Laji George
Laji George Laji George opens up about the real-life inspiration behind “Sittin’ Here Thinkin’,” blending grunge, folk, blues, and soul while exploring working-class resilience, storytelling, and his upcoming album Out of Line. 1. “Sittin’ Here Thinkin’” was inspired by your friendship with a Navy veteran and union pipefitter. What did you learn from that relationship and his everyday experience that you wanted to capture through the song? What I learned most from his life is that real strength isn’t about being loud or boastful; it’s about quiet endurance. Working as a welder, pipefitter, and serving in the Navy, his life was built on hard, honest work, physical sacrifice, and carrying heavy burdens without ever complaining. He lived with a level of humility, humor, and resilience that you only find in people who have truly been through the fires of life. Through “Sittin’ Here Thinkin’,” I wanted to capture that contemplative, unvarnished perspective—the quiet moments at the end of a long day or a long career when a person sits back with their thoughts, reflecting on life, love, loss, and time passing by. Musically, combining the grunge grit with folk storytelling, blues soul, and even an accordion was my way of honoring that everyday work-ethic story. It’s a tribute to the unsung working people and veterans who build the world around us, carry their stories silently, and keep pushing forward no matter what. 2. The track blends 90s grunge with folk, blues, and even accordion, while drawing from influences as varied as Eddie Vedder, Chris Cornell, Otis Redding, and Etta James. How did you approach bringing these different musical worlds together without losing the song’s emotional core? The key to blending those different musical worlds was putting the story and the raw emotion first, rather than trying to force a specific genre box. At its heart, whether you are listening to 90s grunge, old-school folk, Delta blues, or classic soul, every one of those genres comes from the exact same place: raw human vulnerability, truth, and emotional release. When you look at vocalists like Eddie Vedder and Chris Cornell, their power came from uninhibited passion and grit. But when you listen to soul icons like Otis Redding and Etta James, they brought that exact same fire and honesty, just with a different groove and phrasing. In “Sittin’ Here Thinkin’,” I approached the vocal delivery by leaning into that shared soul-and-grunge crossover—letting the rasp, dynamic shifts, and natural feel carry the weight of the lyrics without trying to over-polish the performance. Instrumentally, incorporating the accordion alongside grunge guitar textures and bluesy acoustic rhythms felt completely natural because we let each element serve the narrative. The accordion brings a dusty, folk-like nostalgia that grounds the song in a working-class atmosphere, while the grunge dynamics give it weight and teeth when the emotion peaks. By keeping the song’s story—that reflective, quiet moment of a working man looking back on life—as the absolute center of gravity, all these diverse musical elements fell into place as natural colors of the same picture, rather than competing sounds. 3. You’ve described “Sittin’ Here Thinkin’” as a song about the quiet reflection that comes after a hard day’s work. What does that moment of reflection mean to you personally, and how important is storytelling based on real-life experiences to your songwriting? For me personally, that moment of quiet reflection is where the noise of the world stops and real processing begins. In our day-to-day lives—whether you’re working a physically demanding trade or balancing endless responsibilities—we spend most of our waking hours moving forward on instinct, just pushing through the tasks in front of us. It’s only when the day is done, when you finally sit down in the quiet, that you actually feel the weight of everything you carry. It’s a space where gratitude, regret, memory, and hope all surface at once. Being able to sit with those thoughts without running from them is where real self-awareness and healing happen. Storytelling grounded in real-life experiences is the absolute foundation of my songwriting. I’ve never been interested in writing abstract fluff or clever fiction just to fill a verse; listeners see right through that. When a song is built on a real person, a real friendship, or an authentic struggle, it carries an undeniable weight and honesty that people feel instantly. Drawing from genuine human experiences—like the working-class resilience and quiet reflection behind “Sittin’ Here Thinkin’”—allows the song to transcend being just a track on a playlist. It becomes a mirror for the listener. At the end of the day, my goal as a songwriter is to take those deeply personal, specific real-life stories and turn them into a universal space where anyone, from any walk of life, can sit back, listen, and say, “I’ve felt that exact same way.” 4. You and producer Jonah Brockman recorded the song between your home studio and his studio, focusing on authentic energy rather than polished perfection. How does working in such an intimate environment affect the way you perform and make creative decisions? Working in such an intimate setup between my home studio and Jonah Brockman’s studio completely changes the psychological dynamic of recording. When you step into a massive, high-end commercial facility, there is an unavoidable ticking clock in the back of your mind. You feel the weight of the hourly rate, the pressure of expectations, and the temptation to over-analyze every single take until you’ve scrubbed away all the character in pursuit of perfection. By keeping the environment small, familiar, and strictly between Jonah and myself, all that artificial pressure disappears. I don’t have to put on a show or worry about sounding neat; I can completely let go and focus purely on emotional delivery. If a vocal take has a slight crack, a rough rasp, or an unpolished edge, but it carries genuine heart, we keep it. That intimate space gives us the freedom to chase the feeling of a performance rather than technical perfection. Creatively, it also
Connor Riesen
Connor Riesen From a playful love story to an intimate wedding performance, Connor Riesen discusses creativity, collaboration, jazz-pop fusion, and the experiences shaping his evolving identity as an artist. 1. “Everybody Falls in Love in Time” was inspired by a period when you and your co-writer were both struggling to find love. How did those personal experiences shape the song’s lyrics, message, and overall emotional atmosphere? I think honestly that it kind of was this funny thing that both of us shared, but it was a very true experience for both of us and it hit on a level that allowed Joel Rivera-Lizardo, my co-writer and actually main writer, to write such a fun and playful, yet deeply emotional song. My experiences added in, and I was able to make some subtle changes and whatnot, which eventually led to the end product! 2. You played all the instruments and handled the production on the track, while Lisandra Yero provided the vocals. What made Lisandra the right voice for this song, and how did you approach bringing her into the recording process? Well I would say the first thing that made me think to ask her to record this was when I was in my studio working on this track. I had just gotten the lyric and melody demo back, and I heard the vocal tone that I wanted, which was this rich and warm tone, very fit for jazz. It then hit me that Lisandra, who was dating my cousin at that time, had been singing for quite a while and had all the same tone that I was looking for. So probably the next day or something like that, I saw my cousin, David, and Lisandra and I brought up the idea of recording her vocals on the song, and the rest was history. Probably the next week, I setup a makeshift recording booth in my cousin’s bedroom, as it was the most acoustically treated room in the house, and we tracked all the vocals in one night. 3. This song holds a particularly special place in your story because it was Lisandra’s first-ever recorded performance—and you later performed it live at her wedding to your cousin. What did that moment mean to you, and did performing the song at their wedding change how you connected with it? I think it was definitely very exciting for all of us and also nerve-wracking when this song first came out, and then obviously as it did well and was well received, it was really awesome. I honestly did not expect to perform this song live, by myself at least, but one lost bet later, I ended up playing the piano and singing on this song for their reception. I was honestly terrified and thought I bombed it, but I also think it was a really cool and meaningful full-circle moment from that night in my cousin’s room recording the song, to performing it at their wedding. 4. The track combines a strong jazz influence with a catchy pop feel, creating something both sophisticated and easy to sing along to. How did you balance those two sides when arranging and producing the song? Honestly that’s not something I put much thought into until later in the production process. This song started out originally as a Bossa Nova song, and I was aiming to stick to the classic Bossa Nova sound and feel. Later on though I realized that it was quite bare-bones and so I started layering various instruments and filling in spaces in the mix, and before I knew it, it was this weird pop/jazz/bossanova/whatever else you want to call it song. I was really quite happy with how the two main styles blended though and I almost think of it like “Accessible Jazz” or something like that. Almost like an intro to jazz basics with the ear-candy of pop music. 5. Your musical journey has taken you from self-taught piano and French horn to digital production, jazz, collaborative albums, and your piano-focused Sabbath in C. How has each stage of your career influenced the composer and artist you are today? I would say that each stage of my career has contributed little easter eggs to all my latest work. It’s almost like a game of finding which things I took from previous works and albums because everything I’ve done in the past leads to where I am now and where I’m going in the future. I’ve learned so much about everything in the songwriting process. the recording process, and the production process, and I wouldn’t be where I am today without everything that came before. 6. Looking ahead, you continue to explore different genres and sounds. Are there particular musical directions, collaborations, or creative projects you are excited to explore next, and what would you like listeners to discover about Connor Riesen through your future work? I definitely have a few big things coming up in the near future which are quite exciting, and I’m hoping that some familiar names will return to my features soon, but only time will tell where I go from here exactly. If there is one thing though I would like people to discover about me through my future work, it’s that I am a true lover of music, many kinds, and I love what I do. If they can figure that out just through what I do on my future releases, then I’m very happy with where I will be at. Home | Connor Riesen Music
Hate At First Sight
Hate At First Sight Blending post-punk energy, industrial textures, melodic hooks, and synth-driven atmospheres, Hate At First Sight opens up about influences, creativity, resilience, and the deeply personal journey behind Familiar Mutations. 1. Hate At First Sight combines post-punk, alternative rock, hardcore, industrial, and synth-driven textures. How did you develop this particular blend of influences, and what makes these seemingly different styles work together for you? For me, I grew up listening to everything from the Cars, David Bowie, Peter Gabriel, etc with my parents. Over time, I found 80’s rock and what not First band that blew me away was the Pixies “Trompe le Monde”, the song “Letter to Memphis”. So the Pixies are a massive influence. At the same time, I’ve listened to everything from Helmet, old school punk, and currently love Durg Church and Turnstile. All of that kind of forms what I write. 2. The title Familiar Mutations suggests transformation while still holding onto something recognizable. What does the title mean to you, and how does it reflect the themes or emotions explored across the EP? Familiar Mutations as a title came about because I think anything I write has a feeling of being nostalgic, with my own twist. So the name fit. The EP in progress, Primal Directives, kind of has that same mindset. Go with what feels right, and what I would listen to. 3. You’ve mentioned influences ranging from Faith No More and Public Image Ltd to Ministry, Nine Inch Nails, and Drug Church. Which artists have had the biggest impact on your approach to songwriting, and what have you learned from them? Biggest influence by far is Frank Black. His way of taking words and making them into your own interpretation I thought was extremely clever. So I like to do the same. I’ll never say, this song means xyz. If you think it means something else? I’m cool with that. 4. There’s a strong balance between aggressive guitars, melodic hooks, bass lines, and 80s-inspired synth textures in your music. How do you approach arranging a song so that the different elements remain powerful without competing with each other? When I write a song, I think the battery first. I’ve played bass since 1997, so unlike most rock musicians, I like the bass and drums out front a bit more. People may not like it, but I find it more pleasing. The synth I bury more, as it’s for texture. My vocals I’m still learning. I never sang a song until 1 Hit, so it’s still a work in progress. I appreciate people actually listening, it means a lot. 5. Hate At First Sight has been receiving encouraging attention internationally, particularly in Latin American markets. How does it feel to see your music connecting with listeners so far from Reno, and has this response influenced your creative direction? I am blown away anyone listens to my music, much less overseas I was medically retired in 2014 from one job, so it affects me being able to be physically active like I was. I used to paint as well, but my vision has given me problems as well. So I’m channeling all of this into my music. The fact even one person enjoys it besides myself makes me happy. I plan on releasing monthly. I have a backlog of 90 songs I’ve written, so I look forward to continue to create. 6. As you continue developing Hate At First Sight, what would you like to explore next musically, and what do you hope listeners will discover about you through the project’s future releases? For future releases, I hope people see me continuing to push myself. I’m still learning as I go, and I do this while working 48 hour weeks and dealing with my own issues. But music has been my solace. Every song I write and put out there just kind of documents I’m still here, still trying. https://www.instagram.com/hateatfirstsightmusic
Milyam
Milyam Milyam blends cinematic atmosphere, raw vulnerability, and minimalist Art Rap, creating an emotionally rich artistic world shaped by visual storytelling, creative independence, and an uncompromising vision. 1. “Dream” takes listeners into a dark, cinematic space between illusion and waking reality. What inspired the concept of the song, and what did you want listeners to feel as they entered that world? For me, emotion always comes first—it is the catalyst for the entire process. “Dream” was born from a need to explore that fragile space where memories and illusions blur. I wanted the listener to feel like they are stepping into an unfilmed movie of their own mind, where the subconscious is the only safe place to process raw, unspoken feelings. Ultimately, I hope “Dream” gives people the space to close an old chapter of their lives, let go of yesterday’s weight, and step into their next dawn with a lighter heart and absolute faith in their future. 2. Your music has been described as sitting between accessible commercial sounds and the introspective side of underground Art Rap. How do you balance experimentation and accessibility while staying true to your artistic identity? I don’t follow conventional expectations or fleeting trends. My absolute priority is conveying raw emotion exactly as it exists in my heart. That is where the balance comes from. This lets me hold on to a richly detailed cinematic aesthetic while staying entirely truthful to what I feel, creating something that feels timeless. MILYAM EMPIRE is founded on authentic values. Our focus is on high-end minimalism and uncompromising sincerity. 3. “Dream” has a notably minimalist yet emotionally powerful production. What role do restraint, atmosphere, and silence play in the way you build your sound? My minimalism is rooted in knowing exactly when to stop and intentionally stripping away any filler. The silence around the words is just as important as the lyrics themselves; it builds the tension and creates a safe, intimate space. The vocal delivery is the absolute center of this record. I had no desire to shout, because sometimes silence speaks the loudest. Every breath and every inflection becomes an instrument that channels my inner state. 4. Your artistic universe extends beyond music into visual storytelling, with MILYAM EMPIRE functioning as an independent creative project. How important is the visual side of your work in shaping the identity and story behind your music? For MILYAM EMPIRE, style and aesthetics are not just details—they are foundational. We are creating more than just music; we are building a world. The storyline and the imagery always come alive first. Every track acts as a scene from an unfilmed movie playing in the listener’s mind. MILYAM EMPIRE, which my mother and I built together, with her as its driving force, is rooted in absolute sincerity and a single, cohesive vision. Before the song even begins, I want the listener to understand that they are entering a meticulously crafted world where artistic freedom, elegance, and raw emotional vulnerability come first. 5. You have already achieved significant international attention, including more than 200 media features, an Unsigned Only 2026 Semi-Finalist position, and attention from the BBC Introducing 1Xtra programming team. How has this growing recognition affected your creative journey? My focus is always on what is inside: on my emotions and the pure act of creation. Recognition from global media means a lot to me, but I preserve the purity of my sound by remaining radically honest with myself. To see my unconventional, atmospheric music reach these platforms—with both “Intimacy” and “Dream” reviewed by the BBC Introducing team on 1Xtra, and “Intimacy” advancing as a Semi-Finalist in the R&B/Soul category of the Unsigned Only Music Awards—confirms for me that staying true to your own vision is worth every ounce of effort. It gives me immense strength to keep pushing boundaries internationally, knowing that we are on the right path. 6. You retain full ownership of your masters and publishing through MILYAM EMPIRE. What does creative independence mean to you, and where do you envision MILYAM taking your music and visual world next? Full independence is the foundation of MILYAM EMPIRE. Owning one hundred percent of my catalogue means we are not building a career — we are building a legacy. It gives us the freedom to create cinematic, atmospheric stories without shaping them to fit industry templates. For me, independence means the feeling arrives untouched. “Dream” is a crucial chapter in the ongoing book of MILYAM EMPIRE. My mother and I aim to expand this vision into a global movement, and a major goal is a full U.S. tour. This song reveals the depth of our world: a place where untamed artistic power meets unapologetic vulnerability. We are preparing to bring the cinematic world of MILYAM directly to the live stage. The foundation is set, and the MILYAM era is only beginning. https://www.instagram.com/iammilyam/
Don Cicci
Don Cicci London-based producer Don Cicci takes us behind “Polpette,” exploring 1970s Italian compositions, boom bap aesthetics, sampling, cinematic storytelling, and the evolving creative vision shaping his distinctive sound. 1. “Polpette” blends classic boom bap aesthetics with the atmosphere of 1970s Italian compositions. What first drew you to that particular era and style of music, and how has it shaped your identity as a producer? Yes, it all draws back to experience and influences. From a young age, people around me made an impact and influenced me in listening to and watching general media. I was always influenced by certain film soundtracks, and to me, the 1970s were the era of beautiful composition and expression of tracks. In regards to my identity as a producer I think the craft itself is ever evolving and I am still learning because there is so much to look at when producing, 1970s style as you say is only another style I produce, where I am pretty diverse and open to creating alternative genres. 2. The instrumental of “Polpette” seems to balance cinematic beauty with a certain street-level grit. When you were creating the track, what kind of emotions, images, or atmosphere were you trying to capture? The whole track immersed in itself was an expression of combined things like beauty and tragedy, whilst the main element for me is the whole track is telling a story without lyrics and any listener can capture his or her story and perceive it through actual listening of the track, as to what he or she may think, or to add any emotions. That’s what makes this track unique. 3. Sampling is clearly an important part of your creative process. How do you approach finding the right samples, and what made the elements you sampled for “Polpette” feel like the perfect fit for the production? Sampling, not only for me but for many other producers, is a major game changer; finding the correct sample requires a good ear for music. For me, the quality and depth of a track and how it makes me feel in a way to want to express it to the listener, is important. 4. You describe “Polpette” as one of your most carefully crafted productions. Can you take us inside your programming and arrangement process and explain what went into building the beat from its initial idea to the finished track? To briefly say, the track was touching; therefore, I chopped it into 4 bars and 8 bars, then rearranged the track and programmed the beat and bassline according to the correct chord progression. The process is pretty straightforward but on point. 5. You created “Polpette” in your home-based studio in London. How does working in your own space influence your creativity, workflow, and willingness to experiment compared with working in a traditional studio environment? To me, working in a home environment is no different from working in a studio; it is pretty much the same, but working from my own space does save paying for resources in a studio, whereas in a studio you have more facilities to experiment and work on, but obviously there are more costs to that. I think it goes hand in hand. 6. You’ve said that “Polpette” could be one of the strongest boom bap productions you’ve made. Looking at the track now, what are you most proud of, and where do you see Don Cicci’s sound evolving from here? Polpette so far is definitely one of my favourite productions to date. I like to express positive pride in my work and accomplishments, which is not to be mistaken for arrogance or vanity, but rather knowing I put the work in, show up and trust in the process itself more than the results. As far as the sound evolving from here, we’ll have to wait and see; stay tuned in! LONDON LO-FI RECORDS
Endive
Endive We caught up with endive to discuss their debut EP headprint, exploring its emotional depth, creative process, diverse influences, cinematic atmosphere, and the journey behind their distinctive sound. 1. Congratulations on the release of headprint! Looking back on the journey from the first improvisations to the finished EP, what emotions stand out the most now that the record is out in the world? Warner: Mostly gratitude, and probably a little vulnerability. Some of the songs began as very private moments at the piano, so releasing them feels like letting go of something that lived with me for a long time. Marcel: And then they became something shared. What’s also special about endive is that we’re not only musical collaborators, but father-in-law and son-in-law, from different generations. We came into music through very different lives, so the project has always been an unexpected meeting of worlds. Warner and I developed the compositions together, sitting in the attic, talking and experimenting until an idea took shape. Seeing those private ideas eventually become a record with Sam and Andro, and now hearing people connect with it, is incredibly humbling. Warner: And somehow that whole journey makes the release feel bigger than just putting out a record. Something that started very privately between the two of us has become something we can share with other people. 2. Many of your songs begin as spontaneous piano improvisations. What is it about improvisation that allows you to discover ideas you might never find through a more structured writing process? Warner: Improvisation helps me bypass the part of my brain that wants to judge everything. I can simply react to what I’m hearing, and sometimes an unexpected harmony or melody takes me somewhere I wouldn’t have consciously gone. Marcel: That’s often where our collaboration starts. Warner brings the initial idea, and then we explore it together. Sometimes it stays close to the original, sometimes it becomes something completely different. Warner: The improvisation gives us the spark, but the writing becomes a conversation. 3. Your music beautifully blends dream pop, ambient pop, and art rock. How did those different influences naturally come together to shape endive’s distinctive sound? Warner: I think the contrast starts with our very different musical backgrounds. I grew up immersed in classical music and was trained at the conservatory, which made me very focused on harmony, melody and composition. Marcel: My background is much more eclectic. I’ve played and toured in bands across different genres and spent years running a record store, so I was constantly surrounded by different ways of approaching music. Warner: We’re also from different generations, so we didn’t grow up with the same musical culture. We naturally bring different perspectives into the writing. Marcel: That means we often hear the same idea differently. Warner might focus on a melody or chord progression, while I’ll hear something in the rhythm, texture or space around it. Warner: When we start responding to each other’s way of hearing an idea, it can develop into something neither of us would have found alone. I think that’s a big part of what gives endive its sound. 4. The EP explores themes such as love, longing, identity, self-discovery, and self-destruction. Were there any songs that were particularly challenging or emotionally demanding to write? Warner: Actually, that applies to quite a few songs on the EP, precisely because they all come from very personal experiences and feelings. Nightfall, for example, was one of the more difficult ones. It’s about addiction, wrong choices and destructive patterns that can be difficult to break. To unfold comes from a very different place: it’s about pursuing your dreams while also being afraid of rejection or failure. Marcel: I think that personal layer is important throughout the EP. You don’t necessarily need to know exactly what lies behind a song to recognize the feeling. Warner: Exactly. The challenge is always to be honest enough that the song comes from somewhere real, without explaining everything. I want there to be room for the listener to find their own experience in it. 5. Nature, dreams, and the passage of time are recurring elements throughout headprint. What draws you to these themes, and how do they help express emotions that words alone cannot? Warner: I’m drawn to things that are constantly changing and impossible to hold onto. Dreams disappear as soon as you wake up, nature is always transforming, and time changes the meaning of things without us being able to stop it. I think those qualities mirror the way emotions work. I’m also interested in the fact that an image can communicate something without explaining it. A landscape, a season or a particular moment in nature can carry a feeling that would become much more literal if I tried to describe it directly. Marcel: And that ambiguity leaves room for the listener. The same image can mean something completely different to different people. Warner: That’s important to us. We don’t want to give the listener a fixed interpretation. We want the songs to create a space where they can bring their own memories and experiences. 6. Critics have praised the cinematic quality of your music. When you’re writing and arranging a song, do you consciously imagine visual landscapes or stories, or does that atmosphere emerge naturally? Warner: It’s a combination. Much like in Impressionism, I try to connect certain sounds with images, feelings and movement. A particular harmony might evoke a colour or landscape, while a rhythm can create a sense of movement. I don’t think so much in terms of a specific story or scene, but more in associations and atmosphere. Marcel: And when we’re arranging, we think a lot about space: whether something feels close or distant, open or enclosed. That connects quite naturally with what Warner is trying to create through those associations. Warner: Ultimately, the cinematic quality comes from that combination of sound, image and feeling, without prescribing exactly what the listener should see. 7. Working with producer
Hal Neink
Hal Neink After two decades of private songwriting, Hal Neink steps into the spotlight, blending quirky influences, personal stories, social commentary, and heartfelt creativity. 1. “Ask Why, Ask Who, Ask Hal” is the result of a journey that began with you writing songs privately for around 20 years. What finally gave you the tools and confidence to bring those songs to life and share them with the world? I don’t think I’ve ever outgrew my teenage shyness, haha. In some ways, I’m still sitting in my dirty childhood bedroom scribbling lyrics into a cheap dollar-store journal. Using a persona like Hal lets me set aside the anxiety and focus on making the sounds and verses that I’ve had inside for a while. But really, the biggest push came from my friends Remy and Steve. We’d made content together for years, where I preferred to stay behind the scenes. We stared using Ai and Synthesizers to make funny songs for their podcasts and it awoken that young songwriter in me. Through their encouragement, I decided to let Hal out to the world. 2. You describe Devo, Dick Dale, and Iron Butterfly as key influences on the album. What do you love about each of these artists, and how did you combine such different musical worlds into the Hal Neink sound? The biggest visual influence was Devo. I love the over-the-top machine-satire and I think synth-pop blends well with everything, but especially the twangy sea sounds of Surf Rock. The first time I heard Miserlou, I was hooked. The Iron Butterfly influence is most prominent in my Road Trilogy: Cosmic Road, Road Unending, and End of the Road. Which is a story of a middle aged man discovering psychedelics late in life. I loved the combination of genres so much, I try to keep them in every song. I call it Nerd Pop, but I’m sure it has a better name out there. 3. As your debut album, “Ask Why, Ask Who, Ask Hal” represents a major milestone, even though you feel you have created stronger music since. Looking back, what does this first release mean to you today? I am very proud of “Ask Hal” because it was the first album I released publicly. Also, telling a consistent story like the Road trilogy is great too, hopefully it leads to a solid concept album in the future! I wasn’t sure if I’d ever release anything afterwards so I can definitely appreciate getting some of my music out. I don’t dislike Ask Hal at all, I was just saying there’s more to come! 🙂 4. Tracks such as “Projection” and “¼” take aim at what you describe as “terminally online hypocrites.” What inspired these songs, and how do you approach turning contemporary social observations and frustrations into music? It’s embarrassing to admit, but I got pretty invested in an online-beef between a couple of tiny personalities and it had all the makings of a good soap opera… But I’d really hate to give them more attention here. It’s like a conman arguing with a panhandler in an alley. Sure, we’re going to watch, but who else will care? As for social commentary, most of my songs are some sort of social commentary, even if I try to minimize it in the lyrics. I don’t want to preach or judge so harshly that I alienate anyone, especially since my own views are subject to change with time and evidence. 5. You are creating Hal Neink music not only as an artist but also as a single father, with the hope of eventually sharing your work with your daughter when she is older. How does that personal motivation influence the way you write and create? Mostly, I started using substantially less curse words! My oldest is a much better musician than I am and I hope to inspire her to put her own work out there one day. She has fairly severe ASD, but I want to show her how capable she really is by carving even a tiny path forward for her. 6. After spending so many years writing privately and now having your music reach listeners, what have you learned about yourself as an artist—and what can we expect next from Hal Neink? It’s still a little overwhelming! I’m really proud of it, but I don’t think I was in a place before now. It’s very strange in a lot of ways. In the past, I’ve had to stop myself and ask “Is this how Dave feels or is this what X-character feels?” but by being honest with myself and others about my own emotions, I’ve discovered that the difference rarely matters to the end product. Sometimes a song is my thoughts on a subject, sometimes it’s an alternative POV, sometimes it’s a caricature of either or both. It will be interpreted however the listener wants to hear it, and that’s OK! Art should have intent but once you give it to the world, everyone’s interpretation becomes how they enjoy it forever. And I think that’s really cool, if a little intimidating. https://www.instagram.com/halneink
Satoshi
Satoshi Japanese composer and producer Satoshi | ECLESIAH discusses “Gelino,” a bold reinterpretation of traditional music, blending folk melody, ambient electronics, cinematic textures, and post-metal heaviness. 1. “Gelino” takes a traditional public-domain song and places it in a very different sonic environment. What first attracted you to this particular piece, and what made you want to reinterpret it rather than simply present it as a traditional cover? I came across the song by chance, but I was immediately captivated by the beauty of its melody. Knowing that it is a traditional song from the mountainous Caucasus region naturally brought to mind a sense of history, vast landscapes, and something deeply romantic, and I found that very appealing. I was also fascinated to learn that, despite its melancholy character, it has traditionally been sung at weddings. That contrast gave me a strong sense of the depth and sophistication of the musical culture of the region, including Georgia. One of the missions behind my music is to help introduce traditional songs and folk music from different parts of the world to a wider audience. There are already excellent traditional interpretations of many of these songs, so I felt that, as a musician working from a completely different cultural environment in Japan, my role was not simply to reproduce what already exists. Instead, I wanted to reinterpret the song through a new sonic language and create another path through which new listeners might discover it. 2. The track brings together folk melody, ambient electronics, experimental textures, post-rock dynamics and post-metal weight. How did you approach finding the right balance between these seemingly different musical worlds? My own music has always had two main axes: heaviness and melody. Because of that, the arrangement of “Gelino” did not really come from a conscious attempt to combine different genres. It felt more like a natural extension of my own musical language and instincts. At the same time, maintaining cohesion and avoiding excess was very important to me. Genre fusion can easily become a matter of forcing traditional melodies or instruments into the grammar of another style without any real necessity. I tried not to simply add elements for the sake of variety. Instead, I carefully considered whether each sound was genuinely necessary for the song, and whether it strengthened the music or gave it greater meaning. The goal was to blend only the elements that truly served the piece. 3. You describe “Gelino” as a spacious and cinematic reinterpretation while still preserving the character of the original melody. How did you decide which elements of the traditional source had to remain untouched and where you could take creative liberties? For me, the melody is the soul of a traditional song. From the beginning, I decided that I would leave the melody itself intact and reinterpret the piece through the backing arrangement, structure, and overall sonic environment. Of course, that was also because I was so strongly drawn to the original melody in the first place. For that reason, I allowed myself much more freedom with the accompaniment, structure, and arrangement, which, as listeners can hear, were changed quite boldly. The lyrics sit somewhere between those two approaches. As part of my aim to bring traditional songs to a wider audience, I generally adapt the original-language lyrics into English. However, I do not simply translate the literal meaning. I try to preserve the original imagery and emotional content as much as possible, while also making the English sound natural and ensuring that the words fit the original melody smoothly. I put a great deal of care into that process. 4. You handled the arrangement, instrumentation, sound design, production, mixing and mastering yourself. How did working across all these stages shape the final identity of the track, and was there a particular production element you found especially important? I think the direction of the piece was largely determined during the arrangement and sound design stages. The heavier section in the latter part of the track, in particular, is a completely new interpretation that does not exist in the original song. Because of that, the identity of the track was shaped not only by the arrangement itself, but also by decisions about texture, tone, and sound design. By contrast, I see production, mixing, and mastering as stages that support and clarify that artistic direction. Their role is not so much to create the concept, but to make sure that the intention already established in the arrangement and sound design is communicated as clearly and effectively as possible. If I had to identify one particularly important element, it would be the sound design of the heavier second half, because that is where the reinterpretation becomes most clearly distinct from the traditional source. 5. The vocal performance was created using ACE Studio’s AI singing technology. What possibilities does AI singing open up for your creative process, and how do you see it fitting alongside your own human work as a composer and producer? On a practical level, AI singing makes trial and error much easier. It allows me to move through the creative cycle much faster, so it has clear benefits in terms of production speed and cost. However, I do not see AI simply as a tool for efficiency. Creatively, I believe humans and AI can coexist through a division of roles, with each contributing something different and leading to better artistic results. For example, AI singing can be pushed in directions that are very different from natural human performance. You can reduce subtle pitch fluctuations to an extreme degree and create a voice that feels almost crystalline—very even, transparent, and precise. When voices like that are layered into a choir, they can produce a kind of beauty that is intentionally non-human. I informally call this kind of sound an “angelic voice,” although I am still experimenting with the idea. At the same time, human singing has qualities that are uniquely human: tiny fluctuations, warmth, physical presence, and emotional
The Mess:Age
The Mess:Age The Mess:Age is a distinctive musical project blending powerful messages of awakening, unity, spirituality, and self-discovery. We explore the ideas, inspirations, and vision behind its evolving sound. 1. Your music is presented as more than entertainment, with a strong spiritual, philosophical, and rebellious message at its core. How would you describe the mission of The Mess:Age, and what do you hope listeners take away from your music? There are those in positions of power and seats of authority, who have sadly manipulated the masses over many years, and used music as a dividing weapon, therefore we aim to reverse this power-hungry attitude by bringing people from all nations together by uniting them in verse, giving them timeless tracks that will hopefully resinate within every fragment of their hearts, and leave an imprint upon their life’s journey and footsteps within the sand. 2. The track comes from your second album, *AGE OF MESS*, and combines a summer ocean/beach-style commercial pop-rock sound with much deeper themes. What inspired this particular contrast between an accessible musical atmosphere and the serious ideas explored in the lyrics? every single day for 25 years i would look up and shout LOOK, ”CHEM TRAIL’S” only to fall upon ignorance and deaf ears…until recently, as the whole world has finally awoken to those who like to play God. therefore the song came about as a way of trying to awaken the masses and get them to finally listen, and at the same time lift up their spirits with a good commercial positive summer vibe and “Enlighten” them with The light Of Blue. 3. You describe “God’s Ozone” frequency and the “Light of Blue” as important concepts behind the song. Could you explain what these ideas mean to you and how they connect with your message about positivity, awakening, and the human spirit? well you can blame the teaching’s of the Great Master Wilhelm Reich Orgone energy luminiferous Aether “GOD’S OZONE” that is within all living things, as those in power again, placed him in prison for his healing and free energy inventions, teachings and views, as they saw him and others like Nikola Tesla and Dr Royal Rife as threats to their power hungry psychopathic Racist and ignorant minds, for “THEY DENIED US THE STARS” and yes i have in fact written a song about ALL 3 of these suppressed genius inventors entitled just that.[ which will be Released upon The Mess:Age 3rd Album entitled SPEED OF LIGHT. 4. You have Emphasized that The Mess:Age has a sound that is difficult to compare with anyone else. What do you believe makes your music and artistic identity so distinctive, and how important is originality to your creative process? Firstly as a writer i am fearless, otherwise there would be no Artistic flow if one was to ever worry about offending regarding subject matter, therefore is it not a miracle that i speak unto you now? as again they lied to us about who we are as Hu-man beings within the Vibration and united-verse, therefore The Mess:Age music derives from “God Source” and my direct connection to Hymn. “pardon the pun” as The Mess:Age Vibration’s Song within itself becomes a Unique Immortal Expression, and unlike his-story they tried to erase, The Mess:Age Sound is Eternal. 5. The recording took place at Phoenix Production Studios in London, while you are now working on the third album, *Speed Of Light*, and the forthcoming fourth album, *ALIGNMENT*. How has your artistic vision evolved since *AGE OF MESS*, and what can listeners expect from these upcoming releases? seeking truth is a lonely journey, therefore i try my utmost as an Artist Voice and Messenger to try to point the fans “Children of The dawn” and those who are Awakening, in the right direction and pathway back to “GOD SOURCE AND EDEN.” 6. “Awaken Enlighten” has become a powerful phrase associated with The Mess:Age and your artistic journey. What does this message mean to you personally, and what would you like someone discovering The Mess:Age for the first time to understand about your music and its purpose? i would like them to open their ears eyes and hearts to look deeper to “Awaken and Enlighten” life’s gift given before them, to inspire and ignite their own creative spark, and in turn through positive thoughts manifest their dreams of destiny to become reality. “GOD SPOKE THE UNIVERSE”, OUR THOUGHTS ARE ENERGY THAT BECOMES MATERIALISTIC SURROUNDING MATTER , so i try my utmost to Enlighten The World and Manifest The Christ From Within. “Always Spread The Love”.. GOD BLESS Ziggy The Mess:Age. Home – The Message
Mary Strand
Mary Strand Minneapolis singer-songwriter Mary Strand discusses “Annunciation,” a powerful rock song born from grief, anger, faith, and hope, confronting gun violence while celebrating music’s power to inspire change. 1. “Annunciation” was written on the very morning you learned about the 2025 shooting at Annunciation Catholic Church, a place that was personally familiar to you. What went through your mind as you picked up your guitar that morning, and how did the song begin to take shape? I’m in a singer/songwriter challenge group, and I had actually planned to write a different song that morning for our weekly prompt. But the Annunciation news was everywhere as I sat down with my guitar, and I knew immediately that there was only one song I could write that day. I went to church at Annunciation when I was a kid growing up in south Minneapolis, so I could picture it vividly. It was heartbreaking. One photo posted online almost immediately, of a mom running barefoot in the street toward Annunciation, hit me particularly hard. I just instantly knew what I had to say and how to say it. It was about Annunciation, but it’s also about all of the senseless gun violence, especially violence against kids. I thought of Sandy Hook, of Columbine, of Parkland High. I was upset, angry, and deeply sad. I just put it all out there. 2. The song transforms grief and anger into a direct call for meaningful action against gun violence, particularly violence affecting children. What message did you most want listeners to take away from “Annunciation”? I wanted to remind listeners of ALL of the mass shootings involving kids, so I named several of them, especially the ones that personally hit me the hardest. I started with Annunciation, of course, but there are so many, and I wanted to write a song demanding that we make this a better world: especially for our children. I went hard against politicians in the song, but also voters: we have the power, collectively, to elect people who will do what’s right, but especially for our children. It’s ALL about the children. They’re our future and our hope for a better world. 3. The lyrics challenge the idea that “thoughts and prayers” alone are enough in the face of repeated tragedies. How did you approach expressing that frustration while still holding onto the sense of hope that runs through the song? I’m all for prayers (or however people feel called to express their beliefs), but I can’t stand the thought that people mindlessly say “thoughts and prayers” and then go on about their life. But I’ve lived my life hoping and working for a better future, and I care deeply about making this a better world. We can do this. And without that hope, we have nothing. So in my song, I call on people to quit relying on “thoughts and prayers” and start taking action, including by making good choices in the voting booth. 4. “Annunciation” carries the raw energy of punk, garage, and indie rock, with influences ranging from Joan Jett and The Pretenders to The Clash and Minnesota bands such as The Replacements. How did those influences shape the sound and emotional impact of the track? Those bands and others like them very much shape my sound. I love rock! (I love Joan Jett!) And I particularly love the intensity of punk rock, the freedom of garage rock, and of course the independence of indie rock. If I’m going to make a statement (and increasingly, I do that in my songs), I find it easiest when I’m expressing myself from a starting point of rock & roll. Even the strum I use when first writing a song shapes the sound and feeling of the track. On “Annunciation,” from the outset I played what I think of as my own classic vibe: a driving punk strum all the way. 5. You initially found it difficult to perform and record “Annunciation” without becoming emotional. What was that recording process like for you and Mary Strand & The Garage, and did the song evolve emotionally between writing it and finally recording it? I’m not usually one to cry, but I cried several times that first morning while writing “Annunciation.” The line, “Oh, Sandy Hook, Sandy Hook” is particularly tough for me: ALL those little kids who died. I truly can’t bear the thought of it. When I first played it for two of my bandmates, Ryan Smith and Mark Wade, before we ever recorded it, more tears were in my eyes. But the beauty (or sometimes not!) of recording is that you play and sing a song over and over until it’s right, and the repetition helped calm me down. And my band, Mary Strand & The Garage, started playing the song this past January, so we’ve now played it live several times. But it’s still always emotional to me, even though you’ll probably no longer see it on my face. It’s also one of a few songs of mine that always has a few audience members talking to me about it privately after a gig, because it touched them, too. That’s what it’s all about. 6. “Annunciation” is the first preview of your upcoming fourth album, while you also have a Christmas rock album planned for later this year. Looking ahead, what can listeners expect from this next chapter of your music, and how do you hope your songwriting can continue to make a positive difference? The Christmas rock album has five songs of mine, all festive and mildly gritty rockers in my signature style, and five songs that I wrote with five friends in my songwriter group, most of whom write what I’d call Americana. So those five songs are a blend of my rock and their Americana, which is a bit of a twist. We call that album “controlled chaos,” which I think is perfect. It’s Christmas, so it has to be festive, but not