Malicious Intent (The Untalented Mister Ripley)Julian Shah-Tayler03:10
Malicious Intent (Danny Saber Remix)Julian Shah-Tayler / Danny Saber03:20
Malicious Intent (Flip X Remix)Julian Shah-Tayler / Flip X03:39
Julian Shah-Tayler (a.k.a. The Singularity) is set to drop his new single titled ‘Malicious Intent’ tomorrow (December 20th) from his upcoming album ‘Honne/Tatemae’ dropping in 2025 via Impossible Things Records.
Julian is one of those ‘once-in-a-lifetime’ type of musicians. If you were paying attention when you first found him, you don’t have to sound like a complete tool when you go around asking ‘who was that guy that made that one song?’. He has his own signature sound, that is unmistakable anywhere and everywhere he turns up. But it is his solo music that he really shines and steps out of the norm with. There is no restraint and total freedom. And that is where Julian shines.
With ‘Malicious Intent’ we get a song that feels like an ocean of sound and clear sky of lush canvas. Stretching that concept even further are two remixes featuring Danny Saber and Flip X. We get three interpretations of the mind behind the madness. The original, in and of itself, has an almost remix vibe in that there is an off center feel about it that, while you can’t place, you can’t miss. This is the concept of originality at it’s core. When you have just enough familiarity to entice you yet just enough feeling of comfortability to keep you from leaving, all while feeling you’re in uncharted territory.
The remixes keep the spirit alive and take it further off center from that elusive mark. Flip X being the more groove oriented while Danny Saber taking the more atmospheric approach. But, what I love about the remixes, is that the artist doesn’t get lost in the mix. They tell the same story from different points of view, lending to finding a favorite with different audiences. Brilliant.
Check out our other features with Julian Shah-Tayler HERE.
About Julian Shah-Tayler
Born in Leeds, England and educated at Hogwarts(truly!) all the way to a philosophy degree at York university, Julian moved to London as a singer songwriter with classical training on piano and self taught on guitar.
After abortive record deals with Alan McGee he joined hip electro clash outfit “Whitey” as co-writer/guitarist recording many of the songs in his nascent home studio. After a complete breakdown in communication, Julian moved to Los Angeles to pursue his own project and had further success with licenses in TV and film in the USA.
The Intemperate Sons have released their new single and video titled 'Meat Suit'.
The Intemperate Sons have released their new single and video titled ‘Meat Suit’ via FRAME|WORK. Such a pristine and guttural guitar duel starts this song off with a dark an gloomy bang, slightly in the vein of Alice In Chains, but with a fervor and grime found only in fresh and hungry musicians giving it their all and delivering everything you want in that perfect moment when you put those earbuds in after a shitty day.
Rock was meant to be raw and The Intemperate Sons pick that scab off and pour salt in the wounds on your eardrums like intemperate sons o’ bitches in true anarchic fashion demanding your fan status and keeping every promise afterwards. This is the attitude of music, meant for the masses and beholden to no one.
About ‘Meat Suits’
The band describes the track as “a sludgy and honest expression of surviving in a world where everyone wants to have a bite.” They go on to explain, “The emptiness in the ritual of living to die starts and ends under the ‘Meat Suit,’ a relentless cycle of hunger and thirst that only deepens with each passing day.”
With its raw and unfiltered sound, “Meat Suit” delivers heavy, sludgy riffs and honest lyrics that reflect the band’s unique style and gritty worldview. The accompanying music video intensifies the song’s themes, offering a visual journey.
This release marks another bold step in The Intemperate Sons’ evolution, showcasing their ability to blend thought-provoking storytelling with dynamic musicality.
About The Intemperate Sons
The Intemperate Sons emerged onto the rock scene in the summer of 2019 in Dallas, TX, to bring their distinct sound to the genre. A deep love for music brought family members Keith Watson (drums), Jake Watson (guitars) and Max Watson (vocals, guitars, keys) together along with close friend Mark Marks, who provides the groove on bass to unite everything together. The band’s sound has been described as a 90’s alternative style that is obsessed with the 70’s.
Keith is well acquainted with entertaining massive crowds of concert goers and has played with many successful bands in Dallas, such as Gun Hill, Natural Born Thrillers and Agents of Solace, on top of opening for Lynch Mob, Joe Lynn Turner and Sponge. He is the primary lyricist for the band and has written the music for some of their most successful songs, including “Dust to Dust,” “The Color Within,” and “Unrealized.”
Multi-talented and gifted with the ability to play various instruments, Max is also the lead vocalist of the group. Along with being musically dexterous, he has also collaborated with Keith to write lyrics on the released songs “Going Crazy” and “Way Back When.” In the studio, Max usually surmounts expectations and goes above and beyond to prepare prior to a session with his own vocal harmonies.
Jake is the song architect of the Sons and extremely instrumental in the crafting of the music. His inventive ways of bringing lyrics to life in clever ways are unprecedented and fascinating to see in the studio setting. He is a prolific writer of music as well and is credited with helping create the songs “What’s Done is Done,” “Remission,” “Way Back When” and “Wading in the Gray.” Both Max and he play lead guitar on many of the songs as well. The other members of the band fondly refer to him as the “art director” since he enjoys taking charge in those areas for the group.
Prolific and unifying, Mark is an accomplished bass player and well known in Dallas. He was in the regionally successful band, Haggard, and had opened for Sebastian Bach of Skid Row. His input in song writing has been invaluable to the process of creating captivating melodies.
Despite the pandemic putting a pause on many major events, The Intemperate Sons lived up to their name and let nothing hold them back from making music. Constantly hard at work in the studio, they have collaborated with Amir Derakh (Julien-K, Dead by Sunrise, Orgy, Rough Cutt) and Ryan Shuck (Julien-K, Adema, Dead by Sunrise, Orgy). Both have lent their musical talents to various songs and ultimately have brought the Sons on to their label, Frame|Work. This led the band to also recently join the management roster at The Label Group. Ryan worked with Amir to produce the band’s upcoming track, “Game of Keep Away,” and has had a huge impact on the group. He’s been especially influential on Max’s vocal melodies and delivery. Amir also plays guitar on this latest ballad and has been mixing all of the band’s music as well as performing on multiple songs.
Another notable collaboration has been with Tony Franklin (The Firm, Roy Harper, Kenny Wayne Shepherd, Whitesnake), primarily on the first album, The Color Within. He has been a valuable friend of the band and has played bass on some of their best tracks from that album, including “Running Man,” “Dust to Dust” and “The Color Within.”
The Intemperate Sons’ take on alternative rock is a dark and powerful concoction of hard rock mixed with folk and grunge concepts. The band has earned a serious reputation for writing and performing tracks that scratch deep into the backbone of the human experience. There is no shortage of darkness in their writing style, which has a retro vibe with many guitar-driven tracks stacked on top of a groovy rhythm section. The heavier style fits perfectly with the two and three-part vocal harmonies that are a huge part of their overall sound. It has been said that musicians that are related form unique sounds and communicate at a frequency only they can understand. This frequency has become engrained in their songwriting, arrangements, guitar melodies and vocal harmonies. The band has been compared to Alice in Chains, Stone Temple Pilots and even R.E.M.
Annemarie Jo - Excuse Me (While I Lose My Cool) + New Video
Annemarie Jo shows the bold and sassy side of herself with her new single and video, “Excuse Me (While I Lose My Cool)”, dropping December 6, 2024. The multi-talented, singer-songwriter from the Detroit, MI., area knows how to bring the fun while leaving all worries behind.
“This song really speaks for itself”, says Annemarie Jo, “Excuse Me (While I Lose My Cool)”, is all about going out and letting loose after a stressful week. As someone who works every weekend, I rarely get time to go out and enjoy time out with friends. Any time that my friends, family, or anyone really for that matter, is able to get time off and go for a night out, it is always on weekends, evenings, or holidays; all times where I am working. So, this song was really about finally getting that time to go out and how good it feels to be able to have a free weekend where I can step out and have a wild night with my girls. When I say, “Lose My Cool” in this context, what I really mean is to let loose, leave your worries behind, get crazy, dance the night away, etc.”
The video for this single clearly ties in really well with the song. Annemarie Jo says, “It’s all about a night out, people meeting, flirting, having a good time, dancing, and more. I love how in the video there is this story line you follow, watching two people meet while out and then myself, playing a bartender role, helping them to connect and get together. I love that there is this subtle love story hidden in the song’s video, it kind of replicates a night out: you never know what’s going to happen when you let your wall down and go out, in a good way of course.”
Annemarie Jo’s musical style is influenced by many genres and various iconic musical figures like Stevie Nicks, Billy Joel, Rolling Stones to Abba, Diana Ross and Aretha Franklin. Her music reflects the genres of pop with a hint of soul, rock, and R&B.
“For this release”, says Annemarie Jo, “I chose to shoot this music video in the Aretha Jazz Café within the Music Hall in downtown Detroit.” The café was renamed in 2019 to pay homage to Aretha Franklin, opening up a central venue in Detroit for not only jazz, but for blues, soul, and rock’n’roll as well as poetry, hip-hop, and funk. Also, I did the video here as a little hint and expression of gratitude to the city and musical influence of Detroit Motown.
Annemarie Jo is currently working on finishing the writing process on a couple of new songs that she hopes to get in the studio soon. “I never stop creating, even in my busy season when I’m not as strict with my songwriting habits, I still have ideas and titles and song seeds flowing. I can’t wait to see where my next song goes and what it becomes.”
The Modbeats have today released their cover of the Bob Dylan classic ‘Just Like a Woman’ just in time for the new Dylan biopic next week. While definitely sounding like an homage to the original voice of protest, the similarities end with the lyrics and general chord structure while still retaining that vintage sound and timeless swagger.
For a band as new as The Modbeats, there is a lot of history and experience tapped into and wrapped around their already burgeoning signature sound and, with the effortless proof being that they have remade a classic in their own image, show that their sound will be the sound of future classics, shows that time and music is is both cyclic and memorable.
“Blonde on Blonde has always been my personal favorite of the Dylan discography. The whole 1964-1967 era, really. From Another Side of Bob Dylan straight through Blonde on Blonde. The musicians he played with during this period, his fashion sense, etc…it just never gets old! It wasn’t easy choosing just one song to cover. I really love every track on the album. We wanted to do something different. We chose “Just Like a Woman” because it’s really a nice melody and I was intrigued about taking this slower kind of tune and making it an upbeat number. I haven’t come across a cover version quite like this before. With the biopic coming up at Christmas, we felt the time was right to put this out.” Philip Dunn
About The Modbeats
Threading the needle of early Rock N Roll Rhythm & Blues and Jangle Pop Soul, NJ-based band The Modbeats launched their debut single “Ballad of A Starving Artist b/w “Rocking Chair” courtesy of Mayleen Records in Summer 2024. Formed in late 2023, The Modbeats name symbolizes the confluence of Mod and Modernist stylings with the pure sonic bliss and beat of rock n roll music. Three more A/B side singles are slated for release with a full-length eponymous LP to follow.
Blood Lemon has released their new video for the track titled ‘High Tide’ from their upcoming EP ‘Petite Deaths’ dropping on January 17th. To say that it’s about time I heard something from the old school new cool genre I made up in my head a long time ago just to classify something fresh and new while retaining that classic sound I fell in love with during my youth would be the colossal understatement of the century. But, here it is.
Blood Lemon i steeped in that classic sound because it has elements that invented it. Bassist Melanie Radford is in Built To Spill, for chrissakes. Having said that, keep in mind that Blood Lemon is entirely it’s own thing. An omnipotent presence in the state of the new indie. About to lay a soul bomb on January 17th.
‘High Tide’ is that feeling of joy wrapped inside something you found on the curb of a dirty road, discarded by someone and meant for you, because it feels built for you. It’s a song that stays with you long after that first listen and grows and grows and grows. A slacker anthem for the underappreciated and unindighted.
About ‘Petite Deaths’
Recorded at the storied Rancho De La Luna studio in Joshua Tree with esteemed producer Dave Catching (Desert Sessions, Queens of the Stone Age, earthlings?), this 5 song collection masterfully echoes the vastness of the desert it was shaped in. But beyond the desert’s influence, Petite Deaths also tells a story of the intimate journey of creation, both musical and personal: the band’s drummer/percussionist Lindsey Lloyd learned she would be expecting the birth of her first daughter, Zenith, once recording was wrapped.
While the songs on Petite Deaths are, no doubt, less overtly political than the band’s eponymous debut LP, they are no less provocative. The EP’s title is a reference to the French phrase petite mort or “small death,” used as a euphemism for the grand sensation that arrives post-orgasm (much like Tori Amos’ landmark Little Earthquakes). Bassist (and current Built to Spill member) Melanie Radford explains, “When we were deciding on the title of this 5-song EP, we realized each of these songs felt like flashes of life and death. Each of them are ‘epic’ in their own way: small bursts of either pleasure or despair, tied together by a large musical landscape.”
Blood Lemon’s debut received praise from outlets like NPR Music, A.V. Club, SPIN and beyond, garnering comparisons to other beloved female-fronted influences like Sleater-Kinney and The Breeders. Following appearances at Treefort Music Fest, as well as dates supporting avant-garage heavy hitters The Shivas and viral goth-punks Vision Video, the band began working on music with widened emotional registers. Petite Deaths is the result of that period, and a testament to how these three women continue to invent (and reinvent) themselves through a shared love of song and embracing change with resourcefulness.
‘Petite Deaths’ Tracklist & Info
‘Petite Deaths’ cover.
High Tide
Her Shadow
Mountain’r Lower (Jessica Pratt cover)
Perfect Too
Mudlark
All songs written & performed by Blood Lemon, except “Mountain’r Lower” written by Jessica Pratt Produced & engineered by Jonathan Russo and Dave Catching at Rancho de la Luna (Joshua Tree, CA) Mixing by Paul Malinowski at Massive Sound Mastering by Greg Obis at Chicago Mastering Service
Cover artwork by Lisa Simpson Design by James WAR Lloyd
About Blood Lemon
The desert often represents scarcity, a place where few signs of life can be found. For the women in Blood Lemon, however, trading their homebase in the high desert of Boise, Idaho for the low desert in Joshua Tree, California would prove to be the right choice to give the five songs found on Petite Deaths their final form.
“Small bursts of either pleasure or despair,” says bassist and vocalist Melanie Radford of the collection comprising Blood Lemon’s sophomore release. “I think what came out was something eclectic and mystic,” she added. Using the seemingly scant resources of the Mojave, Radford, guitarist and vocalist Lisa Simpson, and drummer/percussionist Lindsey Lloyd, culled together their strongest set of songs to date.
Working alongside esteemed fuzz lord Dave Catching (Desert Sessions, Queens of the Stone Age, earthlings?) at the storied Rancho De La Luna studio, the band treated the sessions as a retreat rather than a routine visit to a recording studio. To make the most of the time away from Boise, the band stayed in an adjacent bungalow on the property, seizing an opportunity to “briefly get away from distractions in our immediate lives,” says Radford.
Blood Lemon, a mainstay of the Boise scene despite Radford’s recent move to nearby Seattle, received plenty of praise for their eponymous debut released in the throes of the pandemic. NPR Music, A.V. Club, SPIN, and other outlets of repute lauded their debut that garnered comparisons to other beloved female-fronted influences like Sleater-Kinney and The Breeders. Following celebrated appearances at Treefort Music Fest in their hometown as well as dates supporting avant-garage heavy hitters The Shivas and viral goth-punks Vision Video, the band crafted a collection of songs with widened emotional registers when Radford was on break from serving as the current bassist of indie stalwarts Built To Spill.
While the songs on Petite Deaths are, no doubt, less overtly political than the band’s debut LP, they are no less provocative. The record’s opener, “High Tide,” explores Simpson’s fascination with “concepts around sensuality and completion” and “what other languages and cultures called an orgasm.” Echoing the aforementioned Breeders’ penchant for blending distorted guitars with entrancing female vocals, the track provides plenty of overdrive alongside lyrics that speak to our animalistic tendency to seduce and be seduced. Thoroughly couched in metaphor, Simpson’s lyrics might still pass as classroom-appropriate in her new role as a teacher at her daughter’s elementary school in Boise.
Other songs on the collection put Radford’s ethereal vocals and erudite bass playing on full display, often branching out into new territory. For example, “Her Shadow” was “an experiment on how to collaborate differently,” says Radford of using Lloyd’s pre-written lyrics as a basis to develop melodies and chords around. A sludged-out reworking of Jessica Pratt’s “Mountain’r Lower” also gives plenty of room for the band’s psychedelic and more other-worldly influences to shine through. With searing lead guitars and pulsing rhythms, the collection’s first single, “Perfect Too,” offers a scathing critique of contemporary culture’s tendency to sell perfectionism without any promise of moral salvation.
“Mudlark,” another song with Simpson’s voice at the forefront, is equally full of wonder. Inspired by Scottish actor Sam Heughan’s review of Mudlarking, a novel by Lara Maiklem, the song explores the theme of scavengers who meander riverbanks for hidden treasures. An “unabashed” fan of Heughan’s work as an actor and author, Simpson gravitated towards imagery in his review of the novel, and in her words, of “a person being a possession that ends up being tossed away, and hidden beneath the surface of the riverbed.” The result, an expansively melancholic track that crescendos into one of the band’s signature dirges toward the end of its six-plus minutes of runtime, exhibits how the band can hold an audience’s attention with songs longer than those conforming to traditional radio formats.
Beyond the expansiveness of the desert influencing the sonic landscape of Petite Deaths, birth also became a central component of the album’s creative force. Following the recording sessions, Lloyd soon learned that she would be expecting the birth of her first daughter, Zenith. Lloyd’s dedication to the band was underscored when the band performed a show in the winter of 2023 in the last weeks of her pregnancy. Well aware that scheduling any major life decisions while playing in an active band can be difficult, Lloyd notes that “the timing of making the record couldn’t have been better.”
As the final notes fade and captured sounds of coyotes howling in the Mojave fill the silence, the listener is immersed in the stark beauty of the desert and the transformative power of collaboration. Petite Deaths is a testament to how these three women continue to invent – and reinvent – themselves through a shared love of song and embracing change with resourcefulness. The album stands as a powerful statement, echoing with the vastness of the desert and the intimate journey of creation, both musical and personal.
Olivia Reid has released her new single titled ‘Quite Simple’. The song’s release comes at a heavy time when two of Olivia Reid’s grandparents have recently passed away, making the message of gratitude and to enjoy all that life has to offer, that much more potent. Inspired by her close relationship with her grandparents, “Quite Simple” captures a heartfelt conversation with an older man whose life is rich with adventure. His advice to the younger generation is simple: don’t rush through life. “I’ve always had this feeling like I’m running out of time to experience life. And this song is a reminder that I’m not,” explains Reid. “I wrote this story to echo some of the most positive perspectives I’ve heard from the older generation and try to share that with my peer group. In old age, it seems there’s so much to look back on fondly and so many experiences that you don’t even know are ahead of you.”
Like many Gen Z, Reid has struggled with anxiety amidst the high-pressure modern world, where everything feels urgent. “I wanted to write a song that gives people my age some optimism. We’ve got time.” Through visceral storytelling, Reid’s lyrics deliver calming reminders that life is “really quite long” and to chart your own path. “When nobody’s gonna come for you,” you’re safe to explore, and “everything comes with time.” Mixed by Daniel Neiman (Pom Pom Squad, Meg Smith) and mastered by Grammy-award-winning engineer Jett Galindo (Weezer, The Carpenters, Colbie Caillat) at The Bakery LA, the track imparts an overall warm ambiance with its light acoustic guitar plucking, lush vocal layering, and sentimental instrumental outro. “Quite Simple” is co-produced by Olivia Reid alongside slenderbodies and Varju producer Benji Cormack. This collaboration coincided with Reid joining slenderbodies on tour in early October, with Tim Atlas—co-producer of the 1st single from her forthcoming EP, “Love Don’t Leave”—also featured. This marks the beginning of an exciting, ongoing creative partnership between these artists, promising more collaborative music to come.
A calming vocalist with a strong pen, songs by Olivia Reid rest well within the soul, with tempos mirroring the pace of a steady heartbeat and lyrics that articulate the most intimate parts of the human experience. From the age of six, Reid started writing songs and learned to play the guitar, leading her to a visceral production style in her work. Since releasing her EPs Earth Water (2021) and TO BE NAMED BY THE PEOPLE (2023), Olivia Reid has been touted by outlets such as Earmilk, Under the Radar, and Wonderland with support on playlists such as Apple Music’s Happy Pop, New Alternative and New Music Daily and Spotify’s Infinite Indie Folk, Folk Arc, and Femme Fatale. Her music can be heard on The Cleaning Lady on Fox, Love Island Australia, the AXL film, Another Girl, and the upcoming Universal Studios movie, Tripped Up. Olivia Reid has garnered nearly 50 million streams worldwide, and most recently, her single, “Above the Clouds,” earned a Gold Record certification in Australia.
Check out our other features with Olivia Reid HERE.
About Olivia Reid
A calming vocalist with a strong pen, songs by Olivia Reid rest well within the soul, with tempos mirroring the pace of a steady heartbeat and lyrics that articulate the most intimate parts of the human experience. Her production style blends indie acoustics with exploratory electronic pop soundscapes, landing listeners in a visceral sonic world. As a self-proclaimed “chronic collaborator,” Reid has connected with audiences around the world via collaborations such as “Time is Mine” with Kidswaste, “What You Came Here For” with Jae Luna, and “Above the Clouds” with SŸDE – a track with over 20 Million streams, a gold record certification in Australia, and a feature on Spotify’s “big on the internet” playlist.
Following her debut EP Earth Water in 2021, Olivia Reid captured audiences with 2023 project, To Be Named By The People. The recent EP featured fan-favorite singles like “Runner’s High” and “Nightmare Machine,” and received praise from outlets such as Wonderland, Earmilk, and Under the Radar, with playlist support such as Apple Music’s Happy Pop and New Music Daily, Spotify’s Infinite Indie Folk, Folk Arc, Femme Fatale, and Noteable Releases, and Ones-to-Watch’s Now Watching. Fall of 2024 will welcome an intimate new project from Olivia Reid.
Charm School has today released their new single titled ‘Happiness Is A Warm Sun’ from their upcoming album’ Debt Forever’ dropping in January.
Combining a bit of beat rock with a touch of early post-modern (that music that later morphed into what was called alternative), ‘Happiness Is A Warm Sun’ mixes up the revolution with coffee house bravado and punk show delivery for the slacker generation building a slow crescendo to a powerful anti-climatic conclusion. This is music for the cool kids; the ones that are cool, but have yet to realize it.
About ‘Happiness Is A Warm Sun’ & ‘Debt Forever’
Louisville, KY post-punk outfit Charm School will release its debut full-length album, ‘Debt Forever’, in January. This single is a bit different from the rest of the album (which falls somewhere between Shellac and Protomartyr) and sounds a bit like Lou Reed fronting Can.
“This song is kind of an outlier on the record. It’s the only song that was basically improvised in the studio, and the only one where the lyrics were written sort of “automatically.” They’re all ideas that have been swirling around in the collective unconscious for awhile now, pertaining to the intense state of the world: the rise of fascism, ongoing wars, financial pressure, overpopulation, media at a million miles per hour, the spectre of the algorithm, the total lack of empathy online, etc..” Charm School
‘Debt Forever’ Tracklist
‘Debt Forever’ cover.
Debt Forever
Je t’aime (A Quoi Bon)
Boycott Everything Everywhere
Crime Time
Cherry Red
Breaking The Waves
I Wanna Feel It
Without A Doubt
Youthquaker
Figure 8
Happiness is a Warm Sun
About Charm School
Charm School is the latest project from Andrew Sellers, a.k.a. Andrew Rinehart, and longtime collaborators Matt Filip, Drew English, & Brian Vega, along with drummer and multi-instrumentalist Jason Bemis Lawrence. The name change signals a move away from Sellers’ previous songwriting efforts (as evidenced by his recent duet with Bonnie Prince Billy) toward a much darker and more aggressive sound. Think 70s Post-Punk & No Wave mixed with 90s Post-Rock and you’ll be close.
Originally from Louisville, KY, Sellers has paid his dues in both the NYC and LA DIY music scenes, co-founding The Body Actualized Center in Bushwick and helping run the DIY venue Basic Flowers in Downtown LA.
Charm School’s 1st EP ‘Finite Jest’ was released in 2023, and their forthcoming LP (titled ‘Debt Forever’) is due out in January of 2025.
Finnish musician, philosopher, and author Lauri Järvilehto returns with his latest album, Songs About Sadness. A deeply personal collection of indie pop and electro-rock, the album draws from Järvilehto’s diverse life experiences, exploring universal themes of time, identity, and the search for meaning in a world that often feels quietly complex.
Songs About Sadness marks a significant moment in Järvilehto’s musical career, blending his extensive experience as a professional musician with his more recent work as a philosopher. The album features a blend of introspective melodies and experimental soundscapes, inspired by the storytelling prowess of David Bowie, Leonard Cohen, and the experimental spirit of Björk and St. Vincent. The result is a unique mix of seasoned depth and contemporary exploration, with a sound that is both familiar and fresh.
In a nod to his Finnish roots, Järvilehto’s music carries a quiet introspection, characterized by space and contemplation. While deeply personal, the themes resonate with anyone seeking meaning in their own lives. The album features two collaborations with his daughter Silja, giving the songs a multi-generational depth that highlights the shared experiences between father and daughter.
“Songs About Sadness, is about different forms of sadness and melancholy,” Järvilehto explains. “The last five years I’ve felt somewhat disconnected from life, which I’ve channeled into my musings on both my own journey and the state of the world. The good thing about being a musician is that when life hands you lemons, you can write songs about lemons.”
The album’s “A-side” explores themes of family and the challenges of balancing fatherhood, marriage, and life’s many responsibilities. Tracks like ‘Typhoon’ offer a personal pep talk, while ‘Maze’ reflects on the search for meaning and faith. The “B-side” dives into social issues and global reflections, with songs like ‘My Little Butterfly’, ‘Fair Insight’, and ‘Whippoorwill’. The focal point of the album is ‘Moomin Weather’, which encapsulates the overarching message of the album: life is not just about joy and pleasure; it is also about the quiet moments, the struggles, and the melancholy.
“Life doesn’t have to be all about pleasure and happiness,” says Järvilehto. “Sometimes it’s okay for things to be rainy and grey. Life is best when it is experienced in its entirety.”
The album marks a turning point in Järvilehto’s creative process. While he has spent much of his professional life as a researcher focused on AI and the human mind, his musical journey for, Songs About Sadness, took a different direction. For the first time, Järvilehto plays all the instruments on the album – drums, basses, guitars, pianos, keyboards, synthesizers, and drum machines – and he personally programmed every sound. This more organic approach, he says, allows him to express his deepest emotions in ways that go beyond the digital.
“The act of playing and sound design has been incredibly stimulating,” says Järvilehto. “It would have been silly to outsource this process to a machine.”
Two tracks, ‘The Days We Forget’ and ‘My Little Butterfly’, feature a special guest appearance by his daughter Silja as a vocalist. ‘Whippoorwill’, another standout track, features a riff originally played on acoustic guitar by his younger brother Paavo, who also designed the album cover, based on a photo taken by Heidi Strengell.
Mastered at Abbey Road Studios in London by Christian Wright, Songs About Sadness, is a journey through the highs and lows of life, offering listeners a space to reflect, grow, and find solace in the music.
“Songs About Sadness, is a dive into the deep end of life,” Järvilehto concludes. “I’m truly grateful to have taken this journey and to share these songs about my experiences.”
Songs About Sadness, is available now on all major streaming platforms.
About Lauri Järvilehto
Lauri Järvilehto is a Finnish musician, philosopher, and author with a background in both music and the philosophy of the mind. His musical career spans from 1997 to 2007, during which he worked on over 70 music productions, including albums, TV music, and a stint as a theatre conductor. Since 2007, he has been a researcher and author, focusing on the intersections of AI and human cognition. Järvilehto has released seven solo albums, including works under the pseudonyms Songsworth and Lau.
Blue Foundation has released their new video for their latest track titled ‘Close to the Knife’ from their upcoming album dropping soon. I first heard of Blue Foundation when they showed up on the soundtrack for the movie ‘Twilight’ and became a silent fan ever sense. Now they’re back on my radar with this submission that takes a dream-state like ride through love nearly lost and yet never realized caught in a daze of longing and self reflection that culminates into the dreary yet lucid world of reality that we all actually live in.
Feeling, at times, like a slightly sad but promising soundtrack to that memory we wish we could forget but made us all the better for it, ‘Close to the Knife’ hits close to the heart with the feels brought by beautiful music and lyrics written by poets.
About ‘Close to the Knife’
“Close to the Knife”, the first single to be unveiled from Blue Foundation’s upcoming new album is a dreamy duet written by Tobias Wilner and Bo Rande, performed by Helena Gao and Tobias Wilner. The song tells a bittersweet story of love, longing, and a connection that can never fully materialize. The person always disappears in dreams, leaving a sense of unattainability. The lyrics of the track unfold this unfulfilled love through poetic imagery. In the chorus, Helena repeatedly sings “There is no one but you. It was only us two,” with a haunting intensity that sets the tone for the entire track. Tobias’ verses emphasize a gentle yearning as he describes flowers blooming on the plains and her carefree dancing in the rain—but only in dreams.
“Close to the Knife” is a blend of shoegaze, dream pop, and psychedelic sounds which enhances the song’s themes of longing and nostalgia. With reverb-drenched guitars and floating soundscapes, the melancholy of the lyrics is mirrored in the music. Helena Gao and Tobias Wilner together convey a portrait of love that is beautiful yet never fully real.
The video for “Close to the Knife’ is an evocative visual journey which beautifully complements the track’s themes of love, longing, and unattainable connection. With stunning cinematography by Hannah Bertram and Erma Feng, the video showcases parallel stories of yearning. Tobias Wilner wanders through the nocturnal streets of New York City, while Helena Gao explores the vibrant yet isolating alleys of Shanghai. Bo Rande makes a compelling appearance, further enriching the haunting atmosphere of the piece.
About Blue Foundation
Founded in 2000 by Danish singer, multi-instrumentalist, and producer Tobias Wilner, the group was inspired by Mark E. Smith’s method of forming a band (The Fall), with Wilner recruiting a rotating lineup of traditional musicians over the years to fuel creativity. Since 2010, the core members of the band have been Tobias Wilner and Bo Rande, working between Crown Heights, Brooklyn, and Copenhagen, Denmark.
Blue Foundation is renowned for their distinctive fusion of electronic music and dream pop. Drawing inspiration from the ethereal nature of dream pop and a moody, introspective atmosphere, the band creates immersive soundscapes characterized by emotive vocals and intricate production. Their music often evokes a sense of melancholy and reflection, resonating with listeners who appreciate ambient, emotive melodies and introspective themes.
The band has released several well-received albums, including “Life of a Ghost”, “In My Mind I Am Free” and “Blood Moon”. These albums showcase their signature style and have cemented their reputation in the indie music scene. They have collaborated with a range of artists and producers, enriching their sound and expanding their reach within the music industry. Collaborators include Jonas Bjerre (Mew), Erika Spring (Au Revoir Simone), Findlay Brown, DJ Krush, Sara Savery, and Wang Wen.
Blue Foundation’s music has been featured in various popular films, such as Michael Mann’s “Miami Vice,” and TV shows like “The Vampire Diaries.” Their song “Eyes on Fire” gained significant fame after being included in the soundtrack of the movie “Twilight.” Blue Foundation is sampled by Lil Durk featuring French Montana on his track “Fly High” and Young Thug’s song “She Noticed.” They co-wrote the song “Taurus” for Machine Gun Kelly.
Marples are the young Sheffield based indie rock band consisting of Joseph Neville on lead vocals and rhythm guitar, Thomas Martin on lead guitar, Joseph Kneale on bass guitar and Luke Fieldsend on drums.
The band began performing live around three years ago. Realising they were onto something special, they then spent time perfecting their sound by gigging as much as possible and enjoying some prolific support slots as well as their own sold out headline shows at the likes of Network Sheffield.
In 2022, Marples took the decision to release their first official music into the world in the form of their ‘In The Attic’ EP which comprised the tracks ‘One For Their Own’, ‘Once More’, ‘ Misled’, and ‘Misfortune’. Both ‘Once More’ and ‘One For Their Own’ were picked up by Sheffield Wednesday FC and were played to the crowds during matches at the world famous Hillsborough Football Stadium.
Since the release of their successful follow up singles ‘I’ve Been Shown’ and ‘Friends’, Marples have been getting bigger support gigs, supporting the likes of The Covasettes and BILK, building up their recognition and their musicality. They further played and headlied festivals such as ‘Woodstocksbridge’ and the MOSFEST festival. Their biggest triumph in this last year however, has been at the Leadmill in Sheffield where in March 2024, they supported Matilda Shakes on the main stage going on to sell out their own headline show on the main stage at the venue in August.
The band are now back with their latest release of ‘First Kiss’.
From start to finish First Kiss, encapsulates the exhilaration and innocence of that special romantic moment. It’s an indie rock anthem filled with youthful spontaneity and an infectious energy. It’s a really upbeat melody with a highly infectious chorus hook.
The track immediately draws the listener in with its driving beats and precise guitar riffs giving a sense of excitement and passion. The vocals are tender and tinged with a certain amount of vulnerability, coupled with some totally sublime backing harmonies, that really seek to portray the nervous thrill and excitement felt.
The lyrics are poignant and storytelling depicting vivid imagery of the flirtatious dance that lead to that special first kiss.
Framing Hanley - Hear Me Now Redux (ft. Jeff Hardy)
Hailing from Nashville, TN, Framing Hanley released today their new single ‘Hear Me Now Redux’ through Thermal Entertainment. A reimagining of their 2007 hit “Hear Me Now”.
Of the new version, Kenneth Nixon said
“It’s funny because my growing up in Nashville, TN, my first love was wrestling. I went to all the small territory promotion’s events every weekend with my great grandfather as a child. I always wanted to be a wrestler. Obviously didn’t get the build for that ha. Jeff Hardy was always one of my favorites. My brother and I pretended we were The Hardy Boyz when we’d smash each other over the head with baking sheets and do leg drops off of our couch. Fast forward 10-15 years, and I met Jeff at one of our shows. Turns out, he was a big FH fan. In the years since, our friendship grew and I worked with him and his band and helped with songwriting and production on some of their stuff. When we discussed reimagining Hear Me Now I had the wild idea to reach out and ask if he’d like to feature on it as I knew he was a big fan of the song (it’s how he discovered our band). I couldn’t be happier with the way things turned out with his addition.”
Framing Hanley will be announcing an April 2025 tour shortly and will be appearing at Sonic Temple at the Historic Crew Stadium in Columbus, Ohio on Saturday, May 10th.
About Framing Hanley
Framing Hanley formed in 2007 and went on hiatus from 2015-2018 before reforming. They have released four albums: The Moment (2007), A Promise To Burn (2010), The Sum Of Who We Are (2014) and Envy (2020) which have sold over 200,000 albums, 1.5 million downloads and music has been streamed over 300 million times. Official music videos have surpassed 55 million views.
Four singles have charted at radio including Criminal (#20 – Rock); Lollipop (#25 – Rock / #20 – Alternative); You Stupid Girl (#36 – Rock); Collide (#39 – Rock). They have accumulated over 50,000 spins at radio.
Brought together by a mutual love for 90’s guitar driven bangers and Northern Soul grooves, The 355’s are your new favourite band, you perhaps just don’t know it yet!
Comprising of Adam Thompsett on Vocals and Guitars, Craig Lockwood on Vocals, Guitars & Keyboards, Robert ‘Bert’ Hammond on Bass & Vocals and Mike Fitchie on Drums, The band was first formed in 2023 when they independently released their debut EP; ‘Jig A Jig Out’ which shot straight to number 11 on the official U.K single charts.
Noel Gallagher reviewed 2 of the singles from the ‘Jig A Jig Out’ E.P on the Matt Morgan podcast, stating, ‘I bet they are f*cking awesome live’.
Having worked with producer Nick Brine (Oasis, The Stone Roses, Ash) on the first E.P, the lads returned to the studio with Nick in August 2024 for the second E.P from which the first single ‘Stuck In The Riverbed’ is being released.
‘Stuck In The Riverbed’ is a jangly and melodic anthem with tender verses and rousing chorus hooks. It’s a pure nostalgic slice of indie pop pie!
The track was written by Bert Hammond (lyrics) and Adam Thompsett (Music). It was Recorded at Leeders Vale studio in South Wales with legendary britpop producer Nick Brine (Oasis, Stone Roses, Ash.) and was Mastered by Pete Maher (Coldplay, Liam Gallagher, Rolling Stones).
My State are set to drop their new double AA single titled 'Like a Machine / Nostalgia' on December 20th.
Like a MachineMy State03:19
NostalgiaMy State03:23
My State are set to drop their new double AA single titled ‘Like a Machine’ and ‘Nostalgia’ on December 20th. For a dynamic duo so new, there is a lot going on here. ‘Like a Machine’ fooled me with the first few notes. I honestly thought it was going to be a ballad and then, holy shit, it cuts loose like that version of Guitar Hero that we never got. Calm like a bomb and melodic fantastic all in one. The song never lets up. It’s like when someone announces themself at a party by yelling ‘HEY FUCKERS!’. You know you’re in for a good time.
‘Nostalgia’ is best listened to after ‘Like a Machine’. You’ll be more prepared. But ‘Nostalgia’ is a true song in it’s own right. Like a real bookend, it fits like a yin and a yang. Peas to a pod. Balls to a sack, and so on. A brilliant brass shiny pair from a band you need to hear more of.
About My State
My State are a new punk/rock, pop/punk band, blending various music genres to create a new sound without losing the magic of the musical styles that have inspired them. Heth, lead singer and guitarist coming from Lancashire in the UK, a punk rocker at heart, is a song writer with raw and real lyrics that people can relate to throughout the album.
Pablo, lead guitarist and producer coming from Argentina and a huge punk background, is creating an interesting sound for the songs, bringing them to life in a unique way and making each song more interesting than the previous. The duo have been working on their first album since May 2024 and are releasing double AA side Like A Machine/Nostalgia on December, 20th with more to come month by month.
The band is now being assembled to prepare for festivals and gigs in 2025. You can listen to “Nostalgia” and “Like a Machine” across all platforms now. Follow and subscribe to hear the next tracks coming from My State, up and coming punk rock band.
Queen Kwong has today released her new video for the track ‘State Trooper’ co-starring The Cure’s Roger O’Donnell, from her latest EP ‘Strangers’, out now via Sonic Ritual.
Originally a Bruce Springsteen song, Queen Kwong keeps the original musical approach of the original and spices it up with an assortment of electronica and crass without taking away, or adding anything unnecessary to an already legendary track.
Remaking an iconic song is always a gamble. Sometimes you tend to piss people off with accusations of desecrating the original. This is more of a reinvention. A different take, outside of the box, looking in at that original with glazed eyes and finger pointing at where it’s now going. A new song. Just enough guitar to harken back to the original, now filled with barely enough sparse background symphony to give it that little something extra, ‘State Trooper’ dares to go where no one dares to go and takes you there without your shoes just so you can feel how rocky that original road less traveled is.
Check out our other features with Queen Kwong HERE.
About ‘State Trooper’ & ‘Strangers’
“My intention for the video was to flip the male-gaze to the female gaze,” says Carré Kwong Callaway (a.k.a. Queen Kwong) about her new video “State Trooper.” Retaining the moody intensity of the Bruce Springsteen original from his 1982 standalone solo album, Carré’s cover transforms The Boss’ tale of a car thief’s evasion from the police into a narrative about women’s rejection of patriarchal thinking. Taken from her new four-track EP ‘Stangers’ which contains unconventional and thoroughly enjoyable reimagining of classic songs from The Rolling Stones (“Sympathy for the Devil”), Chris Isaak (“Baby Did A Bad Bad Thing”) and The Velvet Underground (“I Found A Reason”), “State Trooper” follows her intention of flipping the script on gender.
The video costars friend and fellow musician Roger O’Donnell (The Cure) at whose studio Strangers and her upcoming album due in 2025 was recorded. “I made this video on a whim while recording at Roger’s studio in England last month,” she recalls. “My friend, Mimi Supernova (with whom I made the ‘Without You, Whatever’ video), co-directed this video with me. We used random things we had access to at Roger’s. We went through his attic and found old TVs and camcorders.”
The moody and imposing video takes on an even stronger resonance, pointing to an almost voyeuristic commentary on the media and its hyper focus on women and appearance, unintentionally but perhaps subconsciously alluding to David Cronenberg’s Videodrome which dealt with similar themes. Carré’s intention, however, focuses on something even more important to her involving her costar’s role. “Roger’s appearance in the video portrays the ‘kill your idols’ theme, which has recently been a common message in my art and writing,” she explains, referencing the trope of skepticism towards celebrity and fandom culture that she does a deep dive in her Substack. “This Strangers EP serves as both a personal reconciliation and a way to honor the complicated legacy of rock n roll, even as I continue to push for a future where women have equal footing in the genre.”
About Queen Kwong
Queen Kwong has been making music since 2005 when she was discovered by Trent Reznor who invited her to open Nine Inch Nails’ With Teeth tour (2005), and again in 2009 and 2018. She has released three albums (Get a Witness in 2015 and Love Me to Death in 2018) and two EPs (2013’s Bad Lieutenant and 2019’s Oh Well). Her latest full-length Couples Only (2022) received massive amounts of attention from Rolling Stone, FLOOD, Black Book, FLAUNT, PopMatters, MARVIN, A.V. Club, among many others, and was dignified in numerous ‘Best Of’ lists that year.
“I’m nearly finished with a new full-length Queen Kwong record that will be released next year,” she hints. Recorded at O’Donnell’s aforementioned studio and co-produced with Darian Zahedi (CRX), the new record plans to continue the trajectory and momentum she created with her previous releases. “As per usual, many great musician friends of mine contributed parts including Nick Valensi (The Strokes) and Pete Holmström (The Dandy Warhols), and Tchad Blake (The Kills, Fiona Apple, The Black Keys) is mixing it,” she says excitedly. “It’s going to be a banger.”
Bridge The Gap have today released their video for the track titled ‘In The Throes’ from their upcoming album ‘Gainsayer’, dropping this spring via Double Helix Records, Pee Records, and SBÄM Records. A suave combination of in your face and up your ass, Bridge The Gap does as their name implies and gives you solid melodic punk in it’s purist form and sharpest edge with a guitar based anthem that is as dark in lyrics as it is bright in sound and class.
About ‘In The Throes’ & ‘Gainsayer’
After arriving on the melodic punk scene seemingly out of nowhere in 2023, Salt Lake City, Utah’s Bridge The Gap is back, with the announcement of their upcoming sophomore full-length, Gainsayer, their highly anticipated follow-up to Secret Kombinations.
Recorded at the renowned Blasting Room in Fort Collins, CO, and produced by punk rock legend Bill Stevenson (Descendents, Black Flag), with mixing and mastering by Grammy Award winner Jason Livermore (Rise Against, Hot Water Music), Gainsayer is a thrilling new chapter in the band’s sonic evolution.
Building on the raw energy and experience from their first collaboration with Stevenson and Livermore, Bridge The Gap delivers 14 fresh tracks that showcase their growth as a band, combining killer riffs, powerful drumming, and an unshakeable foundation of catchy, melodic vocals. Set for release in Spring 2025 via Double Helix Records, SBAM Records, and Pee Records, Gainsayer signals that Bridge The Gap is here to stay.
The band says, “”In The Throes” deals with the topic of battling inner demons and searching deep to find the resolve to overcome them. Hopefully, the song is relatable and inspires some hope, not only that there are literally millions of people going through such struggles but also that there might be a way through without succumbing to the worst of it. We chose In The Throes to be our first single because it’s an accurate snapshot of what fans and listeners can expect to hear from Gainsayer as a 14-song album. This was our second time working with Bill and our friends at the Blasting Room, and they really turned it on for us with Gainsayer. We spent a lot of time with Bill getting the vocal ideas for “In The Throes” ironed out and tracked, and we’re stoked with how it all shook out.”
The band adds, “In the video, we’re not depicted with our figurative knives out, battling demons. Rather, the “In The Throes” video was meant to show our fans that we’ve been ‘in the throes’ of making this music together for decades now, working out our artistic impulses and creativity dating back to the late ‘90s. It’s a kind of then-and-now showcase of where we started as a band and where we are today. Our buddy Alaric from Gearly Beloved Productions helped us make this video, shooting the band performing the song live at a show we played with Chaser in Salt Lake City, juxtaposed with a host of old VHS clips we had digitized from the ‘90s and ‘00s. This was the third time we’ve worked with Alaric on a music video and it was a blast, as always.”
About Bridge The Gap
Bridge The Gap was so creatively inspired by their experience recording 2023’s Secret Kombinations with Stevenson and Livermore at The Blasting Room–which captured punk rock lightning in a bottle and resulted in a debut album that organically received universally positive reviews from the punk rock press and community with no official PR launch – they wanted to return to Ft. Collins, CO as soon as possible to record 14 fresh songs. The result of their second experience with Stevenson and Livermore is Gainsayer, which hits with power on a slightly deeper level than Secret Kombinations and never lets up.
With Gainsayer, Bridge The Gap is screaming that they’re here to stay, but it’s helpful to trace the band’s roots back to the beginning to fully appreciate their decades-long punk rock journey.
Bridge The Gap is a group of friends who’ve been making music together since the 1990s. After putting their instruments down for a time to start families and pursue careers outside of music, the guys rekindled their connections around 2020. Vocalist/guitarist Chad Jensen went on a demoing binge with songs he’d been stockpiling during the intervening years, and when the other band members–Bassist/vocalist Shon Foster and drummer/vocalist Ryan Thompson –heard them, everyone was inspired to start something anew. Only this time, they opted for afresh start with a new band name, even though, musically, the tunes were in the same sonic ballpark as their stuff from the ‘90s and ‘00s. Thus, Bridge The Gap was born.
Bridge The Gap hatched a plan to record a 14-song collection of these demos at The Blasting Room. They then reached out to Stevenson to see if he’d be on board to produce. He was, so from there the band found itself in Ft. Collins, Colorado recording music with the legendary Stevenson at his also legendary studio The Blasting Room. Bridge The Gap definitely had to “shake off some rust and step it up at The Blasting Room” to quote Jensen, which was a much-needed crash course on what the standard is for making a Stevenson-produced record. What emerged was their debut full-length album,Secret Kombinations.
Secret Kombinations is sonically rich and Bridge The Gap is proud of their debut album. While the album doesn’t exactly capture the band rushing things, it’s quite raw in its presentation of the songs because the guys really had to dive in head-first with deadlines and get acclimated to the rigors of working with a Hall-of-Fame producer like Stevenson and his crew of top-shelf engineers.
“There isn’t enough space here to share all of the knowledge and insights Bridge The Gap learned from Bill,” said Jensen. “He’s not only a legendary drummer and producer, but he’s one of the kindest, most conscientious humans walking the planet, and he might be the most patient dude living, too. Bill has also assembled a ridiculously talented and outgoing crew at the Blasting Room. That studio has some serious muscle. And being able to work with a Grammy winner like Jason Livermore to mix and master the albums has been a tremendous honor. Jason is also in the Hall of Fame, and he’s either engineered and/or mixed and mastered most of Bridge The Gap’s favorite albums dating back to the ‘90s.”
With the experience of making Secret Kombinations fresh in mind, when Bridge The Gap returned to The Blasting Room to work with Stevenson and Livermore about 20 months later to record Gainsayer, it was a whole different ballgame. As a band, the guys were now much more weathered and cohesive, and they had spent a lot of time in pre-production selecting the songs that would be on the record and spending time crafting the arrangements and vocal melodies.
“On Gainsayer, Bridge The Gap specifically chose a 14-song collection that best featured some compelling melodic roots vocally,” explained Jensen. “The priority was solid, catchy melodies, and then the band built on it from there. Make no mistake, Gainsayer features plenty of killer riffs, melodic, ripping solos, powerful, nuanced drumming, and bass lines galore. But the foundation of this record is the strength of the vocal melodies and the songs themselves. As a band, Bridge The Gap came out of its second trip to the Blasting Room flying high and chomping at the bit to share Gainsayer with the world.”
Now, having locked in the support of Double Helix Records (USA), SBAM Records (EU), and Pee Records (Australia/New Zealand/Japan) and a Spring 2025 release date for Gainsayer, Bridge The Gap is ready to do just that.
Camille Schmidt has today released her new video for the track titled ‘Stanley’ from her upcoming debut album ‘Nude #9’. Frenetically shot and visually diverse, the video perfectly translates the audio to video with that all too familiar feeling of feeling lonely in a crowded room, or worse, in a room alone with your love. Love is blind and blindness is paralyzing in oh so many ways. But what we learn from this track is that we’re not alone in the feeling of loneliness.
The music careens along like a soundtrack to that emotional destitution with subtle bravado and melancholy grace as you drown in that fear of fanciful abandon and emerge a little smarter with a scarred heart and, hopefully, a plan moving forward.
“I started thinking about my plane ride the night before. This woman in front of me had been texting a friend about her boyfriend, Stanley (who I later discovered was a few rows behind us). I was thinking about the loneliness you feel when you’re alone, but also the deeper loneliness when you’re with someone, and that person doesn’t fill the hole inside you the way you’d hoped. It was a time when I was searching for comfort in anything – overheard conversations, interactions with strangers, little jokes I would make to myself.” Camille Schmidt
About Camille Schmidt
As a child, Camille Schmidt would sit at the kitchen table with the models who posed nude in her parents’ art studio. She occasionally wondered why, at the end of these life drawing sessions, paintings of the female body in its most vulnerable form would be given an impersonal title like “Girl with Dogs #3” or “Woman Sleeping #7.” On her debut album Nude #9, Schmidt renders revealing and personal portraits—of herself, her family, and former and future lovers. Seamlessly blending the sounds of synth-pop, folk, and punk, Schmidt’s debut album is a rapturous portrait of a songwriter realizing her full potential.
The Brooklyn-based singer and songwriter cracked open the folk-rock songbook on her debut EP Good Person, released this past June. While breakout single “Your Game” was a queer kiss-off set to the rollicking sound of alt-country legends like Lucinda Williams an Alison Krauss, there was a soft power in her wistful approach to heartbreak on “Bumblebee Drinks Lavender.” These six songs, which showcased Schmidt’s hallmark ability to balance an innately wry sense of humor with moments of quietly devastating self-reflection, hinted at something greater than the sum of their folk-rock parts.
On Nude #9, despite growing her ensemble, Schmidt sounds more present than ever before, the unflinching honesty in her lyrics front and center. Broadening her palette to include starry-eyed ambient soundscapes and thrumming post-punk rhythms while digging deeper into romance, sexuality, friendship, and her own sense of self, Nude #9 is sincere and whimsical, hilarious and deeply felt.
One listen to “XOXO” reveals an exhilarating new side of Schmidt’s vocals: The song opens with a drum machine and a featherlight synth, before introducing her voice, distorted with vocal processing but somehow stronger for its digital warps. These layers of electronic manipulation are like armor, a protection as she reveals the crevices of her inner thoughts, whether about raising a child with her best friend or the “demon in my room” she faces when she’s all alone. “RIP the girl I was playing,” she sings as the instrumentation behind her starts to twist and double on itself, half-woman, half-machine, as she annihilates the ghosts of her former self.
The songs that would become Nude #9 began to take shape last December. Working with LA-based producer Ben Zaidi, Schmidt would write at least a song a week; by the end of a few months, she had quickly amassed over 45 new songs. But realizing these songs in the studio was a new process for Schmidt, who recorded Good Person with a live band, “no headphones, and basically no overdubs,” she recalled. For Nude #9, she brought in a group of equally talented musicians—bass from frequent collaborator Eli Heath, sound sculpting from Michael Haldeman (Mk.gee), additional guitar from Sam Acchione (Alex G) and Jacob Drab (Allegra Krieger), and additional percussion from Kane Ritchotte and W. Alexander.
On album standout “Cult in Denver,” Schmidt traverses the expansive range of her voice, a staccato and slight flutter in one moment and a textured low hum in the next. “How could anyone be like you are to me?” she sings over the meditative beat of a kick drum, the verve of an electric guitar peeking out between her verses, a hint at what’s to come.
The album’s next track, “Stanley,” wields her guitar like a blowtorch, setting her words ablaze with riffs that shoot out like fireworks amidst her voice. Perhaps the sharpest example of Schmidt’s writing, “Stanley” evokes an absurd and poignant image of a woman “going nowhere,” finding strange comfort in the oddballs who seem just as lost as her. Steeped in dream logic—“I walked the plank I mean I went to the bank/ I had a hot matcha and a heart attack”—the song reflects Schmidt’s keen balance of the insane and the quotidian, honed over years of writing fiction and a prior career in comedy television.
“A lot of these songs were written completely stream of consciousness,” she said of the album. “Writing without self-editing was freeing, allowing thoughts to unspool before she had a chance to doubt her intuition. The result is an album that feels at once familiar and completely new at every turn.”
From the witch doctor with questionable cures on the riotously fun “Fish Pills,” to the proper names of exes and friends that mark songs along the album like dates atop diary entries, the thrilling and occasionally heartbreaking lyrics on Nude #9 are culled from Schmidt reflecting on her experiences. “I spent so much of my life not being honest with myself or other people,” Camille said of her writing process for the album. “I thought, what if I stop trying to get good with myself? With anyone else? What if I just reflect the truth of what I’ve seen? What if I just say what happened?”
Nude #9 is as indelibly strong as it is revealing. In creating such a candid self-portrait, Schmidt invites us to look directly at our own shame, her gaze warm but unflinching, honest but playful, cutting but just as forgiving.
Hence, a musical collective that transcends the traditional boundaries of a band. Born in the heart of Berlin, Hence is not just about music; it’s a community, a movement, a weaponised declaration of love to the power of coincidence and chance encounters. At the genesis of Hence was a serendipitous meeting between Knuth and Daryl Bamonte. In an unexpected twist of fate, a casual conversation turned into a life-changing proposition: “Create a track, and I’ll release it.” Bamonte said that while lunch was being served in a Hotel Garden. This moment of happenstance didn’t just birth a song; it birthed Hence.
Central to the band’s philosophy is the concept of artistic freedom. Hence, it is not just a band; it’s a canvas for coincidence. It’s an embrace of fate and modular thinking. They send a current into a machine, turn some knobs and suddenly, sounds emerge. The same goes for the collaborative energy in Hence. New artists join not as mere contributors but as fully-fledged artistic influents, each given the liberty to mould and shape the music. This approach ensures that every Hence creation is imbued with diversity, echoing the myriad voices contributing to its making.
Will Sass has today released his new track titled 'Fairweather Friends' featuring Nina Nesbitt.
Will Sass has today released his new track titled ‘Fairweather Friends’ featuring Nina Nesbitt. Pristinely produced and an immersive blend of pop and originality, Will makes a slightly bittersweet message to what life teaches us about friendship and loss mixed with life and love.
I’ll admit; the song is a bit short for me. Just as I was starting to get into it and the track was taking me along for that ride that only good songs can do, it was over. Then I realized that this is exactly how those relationships ended. Maybe it’s cathartic? The meaning of the music put to a hyperbolic end?
‘Fairweather Friends’ is something you learn from as you listen to. The lyrics are eloquent and the music is mesmerizing. And, however short the track may be, you walk away a bit better and less bitter as a result.
About ‘Fairweather Friends’
New York-based artist and producer Will Sass is back with another standout single, “Fairweather Friends” featuring the award-winning Scottish singer-songwriter Nina Nesbitt. Following his initial releases, “Into The Blue (feat. kamille)” and “Alicia (feat. Alvin Risk), Will continues to bolster his reputation as a boundary-pushing talent who crafts infectious, genre-blurring hits that stick with you long after the first listen.
His new single, “Fairweather Friends,” is a testament to Will’s exceptional talent as a producer and songwriter. The track showcases his ability to craft compelling music, cementing his status as a sought-after collaborator among today’s most talented artists.
Co-written with Nina Nesbitt, “Fairweather Friends” is a bold, anthemic call-out to fleeting, shallow connections. From its opening line—“You loved me on the good days, and ran away when things got heavy”—the track dives headfirst into the painful reality of unreliable relationships. The empowering and instantly catchy chorus, “Saying fairweather to my fairweather friends, this is goodbye, I won’t see you again,” transforms the personal into the universal, delivering a cathartic message for anyone who’s ever had to let go of people who only stick around when it’s convenient. “Everyone has had this experience at some point in their lives where they decide it’s time to cut ties with fake friends,” Will says about the song’s relatable message.
Reflecting on her collaboration with Will, Nina shares, “I’ve spent a lot of time writing with upcoming artists the past couple of years and I have loved working with Will. When he asked me to feature on Fairweather Friends I was really excited to be involved in one of his first releases. I had the pleasure of writing Will’s last song, ‘Into The Blue,’ with him and Kamille, so it’s nice to be singing on this one! He had such a clear story of what ‘Fairweather Friends’ meant to him, so it’s great to be able to bring it to life together.”
About Will Sass
Inspired by musical savants like Kevin Parker of Tame Impala, Kaytranada, and Mark Ronson, Will Sass blends genres effortlessly, creating a signature sound that’s both eclectic and cohesive. His mastery in engineering, production, and live performance infuses each track with a mix of technical precision and raw creativity. Through his songs, Will weaves powerful, thought-provoking lyrics into irresistibly catchy hooks, ensuring his music resonates long after the final note fades.
Over the past year, Will has been working in the studio with artists like Baltra, Otik, and Catching Cairo, further expanding his creative reach. His diverse talents as a performer, producer, and songwriter set him apart as a rising force in the music world. Known for his electrifying live shows, Will has captivated audiences at impressive New York venues like Brooklyn Mirage, Spring Place, Elsewhere, and Surf Lodge. His magnetic stage presence and genre-blurring sound have earned him spots performing alongside innovative talents like Barry Can’t Swim, shallou, and Amtrac.
With hundreds of unreleased tracks in his arsenal, alongside his forthcoming debut EP and upcoming shows across the US and Europe, Will is ready to take the global stage by storm. Keep your eyes on this rising star—he’s only just getting started.
Multidisciplinary and self-taught artist, Jessie James is passionate about music. Having studied visual arts, she has always had one foot in the artistic world.
Originally from Montreal, she draws from a wide range of musical influences. Open to almost every genre, she retains a special attachment to the punk rock sounds of her adolescence.
Bands such as No Use for a Name, Face to Face, MXPX, and especially Tony Sly, have shaped her style and musical sensitivity.
A mother of four, she learned the ukulele, feeling the need to express her emotions. In a more challenging time in her life, her connection to music solidified, with the ukulele becoming her closest ally. Her first composition, filled with sincerity and emotion, speaks of lived experiences, love, resilience, and hope.
Jessie James invites us on an intimate journey where each note is an echo of her journey, her struggles and her victories.
“Rise and Shine” is an anthem of resilience and self-empowerment. It captures the journey of overcoming inner battles and finding the strength to rise above. With lyrics that speak of letting go of anxiety, embracing peace, and standing strong in the face of adversity, this song inspires listeners to redefine their own paths and fight for what feels right. It’s a powerful reminder that, no matter the struggle, the light is always within reach—one step at a time.
Magenta Moon has today released their new cover of David Bowie's 'Moonage Daydream'.
Magenta Moon has today released their new cover of David Bowie’s ‘Moonage Daydream’. Done with respect and released with love and admiration, Magenta Moon tip their hats to the eternal legend and groundbreaker with what that groundbreaker would love the most: an original take with creativity and love of the craft. Just enough of the original to call it a blueprint, the re-envisioning takes the song into original territory and lets it graze and explore the new ground it was placed upon while giving it new life for a new audience. This would please Bowie more than anything, because it takes his music to the next step with the next audience.
Check out our other features with Magenta Moon HERE.
About ‘Moonage Daydream’
Magenta Moon’s cover of “Moonage Daydream” fuses David Bowie’s rich and iconic sound with their distinctive voices. As listeners are drawn into their musical soundscape, they’re subjected to layered vocals, guitar riffs, and cosmic instrumentals. “The guitar solo marks the zenith of the song, starting at double speed, and when cut-time hits, soaring notes slice through the ether, illuminating the way on this sonic journey,” says the pair. “The track culminates in a swirling outro with cosmic vocals and a deeply emotional violin solo.” Recorded and Mixed at Dead Stare Audio by Andrew Solis and mastered by Nick Townsend, Magenta Moon’s reinvention of “Moonage Daydream” is more than just a cover, it is a testament to the band’s raw ability to pay tribute to a classic track by reshaping it with a modern twist. Listeners’ ears are swarmed by drums from Pat Mannella, guitar by Joey Petrarca, bass, and vocals from Elaina Whitesell, and keys by Broadway B. This immersive track lets listeners experience and embrace their twists and navigate their lives with Bowie-like bravery.
Magenta Moon seamlessly fuses indie rock, pop, and electronic elements, with a rich musical history that spans the United States. Whitesell, originally from Illinois, and Petrarca, hailing from Pennsylvania, met and connected in Boston, where they fell in love and began making music together. In September 2022, the group relocated to Los Angeles to further their creative pursuits. Their previous albums, Rapid When It Happens (2020) and I Brushed My Teeth; Let’s Make Love (2021), received critical acclaim from outlets like Dope Cause We Said, The 110 Pod, and R+ for their innovative sound and compelling storytelling. Their latest singles, “Perceive Yourself,” “Move Me,” and “More” have also been praised by Darkus Magazine, Music Connection, and Indie Midlands. They were also named one of Music Connection’s 2024 Hot 100.
About Magenta Moon
Magenta Moon is a surf music spaceship co-piloted by couple Elaina Whitesell (lead vocals, bass) and Joey Petrarca (guitar, vocals). Their dynamic and groovy sound transports passengers to a realm of magical delights full of romantic ballads as well as rock anthems. MM’s carefully written songs boast poetic lyrics and accessible sonic complexity. Live, Magenta Moon offers common ground to audiences of all ages, races, and creeds. Rely on The Moon to get your body moving! Magenta Moon is currently parked in Los Angeles, California, USA, Earth.
Outer Space Outtakes, the sensational new album by the alternative metal post grunge band, The OddEven, is a groove-centered guitar party that brings us deep into the fold of the unknown, getting twisted and high, raucous and rebellious, as if the sky was suddenly filled with dark spirits from other worlds dancing in the afterimage of our own flashing shadows. Lyrically, The OddEven delves into fantastic alien encounters as much as the paradoxical truths about complex relationships.
Altogether, the album covers a broad spectrum of imagination and emotion, all thematically tied to the idea that we must set ourselves free of the chains of toxicity. The album was produced by Weed and E.T., alongside Frank Marchand (Fiona Apple, Nils Lofgren) at Waterford Digital and mastered by Alan Douches (Mastodon, Monster Magnet, Fleetwood Mac) at West West Side Music.
Check out our other features with The OddEven HERE.
About The OddEven
The OddEven are an alternative metal post grunge band known for riff-oriented hard rock with a massive groove and hypnotic kick that will spin you around on your barstool and get you to your feet in a jam-packed arena. Similar to the way that Nikola Tesla and Leonardo Da Vinci said their inspiration came from somewhere beyond earth, Weed (bass) and E.T. (guitar) write the songs as if harnessing the power of divine intervention. Grant Walker handles the vocals with brilliant expertise, and Jim Chaney works his magic on drums.
As for the origin story, we have the legal obligation here at Eclipse to inform our listening audience that the two founding members of The OddEven are, in fact, infamous secrets that the government has been hiding for years in reference to Hangar #3 on the grounds of Area 51. Originally, Weed and E.T. were found inside pressurized sleeping chambers in a strange pod-shaped craft that had crash landed near an opal mine in the south Nevada desert. The two aliens were composed of a crystallite substance with silver colored blood pulsing through semi-transparent veins. The two were then quickly transported to “Hangar #3” and caged in glass observation booths, yet the next morning, January 1st, 2019, officers discovered that the new prisoners had vanished.
Rumor has it that overnight the two outworlders broke containment and discovered the robotics lab, where they pilfered capsules containing nanobot technology that they used to redevelop themselves in human form. Slowly, they worked their way into new lives, with rock music as their savior, and it was only when Weed took a DNA test that he realized he had no DNA, that he had to wake up, and that he had to find E.T. to figure a way to deal with this broken and wonderful sea of humanity, through music that he called The OddEven. It was not long before they were opening for Faster Pussycat, Bang Tango, Soulfly, Last in Line (Dio), and Nonpoint, plus headlining shows in FL, MS, New York City, and Philly with seasoned musicians.
The band’s first record, Space Juice, arrived on Earth on 4.20.20. It spawned two singles “Again” and “Bleed for Something” which each cracked Billboard’s Mainstream Rock top 30 and Foundations top 15 charts. In early 2021, the band recorded “Dance of the Dead” and released it on 9.24.21 (Pavement Entertainment). Touring commenced in July 2021 in Florida with a couple of headlining shows plus opening for Slaughter and LA Guns. In September and October, The OddEven completed a thirty-city cross-country tour with Adema and Flaw. “Dance of the Dead” (title track) reached #8 on the Foundations and #20 on the Billboard radio charts in Nov. 2021. The OddEven signed with Eclipse Records, January 2024 in conjunction with completing their album titled, Darkness. Since its release The OddEven have been touring, writing new material, and solidifying their new lineup, featuring Grant Walker and Jim Chaney, as mentioned above.
Abramorama, Larry Mullen Jr., Gayle, Donna Lewis, Left Behind, Green Hummingbird Entertainment, U2
Larry Mullen Jr. has today released his new set of collaboration singles with Gayle, David Baron, and Donna Lewis titled ‘Between The Lines’ and One Of Us’ for the upcoming documentary film ‘Left Behind’ releasing January 17th. While Larry Mullen Jr has long ago established himself with his band, U2, this is something different. As different can be, considering how different U2 has always been.
‘Between the Lines’ has a beyond intense and positively positive duet with Gayle with a definite ‘Ballroom Blitz’ feel with a 2020’s attitude and flair for the cool kids and enough snark and rhythm for those of us that feel cool while looking real.
‘One Of Us’ is almost on the opposite end of the emotional spectrum than ‘Between The Lines’ in that there is almost a guttural shift in the music and emotion behind it all. ‘One Of Us’ is a more inclusive and dark track that lets you in and soothes that savageness in us that we dare never speak but is always there. An almost tribal experience.
Check out more information about the film ‘Left Behind’ below.
About ‘Left Behind’
‘Left Behind’ poster.
This gripping new feature documentary tells the story of five tenacious mothers determined to establish the first public school in New York City for children with dyslexia. Addressing a learning disability that impacts an estimated 200,000 students in NYC, and roughly 20% of the public at large, the mothers’ struggle to upend the nation’s largest public school system and garner support to open the South Bronx Literacy Academy in September 2023.
The world premiere festival screening of Left Behind was held at the 25th annual Woodstock Film Festival this October, followed by a Q&A hosted by one of the film’s executive producers Juju Chang (Emmy Award-winning co-anchor of ABC News Nightline). Producer Larry Mullen,Jr. was also in attendance for the Q&A. Mullen Jr. collaborated with GAYLE to create an original song for the film, “Between The Lines”.
Director Anna Toomey stated, “Our goal for this film has always been reaching the most number of viewers; partnering with the Abramorama team to bring this film to theaters will allow us to shed light on this important issue. It is a travesty that so many struggling readers are left behind and able unable to reach their full potential. This film is deeply personal to me and all of the filmmakers involved and we hope that by bringing awareness to this issue we can change the lives of millions of kids across the country and the world. ”
Producers added, “We were honored to take this journey with Anna Toomey on her first film. Anna’s incredible passion for this story, combined with the drive of the moms and the authentic power of Larry and GAYLE’s song makes this a remarkable film. Abramorama is the perfect theatrical distributor for this film.”
Left Behind was produced by Green Hummingbird Entertainment’s David Beal and Sian Edwards-Beal and Velvet Strand’s Chris Farrell and Larry Mullen Jr. Executive Producers Juju Chang (ABC Nightline co-anchor), actor Jean Reno and his wife, producer/philanthropist Zofia Moreno, Lisa Domenico Brooke, Sarah E. Johnson, Ellen Lovejoy, Dan and Stephanie Fougere. Screenwriting by Karen K. H. Sim, director of photography James Fideler, composers Olivier Manchon and Clare Manchon, editor Brittany Kaplan and two original songs by Larry Mullen Jr. and David Baron, “Between the Lines” written with GAYLE and Reed Berin and “One of Us” featuring Donna Lewis.
Abramorama CEO Karol Martesko-Fenster shared, “We are thrilled to work with Anna Toomey, the dedicated producing team, and the extended support groups behind Left Behind, who have collaborated to bring this important subject into the foreground. We’ve seen the film’s conversation-starting power at festivals and special screenings and are looking forward to sharing the film widely and have it inspire many more conversations leading to needed changes.”
Along with the establishment of The South Bronx Literacy Academy, New York City has now committed to opening additional schools focused on struggling readers through the Literacy Academy Collective. It has also begun to provide individual dyslexia testing for students. In recent years, successful people across a range of professions have come forward to share their personal struggles with dyslexia and inspire others. Among them are Anderson Cooper, Salma Hayek, Steven Spielberg, Gwen Stefani, Tim Tebow, Tom Cruise, Octavia Spencer and more. Many dyslexics cite ‘thinking differently’ as a personal superpower for creativity and thinking outside the box.
‘Left Behind’ (USA) 74 minutes, English – Abramorama Presents a Green Hummingbird Entertainment and Velvet Strand Production of an Anna Toomey Film ‘Left Behind’. Animation by IKARTOONS. Writer Karen K H Sim. Director of Photography James Fideler. Editor Brittany Kaplan. Executive Producers Juju Chang, Lisa Domenico Brooke, Dan Fougere, Stephanie Fougere, Sarah E. Johnson, Ellen Lovejoy, Zofia Moreno & Jean Reno. Producers Anna Toomey, Mari Keiko-Gonzalez, ACE. Produced by David Beal, Sian Edwards-Beal, Chris Farrell, Larry Mullen Jr. Original Score by Olivier Manchon, Clare Manchon. Original Song by Larry Mullen Jr. & GAYLE. Directed by Anna Toomey. An Abramorama North American Theatrical Release.
Did you know that 1 out of 5 people have dyslexia? How about that 47-50% of incarcerated people have dyslexia? Left Behind gives eye-opening insight into the ways that the public school system ignores the needs of students with learning disabilities and, in doing so, contributes to the school-to-prison pipeline. No matter how much a person may stand by the power and importance of public schools, there’s just no disputing that the current public education system is not built to help students with learning disabilities to succeed or thrive, and just about every single dyslexia-centered school in the country is privately-owned. Anna Toomey’s gripping documentary chronicles a group of advocates in their struggle to start New York City’s first public school for dyslexia.
About the Filmmaker
Anna Toomey is an independent filmmaker who started her career as an Emmy Award-winning producer for ABC News, Good Morning America, ABC News long-form unit, and Peter Jennings Reporting. She worked on projects including The Gun Fight, an inside look at the NRA, The Century, Beatles Anthology, and the six-part series In the Jury Room. Anna developed and directed her first feature length independent documentary Left Behind after her son was diagnosed with dyslexia and she discovered the inadequate resources for millions of children across the country.
About Green Hummingbird Entertainment
Green Hummingbird Entertainment is a boutique studio based in New York and London with co- heads David Beal (former President of National Geographic Entertainment and Palm Pictures) and Emmy Award winning producer Sian Edwards-Beal. With a global development slate, Green Hummingbird is focused on inspirational, thought-provoking entertainment and telling heroic stories that harness the power of music.
About Velvet Strand
Velvet Strand is the production company of Irish musician and actor Larry Mullen Jr. and American producer Chris Farrell. Velvet Strand looks to collaborate with filmmakers to bring surprising or unknown stories to the screen, particularly those which celebrate artists and musicians or those seeking to make a positive impact.
About Abramorama
Abramorama is a leading innovator in worldwide event cinema, theatrical distribution, marketing and rights management for nonfiction, narrative and music films. For more than 20 years Abramorama has provided strategic services to Intellectual Property owners including filmmakers, networks, record labels, platforms and artists including The Beatles, Dolly Parton, Led Zeppelin, Metallica, Pearl Jam, Neil Young, Melanie Martinez, Laurie Anderson, Jimi Hendrix, Green Day, National Geographic, AARP, Apple, Amazon, HBO, Hulu, Universal Music Group, Atlantic Records, Warner Music Group, and Sony, among others. Abramorama is expert at maximizing reach, engagement and Impact ROI for films created for target audiences. Abramorama creates a unique distribution and audience development plan for each title, engaging a global network of cinemas, digital media outlets, and marketing partners.
Bess Chew has today released her new single titled ‘Falling Back to You’. Feeling that total pop production with the indie flair retained, Bess moves forward with a light heart and heavy hitting track that sheds all the light and leaves nothing for the imagination, except the imagination, and a little life lesson learned.
Musically tight and precise with enough soundscape to give it that extra touch with the initial listen, this is more than a pop song; it’s a lesson in melody. The hook is a monster and the production takes you back a few decades while looking forward to the rest of this decade, showing music can be timeless and relevant at the same time. This is a feelgood song for the now.
Written from a place of reflection and hindsight, “Falling back to you” playfully examines Bess Chew’s naivety during this crush period, adding a relatable and lighthearted touch to the highs and lows of infatuation. “‘Falling Back to You’ captures his art of stringing girls on, which caused me to experience fluctuating and mixed emotions, as certain gestures of his would either cause me to raise my hopes that he liked me or to feel rejected,” Chew reveals. The new single showcases Chew’s unique ability to turn deeply personal moments into universally relatable pop anthems, blending raw honesty with upbeat rhythms that keep listeners coming back for more. The track is an ode to naive and young love, the type to consume someone for so long, with a reminder to look back on it and laugh. Chew’s light-hearted melodies and rich vocals are fused with drums performed by Daniel Chew and electric guitar by Shena Tan. Adrian Wong mixed and mastered the track.
Bess Chew’s journey into music began in Singapore, where she discovered a passion for the performing arts through musicals, drama, and choir. At 16, she moved to Perth, Australia, where she found a more freeing academic environment and later earned a degree in psychology from the University of Western Australia. However, her passion for music won out, leading her to pursue it full-time. Since releasing her debut single “Getaway” in June 2024, which landed on major Spotify playlists like Poses and New Music Friday Singapore, Chew continues to hone her craft. Her previous single, “Scarborough Sand,” received praise from outlets such as FEMMUSIC, Jammerzine, and Outloud! Culture.
About Bess Chew
Bess Chew was born and raised in Singapore, where she navigated a rigid educational system. From a young age, she was immersed in the performing arts, participating in musicals, drama plays, choir performances, and short educational films. In secondary school, she trained with a former Korean musical actress to develop her vocal skills. When she was 16, she moved to Perth, Australia, where she found a more liberating and refreshing academic environment. Despite her dream for music, she initially followed the traditional academic path, earning a degree in Psychology with a minor in Korean from the University of Western Australia (UWA).
After being offered a place in postgraduate law school, she chose instead to pursue her heart’s passion—music—and hasn’t looked back since. She continued her music studies by completing a one-year diploma in songwriting and production at the School of Music and the Arts (SOMA) in Singapore, where she first began writing and producing her own songs. One of those songs was “Getaway,” which became her debut single. Now based in London, BESSCHEW has recently completed a one-year songwriting course at the Institute of Contemporary Music Performance (ICMP) and released “Getaway,” in June 2024. The track quickly gained attention, being featured in prominent Spotify Editorial Playlists, including Poses, New Music Friday Singapore, and New Music Friday Malaysia.
The music made by The Legendary Pink Dots has incorporated elements of neo-psychedelia, ambient music, electronic music, tape music, psychedelic folk, synthpop, post-punk, progressive jazz, noise music, pop music, goth rock and alternative rock….occasionally all at the same time.
Often likened to an industrial version of Syd Barrett-era Pink Floyd, it was actually early David Bowie, The Residents, Can, Faust and musique concrete composers such as Pierre Henry who were far bigger influences on the Dots when they started out. Indeed, the lengthy fever dream-like sonic expeditions that litter the band’s catalogue have often received the greatest praise.
The group currently comprises Edward Ka-Spel (vocals, keyboards, songwriter), Erik Drost (guitars), Randall Frazier (keyboards, electronics) and Joep Hendrikx (live electronics). Operating outside the mainstream, their discography consists of 40+ studio albums and they have amassed a devoted following worldwide, touring frequently to promote their releases.
Ka-Spel is also a co-founding member of electronic duo The Tear Garden (with cEvin Key of Skinny Puppy) and released an acclaimed collaborative album with Amanda Palmer in 2017. Palmer has often cited The Legendary Pink Dots as being her favorite band.
Moby has released his new mega sized album of remixes titled 'always centered at night - remixes'.
Moby has released his new mega sized album of remixes titled ‘always centered at night – remixes’. ‘always centered at night – remixes’ are all-new remixes with two disc, 58-track album, always centered at night remixes out now via Mute alongside “wild flame (dark1 remix)” featuring Danaé. The whopping LP comes following Quiet Home DJ Mix and a sold out September 2024 EU/UK tour celebrating 25 years of Play.
Moby opens up the sheer scope of the acan album project with a meaty 58-track remix album. The latest single, out today, is the cosmic “dark1” remix of “wild flame” which finds Danaé delightful vocals shimmering over loose congas, spacey synths and intricate rhythms. The new, re-worked tracks see Moby breathe new life into the 2023 original body of work. Thrilled to share the jam-packed project, Moby says, “I felt that the collaborations on ‘always centered at night’ were each so special that I wanted to create remixes to give the vocals as many sonic backgrounds as possible.”
Even by Moby’s standards, always centered at night is a bit special. The album features 13 collaborations in all, from names one might recognize to others listeners undoubtedly will come to recognize. Lead single “dark days” was recorded with acclaimed soul-jazz singer-songwriter Lady Blackbird, a defiant, rhythmic work propelled by her alluring, deep vocals and earnest soul. Other collaborators include serpentwithfeet on the achingly beautiful “on air,” and Benjamin Zephaniah on the propulsive, break- beat driven “where is your pride?,” a spoken word with a powerful message delivered in the late dub poet’s characteristically warm Handsworth burr. “As a vegan activist, and as a wise and compassionate man, Benjamin inspired me for many years,” says Moby. “I hope that ‘where is your pride?’ honors his legacy and also draws people’s attention to his life, work, and principles.”
Other wonderful voices on always centered at night include Sudanese, Netherlands-based chanteuse Gaidaa on “transit,” London based Burundian royal refugee J.P. Bimeni, and Kingston raised, London based Aynzli Jones.
Always centered at night–the album–is the continuation of the project of the same name that Moby announced in 2022. He saw this project as a similar service to the idiosyncratic New York record shops that he frequented in the late 1980s, where he’d hear something recondite and exciting and it would open up whole new worlds. always centered at night was his way of working with special writers and vocalists to make songs inspired by the spirit of musical discovery.
In his pursuit of new sounds, Moby has become something of a collector of voices. He’s a connoisseur of the timbre and texture of human vocal chords, whether sampling artists like Bessie Jones, Vera Hall or Boy Blue on Play, or working with superstars like David Bowie, Ozzy Osborne and Britney Spears; “I’m always looking. Sometimes it’s about going on YouTube. Sometimes it’s Spotify. Other times, it’s just walking around Lower Manhattan going to karaoke places, where I’ve actually found a couple of singers. It’s this constant process of looking for voices, and getting excited and inspired when I find a wonderful voice.”
These are often personal songs, and the personal is the political, as is the border-defying nature of the work. Moreover, they’re crepuscular, conceived at twilight, with many of the styles of the last 30 years in electronic music coming to the fore, such as the trip-hoppy “we’re going wrong” featuring Brie O’Banion, the broken beat, almost drum ‘n’ bass influenced “medusa” (with the aforementioned Aynzli Jones), or the Latin house of “feelings come undone” with Raquel Rodriguez.
Moby is a multi-platinum-selling, multi-award-winning singer, songwriter, producer, author, and animal rights activist. He has been a vegan and vegan activist for 35 years and last year released his directorial debut Punk Rock Vegan Movie via his production company Little Walnut, a passionate and stylistically idiosyncratic look at the ongoing relationship between the worlds of punk rock and animal rights. It includes interviews with some of the biggest names in punk and rock history.
Moby was born Richard Melville Hall, in Harlem, in 1965. His father gave him his nickname, Moby, when he was 10 minutes old, because of his hereditary relationship to Herman Melville. Moby started playing classical music and studying music theory when he was 9 and came of age musically in the punk rock scene in and around New York in the early 80’s. He released his first single, “Go,” in 1991 (listed as one of Rolling Stone magazine’s best records of all time) and has been making albums ever since. He has sold over 20,000,000 albums worldwide.
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