Sabrina Nejmah
Sabrina Nejmah In this interview, Sabrina Nejmah reflects on writing “Don’t You Worry,” blending trust, growth, family collaboration, and sci-fi symbolism while stepping confidently toward independence and future releases in music career. 1. “Don’t You Worry” explores trust and confidence during uncertain times. What personal feelings or experiences inspired you to write about this theme?I spent a school year in down under. To go there was a great adventure for me. “Don’t You Worry” describes very well the feelings and thoughts that finally allowed me to take this decision. I did not regret it. 2. The song is set on a spaceship while reflecting a couple’s everyday relationship dynamics. How did you come up with this sci-fi setting, and what does it symbolize for you?When I wake up in the morning being the first one awake in the house, I enjoy the undisturbed silence and start thinking about basically everything that matters. These moments help me to work on my worries and to grasp optimism. Especially that I know I have the support of my family and my friends make me believe that things will be fine. This feeling of confidence, trust and reassurance is what the song is about. When I focus on my inner feelings it kind of feels like on starship isolated from everything. The starship symbolizes the spot where I am close to my beloved ones. 3. Compared to your first release, how do you feel you’ve grown as a songwriter and vocalist on this second track?This song was another team effort with my father Norman Astor. Meanwhile I am working on my own songs. Like this I’ve been growing a lot. As vocalist I took lots of benefits from the coaching I had from my producer Markus Nowin Rummel. 4. You often collaborate closely with your father when writing music. What does that creative process look like, and how does it shape your songs? When we come together in our home studio we usually start jamming around some ideas that my father or I bring up. This is lots of fun. We develop this to a certain point then we work separately on it and when we meet again we see a new song being created. It is a magic moment and so exciting. 5. Being raised between Moroccan and German cultures, do you feel this background influences your music or the stories you want to tell?My musical background is pop and rock with english and french lyrics and jazz. The major influence I had from being Moroccan and German is that I learned very early that there is not only one culture. 6. As you move toward future releases, what direction would you like your music to take, and what can listeners expect next from you as 2025 comes to an end?This is my second song. As I wrote it together with my father, it exhibits our common signature style. There are two more songs to come from us both to be released in 2026. I am working on my own song ideas, that will be the next step in my evolution. Sabrina Nejmah
Made of Sand
Made of Sand Made of Sand delve into atmosphere and release, discussing the emotional spark, collaborative craft, and international production behind “Scream at the Moon,” while hinting at future releases and their chapter. 1. “Scream at the Moon” blends downtempo, synth-pop, and trip-hop into a deeply atmospheric piece. What emotional core or moment first sparked the idea for this song? The sense that sometimes life can really get you down so how can you get it into perspective. 2. The track explores the feeling of being overwhelmed and needing a cathartic release. How did you approach capturing that intensity while still keeping the song intimate and cinematic? Great question. By ensuring the emotional impact of the lyrics and vocals aren’t overwhelmed by the arrangement; that there’s space to breathe. 3. Aaron’s vocals bring a haunting, ethereal quality to the track. How does her Lithuanian folk background influence the band’s overall sound and identity? Aaon brings such a different mood and intensity to her vocal compared to a lot of singers out there; you can hear some Lithaunian folk traits and other east European inflections. 4. Matthew and Dan have impressive musical histories, from collaborations with Grammy-winning artists to crafting electronic music and visual art. How do your diverse creative backgrounds shape the way you write together? We work very collaboratively; Dan creates the soundscapes over which I play some guitar plus I write the lyrics and most of the melodies. 5. Production took place between Rome and London, including work with Mauro Campana. How did this international collaboration influence the texture and atmosphere of the final mix? Though Dan and I are both English, as you can tell we like working with people who bring a different European dimension to our tracks. Mauro brings a very distinctItalian-influenced dance vibe. 6. With “Scream at the Moon” marking such a powerful return, what can listeners expect next from Made of Sand as you move toward future releases and a new creative chapter? We’d like to put on a launch happening next year to coincide with the debut album we are working on right now. In the meantime, in the New Year an extended version of our first single Come Find Me will be dropping.Thank you, Matthew Made of Sand – Band/Music
Andy Smith
Andy Smith In this interview, Andy Smith discusses resilience, creative control, and personal upheaval, revealing how adversity, defiance, and self-belief shaped “How Do We Keep Moving On” into a dark rock statement of survival. 1. “How Do We Keep Moving On” feels like a battle cry for resilience. What personal or emotional experiences inspired the message behind this song? After I moved from the UK to Australia and started my new job, the manager who brought me over initially went over the plan. As time went on, over a period of three years, this did exactly formulate as was explained. Long story short, he was a narcissistic bully who felt threatened by me and tried everything in his power to come between everyone I had met, in work and out of work, and even my own family! Had to keep going and be strong even though it was a low point, after moving 10,000 miles across the world. 2. The track channels strong ’80s dark rock energy while still sounding modern. Which artists or eras most influenced the atmosphere and sound you were aiming for? With the guitars I was aiming for the raw slightly echo dark bass tone, similar to New Order/Neil Young/Talking Heads with a punky vibe with the drums. Probably 90’s Britpop with the drums with the 80’s guitars. 3. There’s a strong sense of defiance and perseverance throughout the song. How important is it for you to create music that feels empowering rather than purely introspective? Great question. I don’t think of it like that when I am writing. It really is how it comes out and if I’m on that track during the process, then I will steer it that way. But I have the idea or moment in my life as to what i’m going to say and then it becomes a song. Once I have the song, in demo format, I then edit around how I want it to sound and then occasionally change some lyrics. But usually it’s written in one go and then the production gives it that feel! I produce and record myself so I have that creative control to make it sound like I wish and can change things as I see fit. 4. The driving rhythms and haunting guitar work play a huge role in the song’s impact. How did the songwriting and arrangement evolve during the creative process? Not much really. The demo, just an acoustic guitar, has the verses just like the record and the choruses were always going to be big! There are a lot of tracks for the chorus to give it that sound, but I didn’t want to go over board with distortion or overdrive, just wanted the wall of sound, rather than completely overdriven/distorted. But it was always the plan to separate the two from the beginning. Using the wah in the breaks with the pounding drums was something I tried in production and I’m really happy how that came out. 5. You describe this release as more than music—it’s a movement. What do you hope listeners take with them after hearing this track? That anything is possible! However bad a day you are having, whatever goes wrong, the plan gets changed or you get bad news, get up, dust yourself down, move on and don’t let the bastards get you down or see whatever has happened has affected you! Keep your head held high as every single one of us has a spot and purpose in this life! The dark clouds always move on and that light will shine on you again! STAND TALL ALWAYS! 6. Looking ahead, does “How Do We Keep Moving On” represent the direction of your future releases, or is this song a unique chapter in your artistic journey? It definitely is a statement to myself with my musical journey. As an independent artist, there is not much adulation, so it’s always a battle to keep going. But for me, it’s getting the music I enjoy writing, recording and producing out there. If one person enjoys it or even takes something from it, wow, great! With the direction of my next releases, I’ll keep doing the same thing. My previous release was really different, and my next releases will be different again. I like to challenge myself with different styles and genres and keep surprising people with what I create. The meaning of this track will always be there and I may hang a print of these lyrics on the wall in my studio as I reminder, when things get tough again! Andy Smith Music
Cherie D’Avino
Cherie D’Avino This interview with Cherie D’Avino explores the emotion behind “Christmas Lights,” touching on home, family, soulful influences, and collaboration, revealing how nostalgia and togetherness shape her cinematic holiday sound journey. 1. Cherie, “Christmas Lights” feels incredibly cinematic and emotional — can you tell us what inspired the song and what it represents for you personally?Earlier this year, one of my goals for 2025 was to write a Christmas song. I spent time listening to emotionally charged festive releases, particularly those that had become iconic through sync moments like the John Lewis adverts. That led me to reflect on what Christmas truly means to me.Growing up, Christmas always meant going home — either to Italy or back to the North East of England in County Durham. Home was where my family was, and the magic lived in those moments: the excitement of childhood, seeing the lights go up on the tree, the first snowflake falling, and that deep feeling of togetherness.Now, seeing Christmas through the eyes of my two boys, aged 9 and 10, that nostalgia feels even stronger. Christmas Lights is really about finding your way home — emotionally as much as physically — and holding onto that sense of wonder and belonging. 2. You’ve described this track as a blend of soul, gospel, and pop — how did you approach balancing those genres to create that rich, heartfelt sound?The blend came very instinctively. I never really sit down thinking in terms of genre — I always follow emotion and storytelling first.We listened to songs that inspired the mood, including Dance With My Father by Luther Vandross and Golden Slumbers by Jennifer Hudson, which have that warmth and emotional depth that sits beautifully between soul, gospel, and pop. The Dunwells are incredible with harmonies, and together we naturally found the balance — keeping the sound warm, honest, and heartfelt rather than over-produced. 3. The Dunwells are known for their powerful harmonies and emotional songwriting. How did the collaboration come about, and what was it like working with them in the studio?I’d been following The Dunwells for a long time. I first met them through another singer-songwriter, Hayley McKay, who I sang backing vocals for. I went to one of their shows and was immediately drawn to their voices and songwriting.I sent them some of my music so they could hear my sound, and we booked studio time in Leeds. When I mentioned wanting to write a Christmas song, they were immediately on board.I came in with the bones of a poem, and within minutes we were shaping the song together. They’re warm, inspiring, and incredibly wholesome to work with — and that feeling of home they bring really fed into the heart of the song. 4. The song’s theme of “finding home” feels especially resonant around the holidays. Was there a particular memory or experience that influenced that message? There are a few very vivid memories that shaped the song. One is my nana’s small Christmas tree in the North East, sitting in the window with snow falling outside — I can still picture it clearly.Another is being in my nonna’s kitchen in Rome on Christmas Eve, with the whole family together, sharing food and exchanging what we call a pensiero — a thoughtful gift.Those memories of togetherness, belonging, and remembering loved ones who are no longer with us really influenced the song. Christmas is a time when we come together, remember the people we love, and find our way home in every sense. 5. Your sound has been compared to powerhouse voices like Kelly Clarkson and Leona Lewis. Who are some of your biggest vocal or artistic inspirations, especially when it comes to festive music?I’m honestly blown away to be compared to powerhouse voices like Kelly Clarkson and Leona Lewis — I have so much respect for them as artists.My biggest vocal and artistic inspirations have always been Whitney Houston, Mariah Carey, Stevie Wonder, and George Benson. I’m drawn to voices that carry real emotion and storytelling.When it comes to festive music, Mariah Carey’s Christmas work is iconic — especially songs like Oh Holy Night and Silent Night. There’s such reverence, warmth, and vocal honesty in those performances, and that’s something I really aspire to bring into my own music. 6. “Christmas Lights” releases on December 5th — what do you hope listeners feel when they hear it for the first time, and how do you plan to celebrate the launch?I hope listeners are transported back to a moment in time — remembering what Christmas felt like when it was about wonder, connection, and the people we love.I want the song to feel like a journey, gently guiding people back to that sense of home. And when the gospel-style crescendo hits at the end, it’s that release — a moment of light, hope, and joy.I celebrated the release in a very simple but meaningful way — with a call to The Dunwells, where we put a plan in place for 2026, which felt incredibly exciting. I also spent the day with my two boys, and my mum listening as the song was played on national radio stations, which they were so proud and excited about. That moment meant everything to me. cheriedavino | Twitter, Instagram, Facebook | Linktree
Giel Baggen
Giel Baggen In this interview, Giel Baggen reflects on Echoes In The Hall, discussing elderly care, silence, self-production, and the belief that music can honor overlooked lives through subtle, honest storytelling sound. 1. “Echoes In The Hall” explores elderly care, a topic rarely addressed in music. What first moved you to turn this subject into a song? The spark came from silence, actually. Visiting places where time feels slower, where voices fade into hallways, I realized how many stories are left unheard. Elderly care is full of emotion, memory, loss, and love — yet it’s rarely translated into music. That realization stayed with me, and “Echoes In The Hall” became a way to give those quiet moments a voice. 2. You often say “Music Is More Than Just Music.” How did this philosophy guide the lyrics and emotional tone of this release? For me, music has always been a carrier of meaning, not just sound. That belief shaped everything about this song — from the restrained lyrics to the fragile atmosphere. I didn’t want to dramatize the subject, but to respect it. The emotional tone is intentionally subtle, because sometimes the strongest emotions live between the lines. 3. The song was 100% self-recorded. What challenges and freedoms came with handling every part of the production yourself? Doing everything myself was both confronting and liberating. The challenge was obvious: no safety net, no external confirmation, just me and the process. But the freedom outweighed that. I could follow instinct instead of trends, emotion instead of perfection. Every imperfection in the track is honest — and that honesty was essential for this song. 4. Your storytelling style leaves space for listeners to find their own meaning. How do you balance personal intention with open interpretation? I start with a very personal core, but I deliberately avoid explaining everything. I believe listeners connect deeper when they can place their own experiences into a song. My role is to open a door, not to tell them what they should feel once they walk through it. 5. Performing at Pop On Top Valkenburg 2025, how do you expect this song to translate in a live setting compared to the studio version? Because the song hasn’t been performed live yet, I see it almost as an open space rather than a fixed arrangement. The studio version is intimate and controlled, but live it will likely become more raw and vulnerable. I imagine stripping it back even further — letting silence, breathing, and small imperfections play a role. When it eventually reaches the stage, I don’t want it to feel like a recreation of the recording, but like the song is being experienced for the first time, together with the audience. 6. With “Echoes In The Hall” marking a meaningful comeback, what do you hope listeners take with them after hearing this song for the first time? I hope listeners leave with a sense of awareness. Not sadness, but recognition. Recognition of time, of people we sometimes forget, and of emotions we don’t always name. If the song lingers — even quietly — then it has done what it was meant to do. https://www.facebook.com/GielBagggen/
Hachè Costa
Hachè Costa In this interview, Hachè Costa reflects on Memoria del Océano, blending minimalism, folk memory and electronics to confront political noise, environmental loss, and human goodness through beauty, responsibility, and love. 1. “Memoria del Océano” blends minimalistic piano, electronics, and Spanish folk traditions. What sparked the idea of uniting these distinct worlds to talk about environmental damage and collective memory? Using folk music to invoke collective memory is a fairly transparent idea, since folk music is precisely the sounding part of people’s memories: to me, bringing back all those songs about seas, rivers and animals, seemed to be a remarkably poetic and accessible way of doing this. And precisely because folk music and the people who created it have always had their eyes on nature, it seemed to me that it was an effective way to draw attention to memory, to the need to exercise it and recall those aspects that we seem to be losing: the love of life, of nature, and for other human beings. It is a call to the listener: ‘Remember who you are, because what you are is something beautiful, don’t lose it!’ As for unifying these musical genres, I believe there is a type of minimal that has always been linked to folk music and even electronic one. It is not the New-York-Counterpoint of Steve Reich, of course, but think about Mike Oldfield: when music seeks to be primarily emotional, it avoids rational construction and remains still. 2. You use historical voices of dictators, including more contemporary political references, as symbols of chaos and danger. How did you approach integrating such charged material into a musical narrative without overshadowing the emotional core of the work? I wanted to show the chaos, the danger… and, above all, the excess, the excess that any human being can reach if not firmly restrained. And those restraints are always society, and the common goodness, which usually prevails over madness. We find ourselves in a historical moment in which it is urgent to remember that what has always united us is the love for other human beings, not hatred, racism, xenophobia or sexism. However, from my point of view, harmful ideas must be fought by showing beautiful things that act as a counterbalance, and that is why I believe that introducing the voices of dictators confronted with the beauty of music enhances that beauty: this good in the face of that evil. That is why I believe the emotional aspect of the work is not lost, but rather enhanced by this antithesis. Many people have said to me after a concert: ‘I loved it, but Hitler’s voice prevented me from hearing the music properly and it bothered me!’ That is what it is all about: remembering that Hitler, Mussolini or Franco are annoying things that prevent you from enjoying beauty. 3. Instead of focusing solely on the destruction of the oceans, you highlight beauty, tradition and the possibility of reconnection. Why is this hopeful perspective so important for you in this project? In this regard, I completely agree with the philosopher and psychoanalyst Slavoj Žižek when he says that we must accept that damage to the environment is unstoppable and that the realistic goal is to study what is the maximum damage the world will tolerate. That is why we must speak positively: what are we going to do? We must avoid the NOES and work on the YESES, and this perspective requires reconnection: this river is no longer as big as it used to be because it is drying up; what can I do to stop damaging it so much? Why is this river so important? And, above all, the simplest question: Do I like this river? Fight for the world you love, and spend your time being happy instead of theorising about ideas of hatred, resentment and denial. 4. Your work spans film scoring, reorchestration (like “Changin’ Vivaldi”), and contemporary art collaborations. How did your past experiences shape the sound and concept of “L’Atlantique” and the wider album? Probably the work that has most influenced this one is the reorchestration of Vivaldi that we performed at the EDP Theatre in Madrid, since both works share the idea of degrading beautiful music to draw attention to the need to preserve it. However, all my contemporary music, in general, has always sought to highlight social issues such as sexual abuse (like in the opera “The Hand”), or the need to protect the individual self through the excesses of political discourse (as in the work “Tribute to Jacques Lacan: Surrealism 100 Years”), so I suppose its influence must also have been significant. With regard to my film music, I think it has influenced the overall structure, which is profoundly narrative. 5. The single was mastered at Abbey Road Studios and the orchestral version premiered in Portugal. How have these international collaborations influenced the identity and reception of the project so far? The premiere of ‘L ́Atlantique’ in Portugal was absolutely decisive, as the expectation of presenting the work under the baton of the great maestro Filipe Cunha, conducting the Orquestra Filarmonica de Braga, carried more weight than many other aspects, primarily due to the language. Starting the project with the beautiful and lyrical Portuguese language in mind made the starting point even more emotional, and this was complemented by the role of the orchestra conductor, a charming person with an amazing musicality. Similarly, the two sopranos involved in the project, Liliana Nogueira and Regina Freire, heightened the most emotional aspects with their wonderful voices, which added enormous emotional depth to it. Imagine what the premiere meant, considering that nearly 900 people gave a standing ovation at the end of the work, something extraordinary for a premiere of contemporary music… Now that’s emotion! And, of course, having worked as a bridge between London, Madrid, Torrejón de Ardoz and Braga in the early stages of the project has given ‘Memoria del Océano’ an international character. In general, I must say
Sophia Mengrosso
Sophia Mengrosso Opera-trained Sophia Mengrosso opens up about Unforgiven, tracing her leap into rock and metal, confronting trauma through music, honoring influences, and transforming vulnerability into strength, connection, and empowerment worldwide listeners. 1. You’re classically trained in opera, yet Unforgiven lives firmly in rock and metal. What was the turning point where you knew this heavier world was where your true voice belonged? The turning point for me was when I heard Metallica, Nightwish and Evanescence for the first time! I loved the sound of heavy instruments! And instantly fell in love with these bands. After that ca,e other bands that I loved. Less heavy or more, but they all had in common one thing that I was attracted to. It was the power of the message that they put out in the world. So, for me it was not only the sound, but more of empowering myself and getting out of the box with standards that I had to love in and follow. I remember listening nonstop to Evanescence! 2. Unforgiven is deeply introspective and emotionally raw. Was there a particular song on the album that was hardest for you to write or record, and why? Demonizer was the hardest, because I exposed myself to my old wounds I tried to bury for so long. But writing and releasing this song helped me to deal with that trauma and I was finally released emotionally and physically, because all of our traumas show up in the physical world one way or another. My goal with Demonizer was not only dealing with my own issues but also, and most importantly helping others to deal with the same stuff. I want to bring awareness of domestic violence, and I want to support people who went through this. You are not alone in it. You are not alone in your journey of healing. Do not bury your fears and emotions, it is ok to feel rage, leaving through your rage is healing. 3. You speak openly about vulnerability and the fear of being misunderstood. How did turning personal trauma into music help you reclaim strength rather than relive pain? I learned to focus on my strength, and I look at my pain today very differently than years ago. This process for me took time. And it is ok. This made me who I am today. I reclaim my strength through being open to the world and every person who I meet in this journey. And everyone who listened to my music and we never met. By not hiding and closing in my dark state of mind, but instead finding light in my darkness. I accept every lesson life has given to me, and I take it with pride. I always want to move forward stronger each day. Music transmutes every negative episode into strength. And a lot of times it is not obvious at first, and might take years, but this is the direction. And not only music, any other form of art is designed to do that. The world without artists would be so empty. 4. Bands like Evanescence and Nightwish are often cited as influences. How did you work to honor those inspirations while still carving out a sound that feels uniquely yours? I love my inspirations! But I do not copy them! I take my feeling that they helped me to create and the visions that they gave me! So feelings and emotions. I go back in time to remember and bring up what feelings I had when I listened to those amazing artists, and how they helped me to change my life. 5. The album encourages listeners to speak up instead of burying their feelings. What kind of conversations or reactions from fans have meant the most to you since the release? People reached out to me with similar stories and we talked for hours on the phone and we continue to keep in touch through emails and texts! I love meeting people in person too and have that deep emotional connection to support each other. Once you start feeling comfortable to open up it is a huge release for the soul! 6. Now that Unforgiven is getting renewed attention, how do you see this album fitting into your future work, and what can we expect next from Sophia Mengrosso? Next bI want to focus on defining my Identity and encourage my listeners to do it! Do not let anyone else define you. Since I worked through my past and now I can focus on becoming a stronger woman and kick ass! My advice to everyone is Glow up and Kick Ass! Sophia Mengrosso – Listen on YouTube, Spotify, Apple Music – Linktree
Blind Man’s Daughter
Blind Man’s Daughter Blending vulnerability and movement, Ashley Wolfe of Blind Man’s Daughter discusses turning heartbreak into empowerment, genre-spanning influences, and how “All I Need” marks a pivotal step toward self-directed momentum forward. 1. “All I Need” feels both deeply personal and incredibly danceable. What was the emotional spark behind this song, and how did you channel that mix of empowerment and vulnerability into the sound?I wrote it after a really painful letdown, when something I believed in didn’t happen, and I had to face it. The lyrics hold the hurt, but the beat is me choosing to get up and keep going. It’s vulnerable in the story, but powerful in the movement. 2. You’ve described “All I Need” as taking back your power through rhythm and motion. Can you share a moment during the songwriting or production process when you felt that transformation happening in real time?Yes. The second the groove fully clicked, the song stopped feeling sad and started feeling strong. I remember hearing the chorus land and thinking, okay, this is me moving forward now. My vocal delivery changed right there with it. 3. Your background spans everything from progressive metal to cinematic pop.How did your evolution as a multi-genre artist influence the textures and production choices on this track?I’m used to building big emotional “payoffs,” like I did in rock and metal, but I also love pop’s space and shine. So I made “All I Need” hit hard rhythmically, while still feeling airy and cinematic around the edges. 4. There’s a clear Latin-inspired energy running through “All I Need.” What drew you to blend those rhythmic elements with your signature pop and electronic sound? Latin rhythms feel alive, they make you move even when you’re in your feelings. That’s exactly what I wanted: a song that turns pain into motion. It just fit the message. 5. You write, perform, produce, and mix all your music yourself, that’s rare. What’s the most rewarding (and most challenging) part of having total creative control over your songs?The best part is I get to make the exact song I hear in my head, no compromises. The hardest part is I have to make every call myself, and sometimes it’s tough to know when to stop and say, “It’s done.” 6. You have an upcoming full-length concept album, Architect of Devotion, on the horizon. How does “All I Need” fit into the larger story or emotional arc you’re building toward that release?It’s a turning point in the story. It’s the moment where I stop waiting, stop giving my power away, and choose myself. It’s the sound of me taking control and moving forward. BMD – Blind Mans Daughter Blind Man’s Daughter | Instagram, Facebook, TikTok | Linktree
Elvira Kalnik
Elvira Kalnik This interview explores the magic behind “I Met You on Christmas,” diving into Elvira Kalnik’s creative journey, her uplifting holiday themes, and the artistic evolution shaping her newest release, “Happy New Year.” 1. “I Met You on Christmas” is described as a story of miracles, destiny, and holiday magic. What inspired you originally to write this song, and what made you decide to re-release it now? Thank you for the question. It is a beautiful fairytale happy end story that every girl dreams about. I think that many can relate to it. There’s a part in the lyrics: “Make a wish and believe it…”. To me, Christmas and the new year holiday season carry magical vibes that make all wishes come true. I would also like to mention my new song “Happy New Year” that I just wrote recently and expect to be released on December 23d, “Happy New Year” carries a similar theme: “Make a wish and see it coming true”. 2. Your first self-produced music video for the song marked a turning point in your artistic evolution. Looking back, what did creating that video teach you about your creative capabilities and future direction? I learned that everything is possible if you put your mind and soul into it. I really enjoyed the process even though it wasn’t easy at all. Then, I learned more and more with every creative project. Some of my songs and videos received awards and recognition among film and music contests and festivals. The creative field is infinite. It makes you learn something new constantly. 3. The track blends electronic pop with theatrical and emotional storytelling—your signature style. How do you approach balancing these elements to create something that feels both futuristic and heartfelt? Thank you so much for this question! It somehow comes naturally and also based on my versatile background of learning musical and acting skills. I always felt that there’s more than just a genre or a style. I don’t feel like staying in a box labeled by a particular genre. There’s always more to explore and experiment with. It’s like honeymaster dressing: contains bitter, sweet, salty and sour tastes, but still, it tastes good. Someone just looked out of the box and decided to experiment with tastes and create something versatile and balanced. 4. The holiday theme of manifested wishes and finding love resonates with many listeners. What message do you hope your audience carries with them after hearing the re-release this season? I have the same message for both releases: “I Met You On Christmas” and my recent release “Happy New Year”. Look at the bright side! Drop all the doubts and truly believe on the level of knowing that wishes will be granted, and they will! The holiday season creates beautiful vibes and makes people to open up and share their kindness and love as I wrote in the song “Happy New Year”. 5. You’ve had an impressive year, including performing “Dreams Come True” at the United Nations Humanitarian Gala and earning a Presidential Award. How have these milestones influenced your creative mindset and the way you approach new projects? I’m very grateful for the recognition and for being invited to perform at the United Nations Humanitarian Gala by the Institute of Public Policy and Diplomacy Research and the founder Dr. Andrise Bass, who is a very kind, positive and highly intelligent human being that work very hard to create peace in this world along with other selfless peacemakers. I believe that everything is possible when you truly follow your heart, which is the way paved by our Creator. That’s the only right way to go. 6. Your work spans music, video production, fashion, performance, and more. As a multi-dimensional artist, how does each of these disciplines contribute to the world you build around your songs—particularly one as cinematic as “I Met You on Christmas”? I view it as one piece without separating. If your mind is all about creativity, you’ll be creative in everything including preparing and serving food. It’s just a matter of time learning different skills like playing instruments, singing, dancing, design, visual arts, filming, photography and the list goes on. I just follow my heart and get inspired easily just like I got inspired by the holiday vibes that made me write the song “Happy New Year” a week ago, record it in a few days and send it to distribution yesterday. It’s a last minute release. I didn’t plan on it. It feels like the song has written itself. Probably it’s meant to be. I’m grateful to Mick Morrison, a very talented and skilled mixing and mastering engineer who added his magic into the song and did everything possible to prepare it for release on time. The song comes out on December 23d and will be available on all major platforms. However, I want people to listen to the song already as it brings childhood warm happy vibes. The song is available for listening and free download on the following platforms: Bandcamp https://elvirakalnik.bandcamp.com/track/happy-new-year Soundcloud https://on.soundcloud.com/JFDIM5gBjsC9UwUPo9 Website: https://www.elvirakalnik.com
Lemon
Lemon Lemon close their ambitious #lemon12 series with “Love Thing,” a heavier, psychedelic twist on their signature Nedchester groove. We dive into its creation, the year-long challenge, and the emotion behind it. 1. “Love Thing” closes your #lemon12 project with a surprising twist—psychedelic, heavy, and definitely not a Christmas song. What drove you to end the series with this unexpected sonic shift? We’re definitely not the Christmas-song type of band, and there has often been a psychedelic touch to our music. Check out “Shiiine On” and “Gimme Something True”, both featuring Cath Coffey from Stereo MC’s, for example! Music blogs have attached many different labels to our sound — from Soul Rock, Neo-Madchester, and Shoegaze Dance Pop to “Delightful fumes of indie funk and euphoric melodies infuse mesmerising psychedelia reminiscent of Talking Heads.” So yes, “Love Thing” is one of our most psychedelic tracks yet, but it’s not a big stretch for us. 2. This track is described as one of your most psychedelic yet still rooted in your Nedchester groove. How did you balance those heavier elements with your signature sound? First of all, keep the percussion and groovy drum patterns in. The Nedchester blood runs through our veins, so even if we explore a heavier direction, that sound will always be there. 3. Unlike some of your socially reflective songs, “Love Thing” focuses on the overwhelming intensity of love. What inspired you to explore such a raw and powerful emotional space this time? Our songs simply reflect life — life with worries about the current state of our world and planet, with loss and grief, with love, with letting yourself go, and so on. There’s no fixed agenda for our releases; what comes out at a certain stage is what comes out. “Love Thing” is me (Ralf) digging into that feeling of being overwhelmed by love — and taking it a step further, to the point where it even gets a bit creepy. 4. You’ve released a new single every month in 2025—an ambitious challenge. Looking back, how has the #lemon12 journey shaped you creatively and personally as a band? The #lemon12 project is definitely a one-time thing — phew, what a challenge it was! “Love Thing” was finished just in time for the December release. It proved that we’re one of the tightest bands and one of the closest groups of friends. And it also showed that we can stray a bit, and the result still sounds like us. 5. Music press responses to the earlier #lemon12 singles have been incredibly positive. Did that momentum influence the direction or pressure you felt while crafting “Love Thing”? It was a bit intimidating. On the other hand, since we’d already collected so many great reviews, we felt we’d made our mark — and that it wouldn’t hurt us too much if the twelfth one didn’t land quite as well as some of the previous releases. So the pressure wasn’t too high. 6. You’ve built a strong reputation for energetic live shows, including performances with icons like Primal Scream and The Charlatans. How do you imagine “Love Thing” translating to the stage, especially with its heavier, psychedelic edge? Actually, last week we played “Love Thing” live for the first time at a show in Germany. The crowd’s response was great, though some of the other tracks are bigger bangers when it comes to dancing. But hey, our songs are about life — and that’s life: sometimes you dance, sometimes you don’t! Cheers, Ralf – Lemon www.lemon.amsterdam