Helladdict
Helladdict Helladdict channels the raw energy of 80s–90s metal and punk, turning rage into art. From La Florida’s streets to their upcoming album, they fight conformity with riffs, fury, and rebellion. 1. Your musical proposal seeks to revive the powerful sounds of 80s and 90s metal. What inspired you to recall those decades and bring that style to today’s scene? We were inspired by the rawness and honesty of those decades. 80s and 90s metal wasn’t about pleasing anyone, it was about hitting hard, being a cry of resistance. Today we feel the scene needs to recover that visceral energy, that sense that music is a weapon and not decoration. It’s not about nostalgia; it’s about bringing back a spirit that still lives in us and deserves to resonate now. 2. In your biography you mention influences ranging from Iron Maiden and Metallica to Misfits and La Polla Records. How do you balance the spirit of heavy/thrash metal with the raw energy of punk and punk rock in your sound? For us it’s not about mixing styles like ingredients in a recipe, but letting them coexist in their purest form. Heavy and thrash give us the structure: sharp riffs, cutting solos, and a rhythm section that hits like a hammer. Punk and punk rock bring the urgency, the rawness, the direct rage. What we do is keep the discipline of metal while embracing the irreverent attitude of punk, creating a sound that doesn’t ask for permission and delivers both technique and visceral energy. 3. Helladdict was born in La Florida and its surroundings. How has the local scene influenced your development as a band and helped forge your identity? La Florida and its surroundings gave us the rawness we needed. We didn’t grow up in a place where music was a luxury, but where every riff was an outlet and every rehearsal a battle against routine. The local scene taught us resilience, to play with whatever we had, and to scream louder to be heard. That street energy became part of our identity: we are children of an environment that gives nothing away, and that’s why our music doesn’t ask for permission. 4. Your self-titled EP has received excellent reviews from both critics and listeners. What lessons did you learn from that recording and release process that you are now applying to your next album? The EP taught us that rage needs form to arrive intact. We learned that recording isn’t just capturing rehearsal energy, but sharpening it so every riff and scream hits with precision. We also realized that the release doesn’t end in the studio: you have to take care of production, promotion, and connection with people. For the next album we’re applying that discipline more clearly: we want each track to be a direct hit, sharper, more brutal, with the message delivered without concessions. 5. You describe your lyrics as a call to rebellion and discontent with the established order. What themes or messages do you seek to convey through your songs? Our lyrics are a scream against apathy and blind obedience. We denounce manipulation, the hypocrisy of power, and the routine that kills identity. We want every song to be a reminder not to accept what’s imposed, that rage can turn into strength, and that authenticity is the only real form of resistance. Our messages are clear: question, break chains, and never bow your head. 6. You are currently working on a new album expected to be released this year. What can you share about its sound and how it represents your evolution as a band? This new album reflects our maturity as a band, but without losing the rage that defines us. The sound is sharper, more direct, with production that enhances brutality without softening it. We’ve learned to channel energy better: heavier riffs, more incisive drums, and lyrics that cut even deeper. It represents our evolution because we’re not repeating formulas, we’re taking our identity to a rawer, more conscious level. It’s Helladdict’s natural step: growing without taming the fury. helladdicts • Photos et vidéos Instagram
Andy Smith & Emily E. Finke
Andy Smith & Emily E. Finke ‘Legends’ was born from a global collaboration, blending distinct styles across continents. In this interview, Emily and Andy share their creative process, remote challenges, and the chemistry that made the song come alive.” 1. “Legends” was written across 10,000 miles. What was the very first spark—musical or emotional—that convinced you both this collaboration needed to happen? Andy : As soon as we started speaking. We had a few emails going back and forth and then agreed for a video call. It was then that I knew we were on the same page and that we needed to create this song. I had already heard Emily’s voice and I also knew I wanted to work with her then. Emily :The spark for me happened when Andy sent me the first demo of the song played on the acoustic guitar. In the beginning of collaborations, I try to keep an open mind – creatively speaking – so as to be objective in the process and open to the other person’s vision. While I knew it was possible to blend our styles, I was unsure exactly what that would look (or sound) like and how far we could take the project. Up until this point, we seemed to be in accord on the lyrics and general style, but when I first heard Andy’s instrumentation, I knew we were in complete synchronization and on our way to creating something incredibly special. 2. Working remotely across three continents must have brought unique challenges. What part of the long-distance process surprised you the most—either creatively or technically? Andy: It was a lot easier than I thought it would be. All the ideas and our vision were shared either by email or discussed in a video/phone call. We both produced the song, but it was engineered by myself. But any prominent changes were disucssed first and also when I did anything during recording or production, I would send a copy of where we were at. I think the final mix was version 16! Emily: I had never created such a big project almost entirely remotely, and the biggest surprise to me in the process was how simple it really was. It had challenges that are different to in-person collaborations such as dealing with a 13.5 hour time difference, but I was amazed at how much we were able to accomplish remotely. Perhaps that just speaks to how well we worked together with patience, clear communication, and a shared vision. 3. You mentioned blending two very distinct musical styles. Can you describe a moment in the songwriting or production when you felt those styles finally “clicked” into something new? Andy: There wasn’t really a moment like that. We were on the same page the whole way through and very open and hinest with eachother, which made the whole process very seamless and less complicated. Emily: I didn’t really have a moment like that, a feeling of something “finally clicking,” but perhaps that is because I don’t tend to stick to one style in general. I think, as I mentioned before, our constant communication through every step of the process helped to create a clear vision that slowly built and morphed into what became the sound of “Legends.” 4. Your vocals were recorded together in Atlanta during the ISSA Awards. How did meeting in person influence the song after months of remote creation? Andy: It was amazing! The song sounded good with the vocals done remotely but there was something missing and it’s hard as a producer also to convey your vision by email. Being together for the vocals meant we could talk about it, try it out and discuss. But again, we were so n’sync with each other that the vocals that made it on to the record were the second take. We warmed up and then went for it and that is what you hear. Best decision we made as it really comes across in the song, the togtherness and chemistry. Emily: Recording the vocals together took the song from being a well-made piece of art to becoming a living, breathing creation. As much as the song could have been made 100% remotely and been a great song, nothing could replace the experience, emotion, and creative harmony that we captured in the room together when we recorded the vocals in person. 5. The lyrics explore time, myth, and distance. How much of that theme reflects your own experiences as artists navigating global collaboration and personal storytelling? Emily: These different lyrical ideas of distance, time, myths, storytelling, etc. were like puzzle pieces waiting to be put together. The story of our meeting and creation process across a vast space was a prominent idea from the first conversation we had about the project. I had not intended that meaning in the lyrics when I first penned portions of them before meeting Andy, but he interpreted that meaning in them, and it ended up being the glue that brought all the pieces together to create a cohesive picture. 6. Now that “Legends” is out and receiving praise, do you see this partnership continuing? Are there future songs or creative ideas already brewing between you? Andy: 100% will collaborate with Emily again! I thoroughly enjoyed the whole process and we have become good friends. When are schedules allign, we will do something together again. She is uber talented and it will definitely be my pleasure. Emily: It would be an incredible honor to create more music with Andy. There is so much more that we feel we could explore between our different musical interests and styles. We are both busy with solo projects at the moment, but we have already thrown out some ideas for future projects, so I know it will happen at some point soon. Andy Smith Music Legends | Emily E. Finke
Athena Maria
Athena Maria This interview explores Athena Maria’s journey from childhood songwriting to breakthrough moments, theatre influence, teaching, and future ambitions—revealing how passion, vulnerability, and creativity continue to shape her evolving musical path. 1. You’ve been singing and writing music since childhood, but was there a specific moment when you realized music was more than a hobby and could become your true path? I realized music could really be a career path for me after I saw how my art connected with people. Being able to see people’s emotional connection to my music and lyrics were really what sealed the deal for me; I’ve always wanted to make a difference, and being able to do so with music seemed like the best dream to come true. I’ve been chasing that dream ever since. 2. Your songwriting draws from very personal experiences as well as eclectic influences—from Harry Styles to French fusion jazz. How do you balance vulnerability with creativity when shaping a new song? I love this question! When I make music, I always try to use my current music taste to inspire the creative and sonic direction of the song, and I use my personal experiences to dictate the lyrical direction of the song. I’ve started to notice a pattern in my songwriting: there is a period of time shortly after I get into a new niche that I start writing prolifically – I pump out 2-3 fully fledged songs every week. After a bit, it slows down a little bit more until I get a new spark of creativity. Usually by the end of a few months, I have a really nice set of songs that balance emotional depth with musically unique elements. 3. “Lemon Juice” became a breakthrough moment for you, especially with the live performances. What did that song teach you about your artistic identity and connection with your audience? Before I debuted “Lemon Juice” live for the first time, I was actually building some resentment toward singing it live. I had rehearsed it so many times that it didn’t excite me anymore, and I kept beating myself up about not sounding exactly how I do in the recording. I was in a lesson with my voice teacher, Ian Holljes, when he told me that I needed to let go of what I thought I was supposed to sound like and remember why I loved the song so much. Once I did that, singing it wasn’t about me anymore. It was fully about immersing myself into having fun and connecting with the audience. That’s what makes that song so special to me now: seeing the audience have fun with it. 4. You originally dreamed of Broadway before fully embracing songwriting. How has your musical theatre background influenced your stage presence and the way you tell stories in your music? Being a theatre kid has opened up my connection with my voice and body so much. A lot of people don’t realize how important physical connection to the body is when it comes to singing. I don’t mean just proper singing technique, I mean being fully aware and intentional with every move you make when performing. Theatre has really helped me open up more in terms of that. Without my musical theatre training, I don’t think I would love being on stage as much as I do. 5. Beyond being an artist, you run Lovergirl Music Group and teach multiple music programs. How do these entrepreneurial and teaching roles shape your growth as a musician and as a person? Being a teacher is one of the most rewarding experiences because of how much it forces you to grow, adapt, and learn. Teaching both big classes and individual private lessons has shown me the importance of collaboration – the best way to learn is to make sure the student knows you are on the same team. In terms of running Lovergirl Music Group, being an entrepreneur takes a lot of patience, responsibility, and grit – something I take with me in my everyday life. 6. As you approach graduation from the Frost School of Music, what are the next steps you’re most excited about—both musically and professionally—and how do you envision balancing all the different passions in your career? To be completely honest, the future is a really daunting thought to me. I plan on moving out of Miami and getting my masters degree, but beyond that I really want to be as open as possible to any possibilities. There are so many things about music that excite me, so I feel like I could really adapt to whatever opportunity life throws my way. If it were up to me, I would focus on my artist career before I start teaching full-time, but I truly am open to anything. In terms of balancing it all, I think my deep love for all these different passions will always keep me connected to each creative pursuit, whether or not it’s my main focus at the time. Athena Pacanins – Lovergirl Records | Athena Music
Lana Crow
Lana Crow Lana Crow’s “Orwellian Times” confronts manipulation, outrage culture, and digital confusion. In this interview, she explores truth, vulnerability, and the creative vision shaping her bold, genre-blending new single. 1. “Orwellian Times” tackles themes of conformity, outrage culture, and digital chaos. What moment or realization first sparked the idea for this song? I was raised in a post-Soviet society. Year after year after the Soviet collapse, the lies that had propped up the empire unravelled—and the sheer scale of the deception and brutality was staggering. What I now consider an advantage is that, when I went to university, Kazakhstan was in the process of finding its own cultural and moral identity. As a result, no particular ideology was forced upon me. Yet those who had been indoctrinated by Soviet higher education remained completely immune to any exposure of the regime’s lies. Nothing could convince them that the Soviet Union had been a deeply flawed and oppressive system. Truth simply didn’t matter. That experience taught me something important: we tend to believe only what we want to believe. Very few people are genuinely interested in the truth; most care only about how it makes them feel about themselves. This human tendency is being exploited on a massive scale today. When I moved to the West many years ago, I was initially heartened by the greater transparency in the media. Over time, however, I watched that transparency slowly erode. For me, the moment it became unmistakable how Soviet-like parts of the West had become was the media onslaught against Israel following Hamas’s terrorist attack on October 7, 2023. Two things struck me as utterly surreal: Ukraine was forgotten overnight. Conflicts with far higher death tolls and suffering — Yemen, Sudan, Syria, Nigeria — were barely mentioned at all, except by a few isolated outlets. Hamas had taken roughly 250 hostages, so the power to end the war had always rested in Hamas’s hands—yet Israel was expected to abandon its own citizens and stop fighting. This absurdity prompted me to try and find out what is being pushed on popular social media these days and what is currently being taught in English-speaking universities, and I discovered some deeply disturbing things (which I won’t detail here). My only advice is this: if you truly want to understand a country or a conflict, don’t rely on books or media. Go live in the place that moves you, learn the language, and find out what actually drives people to act the way they do. Sadly, much of the Western world has been manipulated into believing that being loudly pro-Palestinian makes them virtuous. In reality, the dominant strain of that movement is not “pro” anything — it is anti, fueled by hatred. The street protests did not shorten the war; if anything, they prolonged it by playing into the hands of those who started it. I can almost understand those who have been bombarded with anti-Israel propaganda from every direction. Few of us do real research before forming strong opinions, especially when jumping on the popular bandwagon makes us look morally superior. Most non-Arabic-speaking protesters have no idea that the chant “Free Palestine” actually says “From the water to the water, Palestine is Arab, all land is Arab” in Arabic. They also don’t realise that Palestine would have no problem with Israel if Israel shared Palestine’s religious faith. The sad thing is that certain ideologies have become part of many people’s identity, and identities adopted in youth are hard to shake. When an ideology convinces you that it is virtuous to hate, the future looks bleak for all of us. In short, what sparked the idea of the song was how easily we are manipulated today — how effortlessly we can be made to feel righteous and good while actually being driven by some of our darkest emotions, and how easy it is to divide us. 2. Your lyrics blend irony with emotional vulnerability. How did you find the balance between calling out societal behavior and keeping the message personal and relatable? Because I am just one of many, I know how easy it is to get trapped in a narrative we’re being fed. We are all guilty of bias, and we’re all shaped by whatever pops up on our screens. I often catch myself judging something—or someone—based on a report or a comment, only to find out later that I was wrong. There’s simply too much noise around us. I think the best way to stay grounded right now is to avoid letting foreign conflicts take over our personal space. We can’t help projecting our own values and perceptions onto others, and some cultures are so vastly different that only people with real, personal insight into the daily life of that culture would know what they are dealing with. Some conflicts are just not ours to judge. And it’s a strength, not a weakness, to admit when you got something wrong. The world is changing very fast at the moment and it is ok to make mistakes. 3. The track mixes punchy guitars with cinematic synths, creating a powerful pop-rock atmosphere. What was your sonic vision going into the studio for this single? I asked the producer, George Harris, to create a sound that would land somewhere between Taylor Swift’s “Actually Romantic” (I loved the guitar there) and my own “Don’t Look Up.” He’s a clever guy and a talented artist in his own right—he releases music as Brando Walker on Spotify—and I think when he heard the demo, he immediately sensed that the track needed that eerie atmosphere the synths could bring. And he absolutely nailed it. It was the first time a producer has delivered the perfect track for me on the very first attempt. 4. You’ve said this song is like holding up a mirror to listeners. What do you hope people feel or confront within themselves after hearing “Orwellian Times”? I wish people would stop chasing movements that give them a cheap
Raffy L’z
Raffy L’z Raffy L’z returns with raw honesty in “John Doe,” confronting addiction from both sides. In this interview, he reflects on growth, responsibility, and the lived experiences shaping his bold new voice. 1. Your new track takes on addiction from two opposing perspectives — the addict and the dealer. What inspired you to approach the story from both sides, and how did you balance honesty with responsibility while writing it?I’ve personally seen both sides, first hand. It’s something I grew up around.I wanted to tell the story from both sides because that’s the reality I came from. I’ve seen the addict’s world up close, and I’ve also lived the other side of it — the side people don’t usually talk about without sugarcoating or sensationalising it. Writing ‘John Doe’ wasn’t about glamorising anything; it was about showing the cycle for what it really is: two people trapped in different versions of the same struggle. I balanced honesty with responsibility by focusing on the emotions and consequences more than the lifestyle. It’s a reminder that everyone in that situation is fighting something, and that’s what I wanted the song to capture. 2. You’ve been creating since the MySpace and pirate-radio days as Mr L.KiD. How has the journey from that era to now shaped the tone, confidence, and maturity in your storytelling?Coming up in the MySpace and pirate-radio days as Mr L.KiD gave me a foundation you can’t really manufacture. Back then it was raw — no strategy, no marketing, no second takes. You either had something to say or you got swallowed by the noise. I was just a kid finding his voice, running off pure instinct and energy.The years between then and now forced me to grow in ways music alone couldn’t. Life happened — the mistakes, the lessons, the consequences, the rebuilding. All of that stripped away my ego and left the honesty. So when I write today, the tone is different: it’s more focused, more intentional, more truthful. I’m not trying to impress anyone — I’m trying to tell the story properly.The confidence you hear now doesn’t come from bravado; it comes from surviving everything that shaped me. And the maturity in my storytelling is just me finally having the life experience to really mean the things I’m saying, instead of just trying to sound like I do. 3. After stepping away to build your life and family, you’ve returned with a noticeably sharper, more grounded voice. What personal changes or experiences most influenced this new version of Raffy L’z?Stepping away from music forced me to grow up. I went through things that most artists don’t talk about — rebuilding my life from scratch, becoming a dad, taking care of my responsibilities, and learning what actually holds value. When you’ve lived real life outside the studio, it sharpens you. You stop trying to impress people and you start telling the truth. That’s why this new version of me sounds more focused and grounded: I’m writing from a place of experience now, not ego. Everything I’ve been through — the losses, the lessons, the small and big wins — it stripped away all the noise and left me with a clearer voice and a much deeper purpose. 4. The production is dark, stripped-back, and almost cinematic. When building this track, how did you decide on the raw drum-kit approach and heavy bass to convey the emotional weight behind the subject? For John Doe, I knew the story itself was heavy enough — addiction, power, survival — so the production didn’t need to be dressed up. I wanted it to feel raw and uncomfortable, almost like you’re sitting in the room with both characters. That’s why I went for a bare drum-kit feel and a heavy, dragging bassline. The space in the beat lets every word hit harder, and the bass gives it that sinking-stomach feeling that comes with the realities I’m talking about. The whole point was to strip away any gloss and let the truth of the story do the talking. The production had to feel like where I came from — cold, minimal, and honest. 5. You describe this record as a statement rather than a trend-chasing track. What message or understanding do you hope listeners walk away with after hearing it?At the core of this, I want people to walk away with a sense of reality, not glamour. Whether you’re the one buying or the one selling, drugs pull you into a world that looks tempting from the outside but destroys you from the inside. I’m not trying to preach — I’m showing both sides exactly how they feel: the addict desperate for relief, and the dealer trapped in a role that eats away at you long-term. If someone hears this track and it makes them pause, even for a second, before getting mixed up in that life — then the message landed. That’s all I really want: for people to understand the cost. 6. Your music often comes from real life — pressure, reflection, and lived experience. How do you navigate the line between protecting your privacy and telling the truth with the kind of clarity and emotion that defines your sound?I don’t need to overshare for the story to hit. I paint around the edges — the feeling of being in too deep, the choices that change your life, the weight that stays with you. As long as the emotion is real, the message lands without me exposing every chapter of my past. That balance keeps the music honest, but keeps my private life protected. Chris or L’z. It Depends. (@redefinethismess) • Photos et vidéos Instagram
Riffindots
Riffindots This interview dives into Riffindots’ volcanic new single “Everytime,” exploring its nostalgic roots, experimental recording process, cross-continental influences, and the vivid visual world shaping the upcoming Latitude Bera experience. 1. “Everytime” is described as a ‘magma-laden roller coaster.’ How did you translate that volcanic energy into the music, and what inspired that extreme imagery? I wrote this song a long time ago and the song is actually about a longing to live in the haze of old film. That haze. That pale, scratched texture. If you look at old Kodachrome pictures, you assume that the air, old kitchens and backyards looked just like that. I think the word for this is “Anemoia”. I did grow up in the 70’s, and of course every day didn’t look like that, but in the collective memory, somehow it does. The techtonic volcanic nature of the song was simply the vehicle for this idea. Is there a parallel between the two? Well volcanos spew out from a place of origin. Nostalgia is a desire to return to it. 2. Your recording process in the Basque Country involves a unique pneumatic tube system for song sculpting. Can you walk us through how that unusual workflow shapes the final sound? I wrote a lot of music on my iPad while I was living there, but the songs needed polishing. By sheer happenstance, I met Lole, a sound engineer who happened to be my neighbor. That was 2019. I would send him my piles of spaghetti, and with the patience of someone trying to teach Betty Boop to fly a B52 Bomber, he’d clean them up. He’d add piano and keys and some drum tracks using his keyboards. We still work together, even though he’s 3000 miles away. I send him files from this side of the Atlantic. He’s very loyal, patient and very invested in the production of my songs. We have also enlisted an incredibly talented drummer who’s played on a number of my songs in the past couple of years. 3. The song features raucous guitars, steady bass, and a shrill synthesizer solo reminiscent of classic rock. How do you balance your stoner/acid rock influences with your own experimental touch? I grew up listening to a lot of Classic Rock and a lot of experimental, Prog, New Wave, Post Punk. The stranger the music, the better. It has all been stored in my own nervous system and it will bubble up in one ways, whether consciously or sub consciously. 4. You’ve lived both in Maine and France—how have these different environments influenced your songwriting and artistic vision for Latitude Bera? I like this question. Although the Basque Country was completely foreign to me, there were familiar-seeming mountain lines, horizons, angles of the sun, positioning of the ocean, shadows. I saw these in Maine when I was a kid. Because it was both familiar AND foreign, there was a strange feeling to want them to somehow align. I did feel lonely and out of sorts over there at times. Maybe there was comfort in looking over at the mountains of Spain and thinking that they looked like the horizon I saw in Portland, Maine. 5. You describe yourself as a musician, artist, and foreign language teacher. How do your other passions feed into your music, and do they intersect in unexpected ways? I teach adults, and being a naturally curious person, I like learning about people and learning styles and their fascination for learning languages. I too learned French (and Basque-not so successfully!) as an adult. It’s easier when you’re a kid, of course. But I remember when French really took hold, I noticed some weird unintelligible staticky frequencies of French that started to make their way into my subconscious. Something shifted, and I started to understand it. Also, the brain anticipates what it is supposed to do next when you start speaking. It feels a lot like when a song ends on an album, and your brain jumps ahead in anticipation of the next song. 6. Fans can expect visual mayhem alongside your music. How important is the visual element to the Riffindots experience, and do you plan any surprises to accompany Latitude Bera? This do like to make short, I guess you would call them “visualisers”. 15-30 second slivers of what strikes me to make after a couple cups of coffee. It might be a time lapse of my photchromic lenses changing back to normal after being outside- with my music playing. It may be an animated short of all my western shirts slivering up and down my long hallway. It may be my dogs running fast leaving lysergic visual trails behind them (with the help of certain camera effects). I have dabbled in AI, but I’m trying to use alternative means because I don’t want things to look too AI-y. brittapejicmusicartdogs
Noah Hutton
Noah Hutton Noah Hutton’s “Christmas Time” was born from a spontaneous spark and shaped by heartfelt collaboration. In this interview, he shares the family moments, studio magic, and creative instincts behind his modern holiday single. 1. “Christmas Time” was inspired by a spontaneous moment during a family car ride. Can you walk us through that spark of inspiration and how it turned into a full song just a few hours later? I’m not exactly sure when the spark hit. We were heading home after Thanksgiving lunch, listening to holiday tunes, and my wife, Tash, mentioned that the world needed new Christmas music. She felt we’d been hearing the same ones for too long. I joked that I didn’t write Christmas music and wouldn’t even know where to start. It honestly never crossed my mind again after that.Later that evening, I was practicing for a show and hit a wrong note. As musicians know, sometimes a good-sounding wrong note can be the key to finding the right song. It immediately had a very distinctive, ‘jiggly’ feel. I looked at Tash and said, ‘I think you’re going to get that Christmas song.’ A cute story started playing in my mind right away, and I wrote it out. 2. This track features contributions from Marco Freeman, Edgar Zambrano, and even your son Bryson. How did each collaborator help shape the sound and spirit of the single? I am incredibly grateful for each artist’s contribution to this project. Marco’s bass line is foundational; it provides a steady, rhythmic trot that evokes the feeling of a horse pulling a winter sleigh. Speaking of which, at the beginning of the second verse, you’ll hear a soft set of sleigh bells, added by my son, Bryson, which truly makes you feel the sleigh passing by. Finally, Edgar brought the Christmas magic, adding both lead guitar and keys. He is responsible for one of my favorite parts: a subtle sound effect of little feet sneaking out to catch Santa. 3. You recorded at Eclipse Studios in Normal, IL, marking your first time in a professional studio. What was that experience like, and did it influence the final direction of the song? Erik at Eclipse Studio is a fantastic studio engineer to work with. For Marco, Bry, and I—it was our first time in a professional studio—he immediately made the experience relaxing and a ton of fun.Erik jumped all in from the very first note, vibing with the energy, adding shakers and percussion, and suggesting creative elements I would have missed otherwise. He even switched the lights in the recording booth to red and green to add that extra touch of Christmas magic. We came in with a small idea of how the song should sound, and he took that vision and helped shape it into the tune we have today.My wife, Tash, was there for support and to be part of the experience, and honestly, I don’t think the smile left her face all day. I remember second-guessing myself at times, and she would immediately reassure me that things were sounding on point. The glow on her face when the project was finished let me know it couldn’t have come out better. 4. With the release of “Christmas Time” opening new doors, including recent live performances, how has this song changed your momentum or outlook as an artist? The release of ‘Christmas Time’ brought with it a wave of live shows and news performances, quickly pushing me past my comfort zones. For the first time, I achieved an understanding that I was going to be okay. I am now much more confident in sharing my authentic self and vision as an artist. 5. You’ve said you’re simply trying to tell your story as a singer-songwriter. How does this Christmas release fit into your personal artistic journey and the themes you gravitate toward? The story behind the song itself is part of my artistic journey. Almost all of my songs have some quirky, unexpected element that sparks their creation, For ‘Christmas Time,’ it really was Christmas magic. 6. Holiday music is full of tradition, but your song brings a fresh feel. What elements—musical or emotional—were most important for you to capture in creating a modern Christmas track? Thank you! When a story starts to reveal itself, it happens fast—I’m really just along for the ride. Once I had a chance to pause and process Christmas Time, I knew that was exactly what I wanted to try to capture: the simple, fun moments of Christmas. The kind of moments anyone can place themselves in, and hopefully ones that bring a smile to their face. Noah Hutton
Angerland
Angerland In this interview with Angerland, we explore the spark behind “Commit A Madness,” diving into its themes, creative process, chaotic visuals, and the fierce live energy shaping the band’s current era. 1. “Commit A Madness” feels like a call to arms for those who take risks and rise after every fall. What inspired the message behind the song, and how did it take shape musically? Kermit: We tend to write the same way. Someone brings a rough idea in. We knock it about, jam whatever feels right. Jon adds words and melody so he’s the man with all the messages. The arrangement is often the last thing to take shape depending on what feels like a chorus or mid 8 etc. 2. You quoted Alan Moore’s The Killing Jokein your announcement — “Madness is the emergency exit.” How does that idea connect with the themes or energy of the track? K: Good question! Jon? J: I guess it depends on what you think of as madness. Some might think it’s jumping off a cliff while other might think it’s forming a band and asking complete strangers to listen to your music! I see it as taking a chance, risking everything you have or hope for in that moment. Metaphorically jumping off that cliff and see how you land. 3. Your live history includes sharing stages with Evil Blizzard, Theatre Of Hate, and Ruts DC. How have these experiences influenced your sound or approach as a band? K: Made us hungry for more, I think. It’s been an amazing year. 4. The video, created by Paul Graham, adds a strong visual identity to the song. Can you tell us more about the creative process and how the visuals tie into the track’s message? K : Over to Paul P: The video was created using 14 different takes of live footage at various venues where the band played Commit A Madness during the show. These were synced to fit the studio recording and then graphics overlaid in a frenzied style to represent the confusion of madness. Some of the footage was treated as a duotone in the band’s red & black style and other graphics were created to enhance the confusion., including a video of the graffiti in Quadrophenia Alley, Brighton where the band were playing at the Piepline, a nearby venue. 5. “Commit A Madness” blends punk attitude with vibrant colour and noise. How do you balance raw aggression with melody and atmosphere in your songwriting? K: We just go with whatever feels right. If it ain’t broke don’t try and be clever. If it feels good and sounds right then that’s where it all should be? 6. You’re playing London’s legendary 100 Club in November. What can fans expect from your live performance, and how does this new single fit into your current setlist or era as a band? J: Lots of energy and hopefully a bloody big noise! K: We’re going to enjoy ourselves and hope everyone who comes along joins in. J: It’s a pretty iconic venue in our world so the challenge is to be the band people walk away talking about. Preferably because you’ve put on a great show rather than falling flat on your face! https://anger.land/
Hverheij
Hverheij Hverheij delivers a vibrant fusion of electronic, urban, and experimental sounds. “Mezmer Eyes” channels Vancouver’s dynamic energy, capturing city movement, color, and community through immersive rhythm and emotive production. 1. “Mezmer Eyes” captures the energy of inner-city life. What specific scenes or moments from urban environments most influenced the sound and mood of this track? Getting off sky-train rapid transit in the heart of downtown brings immediacy to Vancouver as a living inner city, where business people mingle with residents from the surrounding towers. The shopping district absorbs the hustle and bustle of traffic, pedestrians, and visitors. And from certain vantage points, the North Shore Mountains display a beautiful backdrop to all. So I would say it’s the lights, the noises, the movement, the vibrant colors mostly on sunny days. There’s a beat to it all – a pattern of artistry and rhythm that breathes with life. Seeing it is feeling it. Without consciously being aware, that rhythm plays to the soul of everyone who’s there – a strange understanding that links their lives and brings them together from over the miles. “Mezmer Eyes” captures all of these sights, sounds, energy and rhythm and shares that through the music. 2. The track blends electronic, urban, instrumental, and experimental elements. How did you approach balancing these genres while still keeping the song cohesive and engaging? It’s a funny thing that while working on it, the choices made to integrate the elements seemed to just click together as I went along; but thinking now about your question, it’s probably the percussion that kept things in check (probably also true of all the tracks on the album). On this track, the central beat was the first stem recorded, from which voice and all of the instruments followed in rhythm. I guess from that the heart was represented first and emotion followed, but only if you accept if those can actually be separated at birth. Can they really? 3. You used tools like the Arturia Mini Freak, Push 2, and MPC Live 2 in the production. Which piece of gear played the biggest role in shaping the emotional build-up of the song—and why? Keeping in line with my previous thoughts, if the MPC Live 2 delivered the heart, then I would say the Arturia Mini Freak provided the most colorful nuances to emotional buildup on this track due to the touch sensitivity of the keys and the playfulness of using the control wheels with plugins. Fun and easy to use. 4. The mastering process involved Michael Southard (Time Rival) and Triplicate Records. How did their involvement elevate the final version of “Mezmer Eyes”? Triplicate Records is a label that supports releases of all types of electronic music: ambient, idm, urban, experimental – you name it. So they encourage new directions, innovations, quality of sound and forward driven music, which is a good thing for me because my projects tend to go in many different directions from one album to another. When I forwarded the concept of this album to TR, they openly embraced it under the label’s banner for this release. I should add that my first ever album release was through Triplicate Records in Dec 2020 (a kind of 2020 vision), from which I have released numerous albums on my own, plus 7 additional albums – including the current one – through the TR label. It’s safe to say in general that all 3 founders of the TR label – that’s Michael Southard (Time Rival), George Ernst (Suncastle) and Bryan Kraft (BVSMV) – have taught me a great deal about music production and they have been very positive in promoting my work. Michael provided final mastering for Let’s Be Clear, including “Mezmer Eyes”, by taming the sharper edges and allowing highlights within certain frequencies to shine. The distorted guitar and tubular bells are prime examples on this track. Since Michael has mastered the majority of my own album releases, in addition to my TR releases, he has an intuitive understanding of my music and is able to bring out the finer nuances while enhancing fidelity in the music’s heart-of-sound. Over time, I believe Michael’s skill has taught me to be more precise in my initial pre-mastering work. I like to think that “Mezmer Eyes” is produced better as a song because of those things. 5. Your music often emphasizes positive energy and momentum. What emotions or reactions do you hope listeners experience when they first hear track 8 on the album? Exactly that. To feel positive about urban community, to experience a sense of being at one with it’s energy, and to embrace connection with a city’s internal rhythm, is an emotional response to that which encourages love, artistry, and freedom. Isn’t that what life is really all about? So when someone listens to track 8, I hope they can feel through the music all that gives those feelings light and life. 6. The album Let’s Be Clear explores unique rhythms and modern sonic shifts. What do you feel sets “Mezmer Eyes” apart from the other 11 tracks on the record? I hope an unbridled joy in the moment of where you are by viewing things in the best direction possible. The interconnection between community and individual I believe is felt most positively in this track through the eyes of the beholder. Musique | Hverheij
Salyse
Salyse Salyse returns with a deep house reimagining of “BARE,” blending vulnerability and movement. In this interview, she explores emotion, spirituality, and how the Sainte Francis remix expands her evolving sonic universe. 1. “BARE” was originally a soulful and intimate confession. What emotion or intention felt most essential to preserve when allowing Sainte Francis to reinterpret the track? “BARE” was originally a soulful and intimate confession. What emotion or intention felt most essential to preserve when allowing Sainte Francis to reinterpret the track?The heart of “BARE” has always been about vulnerability, that soft, trembling honesty that comes from letting someone really see you. Even with the shift in genre, I wanted the remix to keep that feeling of emotional nakedness. The tempo and texture could change, but the vulnerability had to stay intact. Sainte Francis understood that immediately, and built the entire remix around protecting that emotional core. 2. The remix transforms vulnerability into physical movement. How did it feel hearing your voice placed inside this deep, pulsing, club-driven soundscape for the first time? The remix transforms vulnerability into physical movement. How did it feel hearing your voice placed inside this deep, pulsing, club-driven soundscape for the first time?Hearing my vocals wrapped in this deep, pulsing world was liberating. It was like my softness became the heartbeat of the dance floor. The remix made the emotion feel embodied, like the confession could now live through rhythm instead of stillness. 3. Sainte Francis is known for blending deep house, disco, and underground club culture. What drew you to collaborating with him specifically, and what surprised you most about his approach?Sainte Francis blends deep house, disco, and underground club culture. What drew you to collaborating with him, and what surprised you most about his approach?House and disco have always been part of my musical roots; those sounds raised me, shaped my rhythm, and taught me that movement can be spiritual. So when Sainte Francis came across my TikTok FYP talking about the history of house music, it stopped me. The way he honored the culture and the lineage, it truly resonated with me instantly. I was impressed, and I felt this pull like “I need to work with him”.When I reached out, he responded immediately and with so much intention. The connection felt fated; the universe really did its thing!What surprised me most was how deeply he respected the emotional world of “BARE.” Instead of overpowering it, he built the production around my vocals and my roots. He understood exactly where I come from musically, what I am trying to achieve sonically, and expanded it in the most natural, beautiful way. 4. Your music often bridges soul, spirituality, and sensuality. How does this remix expand or shift the spiritual dimension of “BARE”? Your music bridges soul, spirituality, and sensuality. How does this remix expand or shift the spiritual dimension of “BARE”?The original was a poem whispered in someone’s ear during pillow talk. The remix feels more like a release, a surrender of whatever you’ve been holding onto. It adds a communal, ritualistic layer to the spirituality of the song. Instead of one-on-one intimacy, it becomes a collective moment where bodies, breath, and bass create their own kind of communion, but all working together to move your vulnerability and welcome it. 5. The remix invites listeners to ‘let go’ and experience emotional release through dance. What kind of space or experience do you hope this version of the song creates on the dance floor? The remix invites listeners to let go and experience emotional release through dance. What kind of space or experience do you hope this version creates on the dance floor?I hope it creates a space where people can feel free inside and outside themselves, to sweat out the bad vibes, to feel sexy and soft at the same time, and to dance without performing. I want it to be a safe space to release and heal. Imagine a room where the lights are low, the bass is warm, and everyone is allowed to be both powerful and vulnerable without any judgment at all. 6. This collaboration feels like a step into a broader sonic universe. How do you see “BARE (Sainte Francis Deep House Remix)” influencing the direction of your future music? This collaboration feels like a step into a broader sonic universe. How do you see “BARE (Sainte Francis Deep House Remix)” influencing the direction of your future music?Honestly, this was the plan all along. My next single, coming at the top of the year (stay tuned), and the music I’m creating for my debut project all live in this world of house, disco, deep groove, dancehall, and SOUL. I’ve been leaning into music that speaks to the mind, body, and spirit, and also at the same time to rhythms that move you, lyrics that open you, and sonics that feel like ceremony and release.So this collaboration with Sainte couldn’t have come at a better moment. It aligned perfectly with where I’m headed creatively. It feels like the universe gave me a little wink, like “yep, you’re on the right path.” And trust, this won’t be the last time you hear from this duo. We’ve unlocked something special, and there’s more fire on the way. Home | SALYSE