wall is the thought of “what if” so many people burn out their flame early on because they face setbacks when trying to pursue their dreams then quit. Then later on in life they’re plagued with that “what if” and “where would I be” question. I don’t want to feel like that now or ever. I want to know that I gave it my all and if it just wasn’t meant to be it wasn’t on me it’s just that’s the way the universe intended it to be. As of right now I’m working on a mixtape called “The Greatest Yet” which is intended to be released on all major platforms in late March. I’m always taking my time because I always want what I put out to be great.

In your recent releases like “Wild Fire” and “All On Me,” we’ve seen a dynamic range in your style. How do these tracks represent your artistic evolution?

I think it shows a more vulnerable side of me which I struggled with when I initially started making music. I feel like I could always make “at your neck” music filled with word play and bars like battle rap but I couldn’t really comfortably put anything out that I actually exposed my feelings about things going on in my personal life. That kind of music is important because people relate to that.

What sets you apart from other artists in the hip-hop scene, and how do you believe your music contributes to the current hip-hop politics?

I care about how the things I say may impact people, especially people that look like me. The hip hop I fell in love with is no longer here, there is a whole new era and that’s fine, but I just want people to feel something when they hear my music. I’m not just making music to make noise and throw syllables together because they rhyme. I’m not here just focused on the revenue and just to sell the people something I’m here to make a difference. Everything is not always about turning up I got to provide a little bit of everything but more than anything my music needs to feel like a warm embrace of understanding for all kinds of people.

Considering the impact of music on the youth today, how do you think artists can do better, and what role do you see yourself playing in this responsibility?

I think we need to understand as artist we influence the masses with the things we say and we need to act as a beacon of light not darkness. It’s one thing to tell your story in your music but we need to stray away from glorifying certain topics and normalizing negative behaviour because we’re all someone’s role model. By encouraging certain actives and behaviours as an artist you’re painting a young minds canvas and distorting their image before they even get a chance to see the beauty in their canvas. I touch on that frequently in the music I make to try bringing awareness to the discussion.

Find out more about Dejai here

Crafting Beats and Carving Paths: An Exclusive Conversation with The Blaqsmith

Posted on 9 January 2024

In the dynamic realm of Hip-Hop, some artists stand out not just for their beats but for the unique journey they embark upon. Tha Blaqsmith, a trailblazer since 2011, entered the musical scene with no formal composing background but armed with an unparalleled willpower and a penchant for vinyl records and drum breaks. Several releases down the road, he continues to infuse the new generation of Hip-Hop with his essential raw, dope, and chill essence. Join us as we delve into his journey, upcoming releases, inspirations, and an exploration of his impressive discography.

Your journey in music began in 2011. How did you navigate the initial challenges of entering the industry with no formal composing experience, and what motivated you to pursue a career in Hip-Hop?

I just learned and observed a lot of knowledge from reading and watching interviews on hip-hop greats. Google and YouTube was my actual mentors for music. I always had a knack for putting different sounds together, but I never played or used an instrument in my life. And living with my mom and my brother, we were lower middle-class people that often times could afford things but we didn’t at times especially when it comes to music equipment. And growing up, I never had an instrument. I will always make beats with my mouth or my hands Once I had my hands on a drum machine. It was a wrap. Having a drum machine motivated me to do this. The process of making a beat from scratch in your own creation, fascinate me.

With several releases under your belt, including “THE PATH TO SUCCESSION” and “The Last Days EP,” can you share some insights into the themes and inspirations behind these projects? How has your artistic vision evolved over the course of your discography?

The Path to Succession is basically whatever path that you’re on, don’t ever give up on that path because you never know, you might be closer than you think. So I tried my best to make certain instrumental beats that give you that motivated vibe to keep going forward. The Last Days, is  whatever you’re doing in life, doesn’t matter what your profession, as long as you give it a 100% on it, even if it’s your last day on this earth.. my idea for the album was to be more precise and discipline instrumental album. I have a certain vision for my albums, because nowadays it’s not a lot of content with music, it’s just a lot of music with no meaning so I try to keep a good content with it to give the audience.

What upcoming releases can fans anticipate from The Blaqsmith, and can you provide a glimpse into the creative process or themes we might expect in your future projects?

I have a few upcoming releases coming out in 2024. I have a Beattape coming out pretty soon called “LOOPMANIA” just basically an instrumental album full of reoccurring loop instrumentals. Most likely it will be a series of LOOPMANIA going forward. I have a few remixes beat tapes in the works and more collaborations as well.

In the ever-evolving landscape of Hip-Hop, who or what are some of your primary inspirations? How do you incorporate these influences into your work while maintaining your distinct musical identity?

J Dilla is my all-time inspiration, but I have some on Honorary inspirations like, 9th Wonder, The Alchemist, Timberland, Dr. Dre. I’m a hip-hop head so I know what those guys bring to the table. I’ve always love that gritty, eerie underground, smooth sound. Those vibes are immaculate and that’s why I like implementing that into my sound.

Your discography reflects a range of collaborations and projects. Could you shed light on any particular collaborations or associations that have significantly impacted your artistic journey? How do these collaborations contribute to the growth of The Blaqsmith as an artist?

I did an EP with an artist from the inland empire and my closest friend “El Fuggins”. He’s very talented. Raps, sings, direct. At first, it was a little difficult to mesh with him but after a while, he motivated me to think outside the box, in the area where I was accustomed to. The name of the EP is called “Heel Turn” Heel is a term for a wrestler when he becomes a bad guy. “Babyface” is a term good guy. So we made this EP not only because we’re wrestling fans but to shed light on the comparison between wrestlers and musicians. There are so many musicians, releasing good music, that it never has the good following or fan base to support it and the artist normally goes rogue or gives up on the art. I typically don’t want to give up. Lol. The whole album process made me think more creatively and to be more unique around making beats and I like being challenged in those moments. Not only I learn, but I also evolve, musically.

Find out more about The Blaqsmith here.

Elevating the Night: An Exclusive Conversation with Mew Kardo

Posted on 6 January 2024

Dive into the nocturnal soundscape with Mew Kardo as we explore the essence of his latest album, GAMK VOL2:ALLNIGHTLONG. In this exclusive interview, we unravel the artistic journey behind the project, the aspirations that fuel his creative fire, and the profound impact of his upbringing on the musical tapestry he weaves.

Can you take us through the creative process and inspiration that fueled the release GAMK VOL2:ALLNIGHTLONG, and how it stands apart from your previous works?

The creative process for this project was a lengthy one. After Volume 1 dropped in 2020, i was at a standstill creatively. I was still recording music but not having a plan for it. Dropped a few songs here and there but no project was in my mind. Then In 2022, I remember coming across a video on YouTube about Michael Jackson’s album “Thriller” and how it was created. In the video, they talked about recording over 50 songs for Thriller and then cutting it down to 9 songs. I took that mindset and ran with it. Recording over 70 songs for volume 2. My favorite thing about Thriller is how there is a song on there for every target audience, and I wanted volume 2 give that same feel. No songs sounding the same or being repetitive. What else helped with this project is that I started to produce more beats on my own and I also started working with a local band in Philly and they helped me develop my song writing, coming up with song structures, and finding my voice more. The difference in Volume 1 and Volume 2 is that volume 2 has more depth and personality to it. It also has more character to it. The songs show that I’m having fun with my craft.

You’ve mentioned that your upbringing has played a significant role in shaping your music. Could you elaborate on how your roots and personal experiences influence the themes and emotions embedded in your tracks?

My upbringing has such an impact on my music because philly is home of some of the best rappers.

So growing up here and doing music, I had to have that skill in my arsenal. Outside of music, Philly is a unique place because it’s not really mentioned with major cities like New York l, Atlanta, or LA, but has the same things those cities have to offer. Nightlife, street life, and everything in between. Being in this type of environment gives me the duality to write songs about partying and enjoying life but also the struggles of being from the inner city.

Beyond the music scene, you’ve expressed a passion for sports and fashion. How do these interests seep into your creative world, and do they influence your artistic decisions or aesthetic choices?

Music, sports, and fashion. That’s all I’ve been my biggest interest. The sports aspect of it is because I grew up playing sports and having that competitive spirit. I look at music the same way. It’s all about being competitive in order to put out your best product. And if sport’s represents the gritty, competitive nature of my music, then fashion represents the beauty and luxury of my music. My older brother would always tell me that I have to look the part of a rapper just as much as I sound like the part. Getting a compliment on your outfit from a random person and then telling them you do music and their response is “I can see that” is important just like somebody telling you they like the hook on one of your songs. Songs like “InTheField” showcase my love for sports and songs like “NEVERMETVIRGIL” showcase my love for fashion.

Dreams of touring and winning a Grammy are on your radar. Can you share some insights into your vision for live performances and what winning a Grammy would mean to you as an artist?

Touring is something I’ve always dreamed about doing. For live performances I think great stage design and great stage presence will have you on tour for the rest of your career. I always pictured a huge Mew (the Pokémon) on stage while performing. More than just being a rapper, I have always seen myself as an entertainer. As far as winning a Grammy, that’s like winning MVP. It reminds you that you’re doing the right things and putting in the work. Also my great grandmother before she passed, would ask me if she was going to see me on tv one day at the award shows, so winning one would have some more meaning to it.

Community holds a special place in your heart. How do you plan to utilize your success and resources to give back to your community, and are there specific initiatives or causes you’re particularly passionate about supporting?

Community is one of the most important things to me. My community kept me out of trouble and presented me with opportunities and so I want to do the same for the younger generation coming after me. On a small scale, I want to donate and provide resources to local schools and community organizations. Helping as much as I can. On a bigger scale, I want to open a school.

Find out more about Mew Kardo here

 

Harmonies and Healing: A Musical Conversation with Alison Wahl

Posted on 22 December 2023

In the rich tapestry of musical expression, Alison Wahl stands as a versatile artist whose compositions traverse genres and instruments, aiming to foster genuine human connection. Her latest collaborative venture, “Christmas is the Right Time for Us,” alongside fellow songwriter Brian Berggoetz, encapsulates her ethos of bridging emotional gaps. In this exclusive interview, we delve into the creative minds behind the song and explore the diverse musical worlds Alison Wahl has inhabited.

Your music is known for its diverse range of styles and instruments. How did this eclectic approach shape the creation of ‘Christmas is the Right Time for Us’ with Brian Berggoetz?

We had so much fun recording this in the studio together, and I drew on lots of different types of vocal production techniques and colors as we worked towards the right sound. Between takes I’ll sometimes run scales all the way up and down my range and at full volume, so I can make sure I’m always really connected to my breath even when I’m singing in a more intimate or quiet style. I always lean on my training as an opera singer that way. We recorded three different versions of my vocals at different levels of volume and intimacy, and we ended up using the middle version that wasn’t full-voiced but wasn’t completely hushed, either. Our engineer Duncan Stitt played around with different types of microphones to capture my fuller sound better. My experience singing in lots of different unamplified and amplified styles helped me find just the right sound for our song.

The song aims to bring a sense of connection and healing. How do you see music playing a role in addressing feelings of loneliness and isolation, particularly during the holiday season?

Music has a central and powerful role in healing feelings of loneliness and isolation. Leonard Cohen said, “Songs don’t dignify human activity. Human activities dignify the song.” There’s a good reason we associate certain types of music and specific songs with the holiday season — they make us feel connected to our traditions and to the things and people we love. I like to think about all the holiday playlists that exist online, and think about people lovingly choosing the songs that make them feel cozy, joyful, warm, loved, and happy. Whether we’re attending a performance of Handel’s Messiah or the Nutcracker, listening to Ella’s famous Sleigh Ride, singing familiar carols, going to see young family members perform in their school holiday shows, or listening to new songs about the holidays, music remains a central part of our celebrations because it gives us a space to feel and be together. The way we engage with the music makes the music meaningful. I absolutely love sharing the immediate vibrancy and intimate joy of music as a performer and as a listener. If you’re listening to my recording, please know, I am so happy to be singing for you!!

Having been praised for your “bright, vibrant soprano,” you’ve performed with esteemed orchestras and ensembles. How do these experiences influence your songwriting, and did they play a role in the collaborative process of this festive tune?

What a great question, I don’t think I’ve ever been asked this before! Being onstage under bright lights, in a ball gown and shining jewelry, with the music of a beloved composer in my voice and body, is a thrilling and reverent experience for me. In those moments I feel myself to be the mouthpiece of the storytelling, even if I didn’t write the story myself. Songwriting is so much more intimate and private. I write songs like some people knit scarves — I make little things that I use to keep warm when I’m cold, based on what I’m feeling and needing in the moment. As a songwriter I accompany myself on the guitar, and that gives me a kind of cover I don’t have as a solo singer. When I’m a soloist under a spotlight, out in front of an orchestra, I am very aware that I’m the first point of emotional contact between the audience and the music, with numerous colleagues surrounding and supporting me. Performing as a songwriter I am the composer, orchestra, conductor, and singer all at once, and it’s on a much smaller scale. It’s a different kind of pressure — I don’t feel I need to represent anything other than my own human self, but at the same time I’m the only thing on display. The music I love to sing in the concert hall has absolutely influenced my writing. I like to use large leaps and melismas, which I learned to love in the music of my favorite composers, Handel, Schubert, Saariaho, etc. The way I think about form has been influenced by the classical music that I sing, too, and I think that has come through in this tune I wrote with Brian. We have a moment towards the end with some unconventional vocal harmony. There’s a dissonance between the voice parts but it has a formal role of expanding the spirit of the music at that point, so it sounds consonant and resolving even though we’re singing a 9th apart from each other. I do something similar with my ornamentation at the end of a Handel aria I often sing, and my songwriting ear has for sure been honed and influenced by my training improvising in the style of 18th-century composers.

Brian Berggoetz, as a collaborator, brings his own unique perspective to the song. How did the synergy between your musical backgrounds contribute to the overall sound and message of ‘Christmas is the Right Time for Us’?

Our collaboration was so wholly supportive and creative. Brian started with the chord progression and began by sending me some lyrics that he described as “just an architecture,” sort of place-holder as we workshopped the words. I took some of his ideas and added my own, focusing more on specific images of moments that I love about being with my family and friends during the holidays. I thought about some of the holiday songs that haven’t aged well, or that have problematic elements, and what I’d like to hear about instead. Brian has an amazing ear for style and color, and that comes from his experience and expertise as a singer-songwriter and bandleader. When I first heard his ideas, I immediately thought the melody and hooks that he came up with were absolutely lovely. From my perspective, my role was to fill out the song like a metalworker creating filagree to set a stone — Brian had already provided the gem, and I helped shape the lyrical form around it.

The song’s title, ‘Christmas is the Right Time for Us,’ suggests a special significance. Can you share the inspiration behind the song and how the holiday season influenced its creation?

When I first pitched the idea of a holiday song, Brian came back with a re-working of an unfinished tune that he had in progress. The chorus was all his creation. But to me, the holidays can often come with so much pressure and pain, especially if we’ve lost a loved one, if we’re struggling or lonely. I wanted to get behind the message that whoever you are and however you are, you deserve to feel warmed and welcomed fully by the spirit of the season however that works best for you. You deserve to enjoy the simple, good things in a meaningful way. There’s no wrong way to express and cherish the love in your heart if it’s genuine and tender. I hope and wish for a right time for all of us this season, and to trust that we are more connected than we know.