TiLT 360
TiLT 360 TiLT 360 returns after 15 years with renewed purpose, blending remastered classics and reimagined alt-metal/grunge grit. In 2025, their EP It Grows and new single Point Blank prove that real lyrics and raw energy never fade. 1. TiLT 360 had a strong run from 1999 to 2010 and built a loyal following. What motivated the band to reactivate the project after all these years and release new material in 2025? Actually what did that was me saying these distributors and all this internet activity, I linked up with distro kid and I saw that our songs can be spun and made royalties out of them so I just uploaded our catalog that we had over all those years these songs are old but they’re still hitting hard I did a little remastering of them some of them are just mix it as is 20 years ago and these tracks are getting a lot of reviews and reactions that I never thought was going to happen. We were torn and planned or in different era we didn’t have this luxury of a tool so I figured what the hell it’s just sitting around mines will distribute it. And from that point on started talking to the band again I always kept in touch with him in fact me and my bass player from tilt started another kind of act acoustic alternative rap Blues type project that we played around for 5 years with called ‘Dempsey’. We’ve talked about a reunion show and writing new material though since 2. Your new EP It Grows revisits and reworks tracks from the Day 11 era. What made you want to return to those songs, and how do the new versions reflect who you are today as musicians and as people? Well like I said we had the album out in 2008 but with this new distributing platforms and all these distributors out there it’s easy to link up and get your songs put on every major streaming platform and to get noticed and downloaded and you can make royalties easier than ever now if I just sitting at home and uploading your songs. Granted you’re not making much you still got to get out there and hustle so if you can have the hustle of when we was coming up and what we had to do and combine it with the technology today there’s no reason independent artist can’t hold It Down get noticed have leverage when they get a record deal to come to them and pretty much make their own brand themselves. The day 11 songs the album was just really really good I just didn’t get as much exposure as it should have. So that’s what I’ve tested by sending it out there I’ve had it reviewed on submit hub and I’ve sent it you know the curators and sites like this one and people want to write about it they want to interview US, they want to hear the boxing song Point Blank they see that we were featured in the former middleweight champion of the world Kelly Pavlik knockout real on YouTube that’s because I boxed with them he’s from Youngstown like we are and I box with them when I was growing up and then I went to the military and he kept going and he became middleweight champ so we had talked he loves our band and we did a little cross market thing and it’s great to hear our song always knocking people out!! 3. Billy, your lyrics often draw from deeply personal battles, including addiction. How do you approach turning those experiences into art, and how does the band support the emotional process behind that writing? It was always an outlet for me sort of like therapy I was not always in addiction when I was writing but when I did get sucked deeper and deeper in it it was my cry for help it was what I had to scream about and the darkness, into right about music is kind of kept me going but it also kept me going the other way too already having shows booked and you know you’re cotton addiction and you just can’t stop, my band is always been writing music but we always clicked it’s been many years so Ellen Jay came in the band he just had songs written that just fit exactly where we were at we started playing and then you know my addiction took over years down the road you know that’s one of the reasons why we kept breaking up or we took time off and then after that about 2010 we had that run with the album and then I had a child and people kind of just went through separate ways we had to go do some life things I mean after 11 years of playing you think you had your shot and kind of burned out so we all kept in touch though cuz we’ve been together so long. Especially Me, Drew and Heather. Since 1999 and going…. 4. Each member brings a distinct energy, from Heather’s commanding drumming to Jason’s haunting riffs and Drew’s pulsing bass lines. How has the band’s chemistry evolved since the early 2000s? Well we evolved by just getting better, when we started you know we’ve had three different guitar players over the years which changes your sound as they write songs most of the time the music I would write some things but I didn’t plan sing, Drew wrote many songs but every time we had a change of guitarist it would change the sound a little bit. When we started we were around the new metal rap rock era late 99 and that’s what we were sounded like cuz I really never sang I just wrapped scream start a band had a yell about it and then as we got better and tighter and practice we started to find our
Steve Bradshaw
Steve Bradshaw At 75, Steve Bradshaw returns after 15 years away, reignited by a family wedding and guided by lifelong collaborators. Your Name Is Love blends Beatles-shaped roots with hard-earned wisdom and renewed creative purpose. 1. After stepping away from music for 15 years, what sparked your return to songwriting and recording this album? My eldest son, Josh, married Maggie Amini in Texas in December 2024. Maggie’s a well-respected singer songwriter and recording artist. One morning before the wedding I woke up with a song for them and made the effort to write it down. They asked me to sing it at the wedding and it was well received. Billy Smiley, Maggie’s producer was there and he suggested recording the song. I suggested that Maggie might like to! After I returned to London, I started going through some of my stuff to see if she liked any of it and eventually it was proposed that it would be my album, not hers. 2. You’ve mentioned The Beatles as your main influence. How did growing up near Liverpool shape the sound and emotional core of Your Name Is Love? I attended secondary school from 1962 to 69 in Birkenhead, just across the river from Liverpool, so Beatle music was the backdrop to my growing up. We were all proud of their achievements, being local lads, and many of us started playing and singing too. My first attempt at songwriting came after listening to ‘Let It Be’. People have always said there’s a Beatlish feel to my songs. It wasn’t deliberate but I used their songbooks to learn guitar, so it must have rubbed off. When I met Bob Smart and started writing with him, I soon found out that he also was a fan. 3. Working with long-time co-writer Bob Smart and producer Billy Smiley brought decades of history into the studio. How did those relationships guide the creative decisions on the album? Bob and I know each other well and spent many hours working on songs in the 70s. When I returned from Texas I naturally spoke to him about the experience as it takes another songwriter to fully understand. We spoke of the possibility of unearthing old treasures or even trying out some new ideas. It had been a lifelong dream to achieve some form of recognition as writers. Billy Smiley took it one step further, saying that the songs would sound best if I sang them. As a lifelong writer, performer and producer, Billy’s depth of understanding regarding arrangements and musical possibilities added greatly to the project. 4. The recording process was clearly a family-driven experience. In what ways did having your sons and Maggie Amini involved impact the energy and authenticity of the music? The boys were a great help. They are all music lovers and have grown up with a singing, performing Dad. There was a lot of humour involved and when Billy suggested they contribute, and then brought out unexpected talent from them, that was very pleasing. They were in awe of the musicianship of the session men, we all were. Maggie is a complete professional. Her vocals are exceptional and Billy was extremely discerning in his choice of harmonies and in deciding which songs suited which voice. All suggestions were carefully considered and Maggie’s Dad, Michael, himself an accomplished musician, brought another level of expertise and encouragement. 5. Tracks like “Fool for Love” and “Jesus Is” carry deep personal timelines—from 70s demoes to a wedding song that relaunched your musical journey. How do these songs represent the past and present of Steve Bradshaw? ‘Fool For Love’ harks back to a time of endless optimism and abundant energy. My vocal range was greater but my lyrics were rather vague! I tweaked the lyric for the album, partly because the recording we had was rather muddy and the words werent clear, but the energy of the song was still there and the musicians, especially Mike Payne on guitar, picked up on it. ‘Jesus Is’ comes after over 40 years of engaging in worship music and learning to appreciate the calmer side of life. The lyric is specific and heartfelt. If there’s wisdom in it, it’s been learned through many ups and downs. ‘Fool For Love is a young man’s song, ‘Jesus Is’ reflects a certain maturity. 6. At 75, you’ve embraced the idea that it’s never too late to create. What message do you hope listeners and curators take away from Your Name Is Love? I hope the album entertains. There’s a spread of musical styles, so hopefully that will broaden the appeal. Lyrically, it’s pretty plain speaking. For those who agree with the sentiments, I hope it provides encouragement. For the undecided, I hope it provokes a desire to investigate further. Home | My Site 1
Jasmin Ahrent
Jasmin Ahrent This interview with Jasmin Ahrent explores the quiet emotional core of “Little Wonders,” touching on minimalism, burnout, collaboration, and a piano-led creative chapter rooted in honesty and intimacy. 1. “Little Wonders” feels intimate and reflective. What inspired you to build the song around such minimal elements like piano and vocals? I built Little Wonders around piano and vocals because the song honestly doesn’t need more. When you’re burned out, everything can feel too loud — even things that are usually comforting. I wanted the track to feel quiet and close, like it’s sitting with you instead of trying to impress you. Piano and voice leave no hiding place, which is exactly why it works here. You can hear the small things: pauses, breath, little changes in dynamics, lines that feel almost spoken. That’s the emotional language of the song. The piano holds the structure, but it doesn’t tell you what to feel. It just supports the story. And the minimal setup gives the listener space to bring their own experience into it, without being pushed by production choices. 2. How did your collaboration with Selin shape the emotional direction of the track? Selin really helped shape the emotional direction because her voice sits naturally in that “quiet honest” space. I didn’t want the track to feel dramatic or over-sung — it’s more like: “I’m tired, I’m overwhelmed, but I’m still here.” Selin’s delivery made that believable. Warm, soft, not forced. That also influenced the whole approach: keep it intimate, don’t overproduce it, don’t turn it into a show. And to be honest, when someone else sings your words, you immediately hear what works and what doesn’t. You notice which lines sound true and which ones would feel too polished or too “written.” Her performance pushed the song more towards sincerity and simplicity, and that’s exactly what I wanted for this track. 3. Your influences range from Birdy to Daughter and Lewis Capaldi. How did you blend those inspirations while keeping your own sonic identity? I love all of them, but in a pretty practical way. Birdy is a big influence because her piano songs feel intimate without trying too hard. Daughter is great at restraint — not filling every second, letting things breathe, letting mood do the work. And with Lewis Capaldi, I really respect how direct he is emotionally. He doesn’t hide behind clever wording. For Little Wonders, I basically took those ingredients and asked: what serves the story best? So instead of stacking production layers, I focused on clarity: simple arrangement, emotional honesty, and letting the listener hear the “human” part. My sound is usually somewhere in that balance: minimal but not empty, emotional but not theatrical, and always story-first. 4. The song speaks to burnout and finding beauty in small moments. What message do you most hope listeners connect with? I hope people feel understood. Burnout can mess with your self-worth in a really nasty way — you start thinking you’re lazy or failing, when you’re actually just exhausted and overloaded. Little Wonders is my reminder that small moments still matter, even if they look ridiculous from the outside. Sometimes it’s not a big life change that helps you survive a week — it’s one calm minute, one tiny routine, one warm drink, one good thought, one moment where you notice “okay, I’m still here.” The song isn’t trying to say “everything will be fine.” It’s more like: you don’t need to solve your whole life today. Day by day counts. And if all you can do is hold onto one small good thing, that’s not weak — that’s real. 5. You embraced imperfection in the recording process. How did that choice influence the atmosphere of the final mix? Yeah, the imperfection was definitely intentional. If you polish a song like this too much, it can lose that “real moment” feeling and start sounding distant. I didn’t want it to feel like something that’s been edited until it’s safe and perfect. So we kept human stuff: breathing, small timing shifts, little edges. Those details are the difference between “nice production” and something that actually feels honest. Same with the mix: I didn’t want huge effects or a big cinematic sound. The track is meant to stay close. Like you can almost hear the room. That kind of intimacy fits the theme, because burnout isn’t loud. It’s quiet, repetitive, and heavy — and a close mix makes that emotional weight feel more believable. 6. “Little Wonders” is part of a series of piano-driven releases. What can we expect from your next creative chapter? This is part of a piano-driven chapter for me because I like how honest that format is. There’s nowhere to hide — in a good way. You can’t distract from weak writing with big production, and you can’t fake the emotion. The next releases will stay in that direction: stripped back, emotional, story-first. But they’ll explore different shades of the same world: resilience, longing, quiet hope, maybe also the anger or numbness that sometimes comes with burnout. I want these songs to feel connected, like chapters that belong together. Each track stands on its own, but together they build a bigger picture — not of “perfect healing,” but of real life: the messy, slow, human version of getting through things. Jasmin Ahrent
Madeline Rosene
Madeline Rosene Unfiltered and genre-bending, “Love and Algorhythms” blends satire, grief, and glitching intimacy. We spoke with Madeline Rosene about humor, handmade art, digital grief, and being known beyond the algorithm. 1. “Love and Algorhythms” walks a fine line between satire and emotional vulnerability. How do you balance humor and sincerity when writing about something as personal as intimacy in the digital age?I try not to take life too seriously in general so using some kind of humor in my songs comes very naturally. But this is a subject I feel very strongly about and I do take seriously. The song is sort of a lament- a mournful ode to human connection and “real life” experiences. I think finding a balance between humor and sincerity is not something I search for consciously. But I do think people are more likely to listen to a message that’s not obnoxiously serious and straightforward. I guess sometimes it’s best to use humor to make a point because ultimately it’s easier for everyone to digest and it’s more memorable. 2. The song mixes acoustic elements with 8-bit, synth, and electric textures. What inspired this blend of organic and digital sounds, and how did Patrick Windsor help shape that vision?Patrick Windsor did help shape that vision. I came to him with some ideas from other songs. I think I gave him “Running” by No Doubt as an example, “A.M. 180” by Grandaddy, and “Crush” by Tessa Violet.I mentioned that I wanted 8 bit in the song because it’s supposed to feel a little abrasive- like technology invading the track, like it has sort of aggressively invaded all of our lives. I wanted to mix mechanical (programmed drums) with the non-mechanical (acoustic guitar)…if that makes sense. I love what Patrick did with the beginning. Unfortunately my dog doesn’t and every time the song comes on, he barks. 3. You described the track as exploring the grief of being known by an algorithm. Has releasing this song changed your own relationship with social media or technology?Yes, it’s a bummer. I wish I could say that this track has made me change and improve my social media habits or my time spent online, but my relationship with technology is still not very healthy in my opinion. I will say that writing the song happened very organically- these lyrics just poured out of me in I think one night. I was wondering if anyone had thought about algorithms like this before…have other people thought about how an algorithm can know someone better than you know that? What does it mean to know someone? What does it mean to know? Can technology “know”? 4. The claymation video is a bold statement against AI-generated art. Why was it important to express this message through such a slow, handmade medium? My brother, Jack Hubbell, who created the music video is a very patient person. He’s deeply artistic, sensitive,and thoughtful. I wanted to showcase his talents with this song because, idealistically, I want to believe that real artists (IYKYK), human beings like Jack, who exude creativity with every new thought and every decision will always be needed and wanted to: 1. Create the originality, the voice and vision, that technology profits from.2. Add meaning through art to a world that can sometimes feel devoid of meaning.3. Be the life behind the art. When someone interesting creates something, the result is much more compelling. When someone creates something in an interesting way, the result is much more compelling. 5. Your music often dives into existential themes. Do you see “Love and Algorhythms” as a continuation of that journey or the start of a new chapter?If I’m not making people listen to something that makes them feel an emotion, I at least want to try to make them think about something in a way that maybe they haven’t before. I’ll probably always write about philosophical themes. Philosophy is probably the second most romantic thing to write about- after love anyway. I have several songs coming out in 2026 that I think lean more into questions of existence and meaning but I’m always trying to make them a little whimsical in some way…because life and songs deserve a little whimsy, ya know? 6. What do you hope listeners feel or reflect on after hearing the song and watching the video, especially in a world where attention is constantly pulled in different directions?I hope that people unplug for a second, kiss and hug their loved ones, look into each others’ eyes, tell secrets, go for walks, and you know, stop and smell the flowers or whatever. I hope that the people who say, “AI is just another tool to make music” really think about what that means…because if you have any foresight at all and if you understand that the masses and creators of AI generally value quantity, speed, and convenience over lived human experiences, human connection, and original narrative- then you know it won’t always be “just a tool”. It will become a replacement for those things and we will be further and further separated from each other because of it. You’re not helping yourself or anyone else by believing differently. Madeline Rosene (@madelinerosene) • Photos et vidéos Instagram
Tim Eveleigh
Tim Eveleigh Tim Eveleigh builds this LP around reassurance—an antidote to uncertainty, financial anxiety, and fragile mental health. Through fearless studio experiments and deep collaboration, the record feels like both a message and a lifeline. 1. This LP centers around the idea of “reassurance.” Why did that theme feel urgent to you now, and how does it guide your writing even beyond this album? I try to have the word ‘reassurance’ in the front of my mind whenever I am writing or recording. I think we could all do with some reassurance right now! I am particularly concerned with my own – and other peoples’ – mental health and I think that reassurance is a big part of solving potential problems that it can create. In particular I think reassurance can help with worries about financial issues – I think it is easy to underestimate how much they are affecting oneself. 2. You worked closely with producer and multi-instrumentalist Andy Thornton, longtime collaborator Tim Eveleigh, and vocalist Maria Levesley. How did those relationships begin, and in what ways did their contributions shape the identity of the record? I’ve been a fan of Andy Thornton for years. It was both difficult to believe and simultaneously an absolute pleasure to work with him to complete this (and other) recordings.I *am* Tim Eveleigh so I’ve been collaborating with myself for the whole of my life!Maria is a friend and extraordinary talented singer and it was a very easy decision to ask her to help to make this record better than it (hopefully already) was. 3. You’ve mentioned a growing confidence in the studio. How did that evolution influence the sound of this album compared to your earlier work, and what does that confidence unlock creatively for you? I have been worried about both my singing voice and my ideas about what arrangements might or might not work in the recording studio for years but more recently have become significantly more confident about both of these aspects of recording. This means that I feel free to experiment and also that I have a greater belief that I can arrange instruments so that they accurately reflect what I can hear in my imagination. 4. Tracks like “Surfeit” and “Enough” explore new territory—spoken-word textures, choirs, horns, and unexpected arrangements. What stories or moments pushed you toward those experiments, and what do these songs reveal about you that past releases didn’t? I hope that the songs will reveal more about me personally – how I think about and see the world. The horn arrangements (and performances) during “Trespass” and “Flooded” are by the ridiculously talented Sam Gee. I am extremely fortunate to know Sam and to have his help. The spoken word sections of “Enough” seemed to come naturally to me and I still enjoy listening to the song myself so I hope that this means that it is also enjoyable for others. The choir section towards the end of “Rage In The Darkness” is an idea that I have had in my head for sometime (although I am aware that it is not entirely original) and also offered the opportunity to include more people in the recording process – something that I always enjoy. 5. The album was recorded “rhythm-up” at Churchgate Heights, Andy’s personal studio. How does starting with cajon change your approach to building a song, and what kind of atmosphere or freedom did that space give you? I think that ‘rhythm-up’ recording (this wasn’t strictly that – but it was close) means that the starting point is an almost empty page. I hope that this increases the space for additional instruments and vocals to fit into a song and encourages me to include only what is necessary for the song to feel complete. 6. The press reaction has already delivered lines like “his new LP is a wonder.” When you hear something like “his new LP is a wonder,” or even the bold claim “this new LP is a wonder,” what does it mean to you personally after this journey, and how do you hope listeners will feel when they press play? I am overwhelmed by this type of response and overjoyed that someone believes this enough to publish it in a public place. It definitely helps me to believe that the time that it has taken to put these recordings together has been worthwhile. I hope that listeners will feel free to respond in whatever way they would like to and feel no pressure the have any particular response. They might like it – they might not – and either is OK. Tim Eveleigh
I, Captain
I, Captain I, Captain return with their third full-length album, a lo-fi homage to 70’s analog grit. We dig into their evolving process, vinyl-soaked identity, sonic craft, and the drive to keep rock raw, eclectic, and unmistakably theirs. 1. This is I, Captain’s third full-length album, built entirely on new material. How did your creative process evolve compared to your previous releases? The creative process evolved through the writing and shaping of the compositions. A lot of the songs were written and recorded in pieces at different times. The ideas can just pop up as you go and that’s what happened with this album. 2. The album’s concept leans into a sound “pulled off a dusty shelf,” inspired by the ashes of 70’s vinyl. What drew you to that nostalgic, analog identity for this record? I guess it’s always been the I, Captain approach. Lo-fi style with old elements of rock. I lean into it all the time in that respect. I like the idea of the sound being identifiable, which I try to do with the images as well. Something to stick in your head and remember. 3. Listeners are promised an eclectic and unique alternative-rock experience. How did you balance experimentation with the core rock elements of I, Captain? I’d have to say that using a variety of influence and style helps shape and balance all of that. I use words like eclectic and unique only because I’m trying to do that with the project. So much has been done that allows people to find similarities in everything which makes things feel less unique or eclectic however, it’s all those things to me so I will describe it as such. I’m sure it will get compared to something or someone which is all good in my opinion because things can be similar but not the same. 4. The press release describes this album as the “next step” in your musical journey—especially in production and composition. What were the biggest sonic risks you took in the studio this time? I used different recording techniques and equipment mainly. I redesigned my studio which made things easier. I tried some different filters etc. Every single recording I do is a “next step” I suppose. Just getting better at the craft or at least I think I am. So I feel no real risk was taken. 5. The inspiration is described as continuing the I, Captain journey. What keeps you motivated to push this project forward album after album? Just a love for playing and writing music. Simple as that. Motivation comes naturally when you love something. 6. With the album currently on Bandcamp and a full streaming release planned for January 1, 2026, how important is platform accessibility in connecting your music to both longtime fans and new listeners? I try to make it available as many places as possible. Obviously, streaming services are a big help. I try to connect with different outlets to help promote which can go either way when it comes to results. I’m always happy just to have it out there. I personally love finding new music and hopefully I, Captain can be found by people looking for themselves. This album is a fun one and I think those who discover it will like it a lot. I, Captain Pete Rogers (@icaptainmusic) • Photos et vidéos Instagram
Callie Joy Porter
Callie Joy Porter Callie Joy Porter breaks her silence with Black & Fvck, a dark indie–cinematic pop manifesto on impostor syndrome, owning the shadows, and closing one era before rebirth. 1. “Black & Fvck” explores darkness, temptation, and self-discovery. What emotional or personal moment made you realize this album had to exist now? Thank you for this question, honestly, it came from the need to prove that black isn’t evil. People equate the color black or darkness with something they must hide, and the truth is darkness and black are part of life. We all have moments when we aren’t bright in color, and some people never do. Black to me, is like that experience you want to live but people would judge you if you follow through with it? Then again, I am singing. To me, this was the equation of the same. My impostor syndrome repeatedly said, you’re going to be 40 soon, what are you doing, showing songs you’ve had and never showed to the world now? I had some of them, not all of them. They didn’t let me do anything besides creating them and they were specific when it came to everything. No, this needs to sound this way, no this is better than this other tone, it was … interesting to say the list. 2. Your sound blends cinematic pop and ethereal darkness. How did you approach building that mystical atmosphere across the 8 tracks? To be fair, I have a rule, if I listen to it repeatedly, and at first it doesn’t convince me, I play with the music again. I’ve changed, at the last minute, perfectly good songs.. Fvck for example, was absolutely remade like 3 hours before I sent it because I kept feeling this impostor syndrome telling me “are you sure you want it this way and not with your original idea?” – You see, most people fear their impostor syndrome, mine… started out putting every single fear in line for me, and when it noticed I don’t do well with people – anyone, even shadows from within like it is..telling me what to do? I’m too old for that. It began to give me second guessing in something that would work in my favor. Eventually, I listen to every song, again and then I choose which one sounds like what and I choose the ones I love the sound, and those I love the lyrics but change my mind on, usually means they had to be changed somehow. 3. Songs like “Liminal Goddess,” “Belladonna,” and “Phoenix” feel symbolic. How do you use imagery and metaphors to tell your story? Liminal Goddess is a dedication to Hekate, so yes, it’s absolutely symbolic. But also is devotional for me, though Belladonna and Phoenix are not dedications.. They were built from the perspective of societal norms towards women. Belladonna is basically ‘what if the not so typical femme fatale were to speak to the world about what happens to her? And Phoenix is something that hits home much deeper. Phoenix is a song of self-awareness, so using metaphors was the easiest way to get the point across. Basically, one says ‘we are all beautiful and those who are obsessed with you, don’t necessarily need to love you or care for you or even know you to be all on your case, so be like Elsa, let it go. It’s not your responsibility to fit into anybody’s idea of you. And when it comes to Phoenix, it’s a reminder too. We are all exceptional in our own ways, and we are the only obstacles we have for ourselves. The only constant in life is change, the sooner we realize that, the easier our lives will become. 4. This album closes the era you began in 2024 with “Bye” and “I Decide.” What did you learn about yourself during this chapter, both as an artist and a person? I learned that the impostor syndrome, the inner critique, the bullying, all the suffering people go through only can stop you if you let them. It took me many months to face my fears to be able to send out the albums I’m sending out. I mean, to be fair, I am going to be sending out one on January 9th, for my birthday. And another on January 24th that is ABSOLUTELY FAN SERVICE. Because as a roleplayer, which is one of my hobbies, I have been in the supernatural family forever, from the beginning. I absolutely based some of my characters from my books of the Abyss and the Spark on my favorites and I think a thank you is in order, mostly because to me, it’s been 20 years being those guys. I have 5 accounts, and those accounts are the ones I’m doing the fan service to. All 5 based on a certain squirrel from that show. They are not him, but .. yeah I think I owe him a thank you. 5. You dedicate this era to all women. What message do you hope young listeners take from your journey of owning the dark and evolving through truth? It’s never too late to do what you love, Keep your nose clean, your chin up, stay out of people’s messes, own your own life, or someone else will instead. Learn the difference from being a good friend to a people pleaser, I was a people pleaser for a long time, it came down to me not doing things because others mirrored their lack of enthusiasm onto me, so, no. Do things smartly, intelligently, keep your head on at all times. My journey is a cautionary tale and it shows in my songs. It’s what I’ve lived, what I’ve seen women go through. It’s never okay to let everyone else eat their cake, when you want pie. Everyone, even those you love, only see as far as their own existence goes, the world, the biggest minds in it, the best people in it are
Grey & Purple Songbook
Grey & Purple Songbook Grey & Purple Songbook is a text-driven music project from Oslo blending storytelling and melody. Their new single “Over the Blue Sky” reflects themes of morning calm, gratitude, and universal serenity. 1. “Over the Blue Sky” captures a peaceful, almost cinematic morning feeling. What moment or emotion first sparked the idea for this song? The motivation for writing the text/song to “Over the Blue Sky” is my personal experience starting an early morning at a mountain cabin, looking out on the snow covered landscape outside with clear blue sky and a bright sun shining. That gives a rewarding and intense feeling of gratitude and joy. This feeling easily facilitates a serene moment of reflection. 2. Your project begins with storytelling through text before music is created. How does that approach shape the final sound and message? Both creators behind the artist name Grey and Purple Songbook are socially engaged persons and important social and human issues are important to us. We therefore decided early on that we wanted melodies with lyrics about topics that are important to us, and that we believe have a resonance with our listeners. The text is a very central and important part of the creation- process. We hope it results in melodies with a message and that the songs give “food” both for the mind as well as for the heart. And that the songs have an impact also after the song has been played. 3. Many listeners find comfort in songs about simple everyday moments. Why do you think morning serenity is such a universal theme?That is not an easy question to answer, but I think many of us looks at the mornng hours as the start of something, hopefully nice and good. It gives many of us a serene moment during the day where we get the opportunity to feel a little bit of our own thoughts and feelings. That is very nice to be able to do, once in a while. 4. What do you hope listeners personally take away or reflect on when hearing this track for the first time? I hope the song will both give a nice feeling emotionally both through a text that invites to reflection on the value of small things in life, things that we in a hectic daily life do not get the time to reflect over. And a tune that invites to a “sing along-feeling” or contributing to a good feeling. 5. What makes “Over the Blue Sky” stand out in the Grey & Purple Songbook catalog and why is it significant for the project? The song “Over the Blue Sky” is a song that stands out in the collection as a text and tune that has a spesific focus on the morning hours, with serenity, no stress and the possibility to reflect on things that we maybe otherwise do not have so much time to reflect over. The song is unique in it’s own, but is also part of a greater project giving voice to music/songs with a “message”. 6. After this release, how do you envision the next chapter of Grey & Purple Songbook evolving creatively?It is of course difficult to predict the future, but both of us that stands behind this project, The Grey and Purple Songbook, has the vision of continue to create and produce texts and music that convey a message we think is important. At the same time, we are aware that text and music are closely connected. We are therefore very concerned that the music supports the text. We hope the texts and the music from The Grey and Purple Songbook will reach many listeners world-wide, because we love writing and creating music that the listeners like and enjoy. For us, as I think for many, many others, music is life. Thank you for the opportunity to tell a little about the vision behind the project Grey and Purple Songbook, and the creative process behind creating the texts and the music. Musique | The Grey and Purple Songbook
Lana Crow
Lana Crow Lana Crow crafts heartfelt indie-pop with raw honesty. In this interview, she reveals the personal story behind Laugh With You, exploring resilience, self-acceptance, ego, vulnerability, and the inner power that shapes our reality. 1. “Laugh With You” carries a strong message of resilience and self-acceptance. What personal experiences or emotions first inspired you to write this song? The lyrics, “I don’t care if you judge me, I don’t care if you laugh — if you want, I’ll laugh with you,” came to me after a night out with friends. This was shortly after I started releasing music. All of my friends were surprised to learn that I was writing music, and some were impressed. One of them, however, made a couple of remarks that, let’s just say, weren’t meant to be supportive. My emotional response was, “I really don’t care what you have to say, and it’s a shame that you feel my writing music makes you any less talented.” And that’s how the song was born. The resilience and self-acceptance in “Laugh With You” come directly from my own life. I grew up in an environment where any hint of self-love would get you labeled a selfish brat, so for a long time, liking myself felt almost wrong. It shaped me in ways I didn’t fully understand back then. I was vaguely aware something was off — I’d feel jealous of people who seemed at ease with themselves and others, and I carried this quiet sense of being less than most people. It took a painful event a couple of years ago for me to really see how deep it went. Instead of falling into victimhood, I chose to see it as a message I needed to hear. It wasn’t easy, but over time I got the answers I was looking for and turned the experience into something that helped rather than cripple me. While my upbringing was chaotic, it did have an upside. I was born into a culture vastly different from the Western one, and when I moved to the West, I experienced a kind of culture shock — but in a good way. I continued to be exposed to different cultures because I mixed with other foreigners from all over the world, while also making an effort to assimilate wherever I was. That rollercoaster widened my perspective, and I feel it gave me an insight into other cultures that not everyone has. It helps me see things that aren’t always obvious to others. I’m grateful for that awareness — it was costly to gain, but I appreciate having it. 2. The line “If you want, I’ll laugh with you” feels both defiant and unifying. What does laughing through hardship mean to you on a deeper level? I think it’s important that we don’t take ourselves too seriously; it makes life a lot easier. Some of us are more sensitive than others, and there’s nothing wrong with being sensitive—I’m still a very sensitive person myself. However, challenging your ego every time it rears its ugly head can be an acquired skill—and a very useful one. When you can laugh at yourself, you rise above the unhealthy noise of judgment around you. You become more grounded, more open, and honestly, easier to be around. When you accept your own imperfections and failures, other people’s negative reactions lose their power over you—you understand where they’re coming from, and you’re no longer shaken by it. In the last chorus, I intentionally switch roles in the so-called “dialogue.” Lines like “Please don’t care if they judge you, I’ll be there, I’ll stick with you” are written as how I imagine God would speak to us, if we could hear that voice clearly. I often bring this kind of presence into the bridges of my songs. To me, God isn’t a distant figure, but an immense intelligence we’re all part of. We’re co-creators living in this earthly realm, and the chaos we see around us is largely a reflection of our inner world. God cannot force us into choices that are better for us; we have to make those choices ourselves, and it’s harder than it seems because it takes a certain level of self-awareness. The song is a reminder that we carry far more responsibility—and far more power—in shaping this world than we tend to realize. 3. Your music often addresses judgment, comparison, and inner strength. How do you personally navigate these pressures as an artist and as a person? I do wish judgment and comparison weren’t as celebrated as they are. We’re born into a world where competitiveness is encouraged as a motivator, but often all it really does is breed jealousy and a sense of self-deficiency. Every single one of us is talented in our own way, yet not all of us get the chance to find out what that talent is because we often aspire to be someone else. I’m still learning how to navigate the pressures we all face these days, and I think it’s an ongoing process—especially as the world keeps changing so fast and throwing new challenges at us. What really helps, however, is viewing every painful experience as a message pointing to the inner issues you need to address. When you approach every setback with that mindset, you still get hurt, but the pain loses its power over you. 4. Sonically, the track blends indie pop warmth with emotional intensity. How did you approach shaping the sound to support the song’s message? When I work with a producer—who I always hire online—I send them my demo along with a reference track, and they help shape the final sound based on those. I have to admit, my demos are pretty flat. I’m not a strong pianist, and playing and singing at the same time is a big challenge for me. I do try to put as much emotion as I can into my voice, but sometimes it gets lost because I’m so focused on hitting the
Lisa Jo
Lisa Jo Lisa Jo opens up about transforming real-life trauma into “Lord of the Night,” her perfectionist process, self-produced sound, and the unstoppable creative force balancing inner chaos with a calm, presence. 1. “Lord of the Night” is rooted in real events. How did transforming a true story into lyrics shape the emotional intensity of the track? Lord of the Night was the first rap song I ever wrote. And yes, it was based on true events that occured one evening in my life in late 2017 in a club in Clifton Park, New York during the darkest point in my life. I had just walked away from my brand new home I built with my own hands out of what was left from my paycheck each week that took about 2 years because I needed to end my marriage of over 30 years. During the wake/funeral service for my sister evidence was handed to me that my husband and best friend had been covering an affair for months. This new information layered on top of the pain and anguish only a week or so before of finding my sister deceased on her bathroom floor with an empty heroin needle still stuck in a vein of her left wrist brought my lifelong pain and rage (see my life story in The Hands That Held Me @ a.co/d/i0lAAw5 for further explanation) to a level that could no longer be contained. I knew if I didn’t leave I could have made an entirely different decision that would have resulted in having to adjust to prison life. So as I sat in the club that night and bullets shattered the pieceful aura, the glass of wine in my hand was struck by a stray bullet and shattered with it and a second later a total stranger forced me to the floor and covered my body with his to protect me. When the bullets stopped and the shooter exited the club screams and cries filled my ears from everyone around me, yet there I was, so very calm because at that point I didn’t care if I had survived it or not and the level of chaos outside of my body that night still could not begin to compete with the chaos that had been roaring continuously inside my body. With that said… I do not feel the reality of those events had any effect on the resulting intensity of the my song, but rather it moreso reflected a lifetime of feeling something similar to a tazmanian devel on steroids with loaded weapons going off at full throttle inside my soul and mind, but having had a lifetime of practice to master a smooth, calm, confident exterior that still easily portrayed to those around me how serious and how dangerous I had (or have) the ability to be as a result of a lifetime of abuse, severe trauma, loss and betrayal had created in me. I hope that paints an accurate and clear picture that answers that question fully and honestly. 2. You recreated the song multiple times before finding the final version. What were you listening for that told you, “this is the one”? I had created The Lord of the Night several times before I was satisfied that the sounds heard from the song accurately reflected the cold, dangerous ticking time bomb inside me while still reflecting the calm, confident, emotionless exterior that I possess and live by that makes me who I am. Best example or analogy I can give is… If my buddy took someone’s life in a fit of rage, his nerves and conscience eould destroy him, whereas if I did the same, I could calmly go home, eat spaghetti dinner, turn on the tv and sleep soundly without giving it another thought. I do not wish to give the impression that I am heartless, rather it is because my heart is huge and soft and damaged that I am this way. The battle is real. The music combined with the lyrics “drop you in front of your ma then I’ll make your lady squeal” and “I don’t owe you nothin but the bullet in your back” perfectly portray the point I was trying to make. 3. You handle both lyric writing and beat creation yourself. How does producing your own beats influence your flow and storytelling as a rapper? Sadly, the answer to this question I believe I already gave within my response to #1 and #2. My lyrics do not influence my beat, nor vice versa… Rather they are 2 parts to one tool with the goal of simultaneously conveying both my interior and my exterior… I guess, now that you ask and I analyze it… I believe I am using my lyrics to express my internal frame of mind while using the beat to convey my smooth yet still very much dangerous exterior, if that makes sense. 4. Your influences span classic 90s gangsta rap and modern hip-hop voices. How do you balance nostalgia with a contemporary sound? This one is easier to explain… Every part of who I am can only be expressed by 90s gangsta style rap, while I still have an ear and respect for what is current in the sounds of music. 5. With over 30 songs created in just three months, what drives your creative momentum, and how do you avoid burning out creatively? Also an easier one to answer… I will never burnout because what drives my creative momentum is the spilling over bubbles of pain and rage seeping from the seems of my body that have been needing and desperately seeking a constructive, non-deadly outlet for about a hslf century now. I really don’t have to write my songs, I just have to peal the lyrics from the inner linings of my soul that have been already written without my permission. Honestly it feels like there is likely hundreds of songs taking up space inside me and necrotizing