Lucian Lacewing
Lucian Lacewing An exploration of sound without boundaries, this interview with Lucian Lacewing delves into the experimental world behind Land Of Enchantment, blending voices, textures, and cinematic influences into a genre-defying sonic experience. 1. “Land Of Enchantment” feels deeply atmospheric and experimental—what was your initial vision when you started building this sonic world? To me being experimental means not really having a vision to begin. It isn’t truly an experiment if you know what the outcome is going to be. I just like to play around with ideas and samples until something begins to happen. Then follow it wherever it needs to go. 2. You worked with vocal snippets from eight different collaborators—how did you approach transforming those separate voices into one cohesive, almost otherworldly texture? The otherworldly texture comes from feeding all the voices, and the trumpets on the track too, through various drone like effects. So hopefully it is unclear where the voices end and the trumpets begin. I do this quite a lot on my forthcoming album. Blend voices, natural instruments and synths I mean. I love the idea that anyone listening may wonder what exactly it is they are hearing. 3. The track draws subtle inspiration from Indian classical music—how did artists like Rajan and Sajan Mishra influence your creative direction here? I love the drone like and dream like qualities of Indian Classical music. The idea was to take these qualities and insert them into a different musical context. I am really into the idea of pinching snippets and sonic approaches from all over the place. Somebody who makes electronica say, and only listens to electronica, is unlikely to be as good as someone who also loves jazz, dream pop, Krautrock and dub. 4. There’s a strong cinematic quality to the song—did visual imagery or films (like The Man Who Fell To Earth) shape how you composed the track? Well the title Land Of Enchantment does indeed come from the film The Man Who Fell To Earth. It is written on the number plate of the luxury car that Bowie’s character Newton is chauffeured around in. I do think it is important to keep oneself culturally stimulated. I do love filmmakers such as Kubrick and Herzog. I have no doubt their work influences and improves my music but I am unsure in what ways. Perhaps it is better not to know the precise correlation. 5. You’ve described yourself as more of a “programmer” than a traditional musician—how does that mindset affect your creative process and experimentation? I am passionate about playing around with sound rather than playing any particular instrument. If I was a talented pianist, for example, I might feel inclined to always use a piano. Perhaps not really being able to play anything gives me more options. It can be interesting to try to come up with a melody on an instrument you can barely play. Excessive technical ability can be tiresome (as in the case of all prog rock in my not so humble view). I doubt punk or early hip hop would have been as exciting had they been invented by accomplished musicians. 6. With your upcoming album When We Were Hydrogen promising a wide range of sounds, how does “Land Of Enchantment” represent or contrast with the rest of the project? Land Of Enchantment has an epic quality which is why I wanted it to put it out first. The eight singers I was fortunate enough to work with feature on a lot of the album. And there is a sense of psychedelia and experimentation that runs through all of it. The first half of my album is mostly meditative soundscapes, floaty and fragmented, with a touch of melancholia. The second half is quirky and off kilter pop, more energetic. With the poppy quality tempered by a touch of mania and strangeness. Possibly my favourite album of all time is Low by Bowie. I love the way it transforms completely halfway through so wanted to try the same approach. Only with the slower half first. Lucian Lacewing | Instagram, Facebook | Linktree
Zióna Maré-Laveaux
Zióna Maré-Laveaux Zióna Maré-Laveaux presents ZIONYX, a boundary-pushing sonic project blending Louisiana Creole roots with futuristic production, exploring frequency, healing, and feminine power through an immersive, emotionally charged musical experience beyond genre. 1. What inspired ZIONYX, and when did you realize it needed to stand as its own sonic identity?ZIONYX was inspired by a desire to create something that goes beyond traditional music—a sound that carries emotion, culture, and energy all at once. I realized it needed its own identity when I could no longer place it within existing genres. It wasn’t just music anymore—it was an experience, a frequency, and a movement that deserved its own name and space. 2. How did you merge Louisiana Creole influences with a futuristic sound?I approached it with intention and respect for my roots. Louisiana Creole Culture—Jazz, Blues, Zydeco—already carries Deep Rhythm, Bayou Soul, and Cultural Vibes. I layered those organic elements with Technology, Modern Production, Ambient Textures, and futuristic sound design. The goal was to honor the past while elevating it into something Timeless and Forward-Thinking. 3. How do you translate “Frequency” and Emotional Healing into sound?For me, Frequency is about how music makes you feel, not just what you hear. I use tone, tempo, and repetition to create emotional shifts. Certain sounds are calming, others are energizing. I build songs intentionally so they guide the listener through a feeling—whether that’s peace, release, confidence, or healing. 4. What inspired your Single “Flow”? “Flow” was created from a place of alignment and emotional release. It represents being in sync with yourself—letting go of resistance and trusting your path. I wanted it to feel immersive, like you’re moving through energy rather than just listening to a song. 5. How important is feminine power in your artistry and the “ZIONYX” movement?It’s Central. “ZIONYX” is about Ownership—of Your Voice, Energy, Identity, and Frequency. Feminine Power represents Creation, Intuition, and Resilience. I wanted that presence to be felt throughout the project, not just in lyrics but in the Confidence and Control behind the sound itself. This also aligns with my being, spirit, and frequency. being a Capricorn ♑🐐Female Power on Born January 1st. 6. What impact do you want listeners to take from THE ERA?I want listeners to feel something deeper than entertainment. Musically, I want them to experience a New Sound. Personally, I want them to feel Empowered, Grounded, and more connected to themselves. “ZIONYX” is about transformation—when you hear it, you don’t just listen… you feel it. Zióna Maré-Laveaux (@zionamarelaveaux) • Photos et vidéos Instagram
Patti Zlaket
Patti Zlaket In this interview, Patti Zlaket reflects on rediscovery, creative growth, and collaboration, sharing insights into Dance Again and her renewed artistic vision shaped by experience, passion, and perseverance. 1. “Love Is For You” marks an emotional turning point—how did revisiting the song’s original meaning reshape your connection to it today?When I revisited this song, I immediately remembered how much I loved it. I love to sing it, I love the groove of it, and I love the ultimate hook. But the premise of it still lingered in the lyrics, and that no longer worked for me. Love is not a goal to be achieved, or a prize to be won. It’s a gift. It’s always there, just waiting for us to open it and share it. I tweaked it a bit to reflect that broader message, and I like it even more now. 2. After stepping away from recording for some time, what felt different—creatively and personally—when you began working on Dance Again?So many things felt different. I know myself now, and I know more about making music, performing, and who I am as an artist. I have more confidence, and I also appreciate the entire process of making a record in a whole new way. “Distance makes the heart grow fonder” has never been more accurate or true for me than it is now. Being away from the studio, and the entire creative process with the goal of making a great record in mind, made me realize how much I absolutely love it. There is nothing like performing live, but being in a studio with brilliant musicians, an exceptional producer, and songs I’m proud of and excited about, might just be the most magical place on earth for me. 3. How did collaborating with Lee Sklar influence the direction and spirit of this new album?Lee Sklar changed my life. There’s no other way to say it. His generous and genuine response to me and my music set this whole thing in motion. I feel so fortunate to have met him and worked with him in the studio. And I get to play live with him now, too, which is even more thrilling for me. But becoming his friend and getting to know how wonderful a human being he is, that has been the real gift in all of this. He’s one of a kind on every level. A legendary musician and person. He brought the best out of me on these songs. I literally gave it my all because a musician like him is always giving it his all. I was determined to keep up! 4. Working with producer Tariqh Akoni, known for his diverse background, what new elements did he bring to your sound? Tariqh is gifted in so many ways, it’s hard to describe them all. He challenged me from day one to really stretch my vision for this record. I’m certain I was meant to meet him and work with him. Our musical sensibilities are very similar, but he also has such broad experience and such great instincts about how to approach a song. When he and I were working on the demos, he’d send me what he’d come up with as far as the arrangements, and on more than one occasion, I was left in tears with my jaw on the floor. Never could I have ended up where he took those songs if left to my own devices. He’s a master craftsman. He’s also a great person, and we had an absolute blast making this album! 5. Your journey spans music, touring, and even law—how have these different chapters shaped your songwriting voice today?I always say, life is big. You can do more than one thing, and I have! Every experience has only added to my artistry. The more things you do, places you go, people you meet – the more you have to think about and write about. I’ve taken a lot of different roads in my life, but I wouldn’t trade a single one. They’ve brought me to where I am now, and I’m loving it. 6. With this resurgence and a growing new audience, what do you hope listeners take away from Dance Again and this new phase of your career?Obviously, I hope people enjoy the music. I also hope that anyone who is following my story realizes that there is no deadline on making a dream come true. Taking chances never goes out of style, and I hope to be doing that for the rest of my life. If my journey inspires someone else to reach for something they want, then this chapter will have been an even richer one. Patti Zlaket – ECR Music Group
Anatomy of the Heads
Anatomy of the Heads Diving into eerie atmospheres and genre-defying ambition, Anatomy of the Heads unravel their bold “vampiric ambient” shift, blending dark humor, experimental soundscapes, and cryptic storytelling into a haunting, unpredictable artistic evolution. 1. Unholy Spirits Light Divine feels like a descent into a completely different sonic crypt compared to your earlier works. What drew you toward this “vampiric ambient” direction, and how natural did that transition feel for you as a band?To say it was a “natural transition” would be a bold-faced lie. It actually triggered a minor civil war within the band. When I first floated the idea, the guys assumed we were talking about a cute three-minute intro or a transition piece—you know, a little sprinkle of “vampire dungeon synth” to set the mood before getting back to the real work.When I broke the news that I actually needed thirty minutes of that, morale didn’t just drop; it plummeted. There was a lot of hand-wringing about it being a “throwaway release” that would permanently tarnish our allegedly glorious reputation. They essentially looked at me like I’d lost my mind and was dragging them into a creative grave.But then, the team actually got to work. We spent an obsessive amount of time on the recording and mastering, which, let’s be honest, does all the heavy lifting here. We absolutely nailed the sound. It sounds exactly like the perfect soundtrack for sitting in a lonely, candlelit library while the gothic castle around you slowly burns to the ground.Once they heard the finished result, the skepticism miraculously evaporated. They stopped calling it a throwaway and started acting like they’d been on board the whole time. Now, it’s become a legitimate fan favorite. It turns out that if you make the crypt luxurious enough, people—and even grumpy bandmates—actually enjoy being buried in it. 2. Your project seems to reject the idea of being tied to a single genre, instead embracing a kind of “exotica without borders.” Do you see this freedom as your greatest strength, or has it ever created tension within your identity as artists?Well, all genre tags eventually become oppressive. You only have to look at the metal scene to see the carnage: half those bands clearly despise playing metal, but they’re locked into the brand. The result? Albums that sound like a tired sigh recorded in a basement.We knew this from the start, so we took a page out of the pop star playbook—and yes, this is me actually praising pop artists. They have the ultimate freedom; they can pivot from country to synth-pop to a spoken-word fever dream, slap their personality on the track, and call it a day. We wanted to build Anatomy of the Heads on that same principle.Our strategy is basically “early-onset disappointment management.” We condition our casual listeners from the jump: just because you enjoyed one release doesn’t mean you won’t hate the next one.Of course, if you’re the type of person who is capable of connecting with a truly charming and magnetic personality like mine, then you’ll find you like all of our releases regardless of the genre. If you don’t? Well, that’s clearly a “you” problem, isn’t it? 3. The concept of Southeast Asian vampires invading the mythos of Dracula is both strange and fascinating. How important is storytelling and lore in shaping your music, and do you start with narrative or sound first?The truth is, the lore and the sound develop in a sort of symbioticaly. It’s never a clean “story first” or “sound first” situation—it’s circles within circles within circles. I’ll have a visual scene in my head or a fragment of music, and then I spend my time forcing them to tolerate each other until they finally match. It’s like painting: you make a mess, realize some of the “mistakes” actually look intentional, and then paint over the rest until something vaguely awesome emerges.The goal isn’t to hand the listener a Wikipedia summary of the plot. I want you to feel that prickle on the back of your neck—that sense that the artwork, the track titles, and the music are all whispering to each other behind your back. I want the listener to think, “There’s something going on here, and I wish I had the time to go full Scooby-Doo and investigate it all.” Mystery is the point. I’m not here to explain the meaning in excruciating detail; I’m here to lure you into the woods.Our second album, A Banishment of Bloodshed and Superstition, is currently the gold standard for that “vibe over explanation” approach. However, with Unholy Spirits Light Divine, we’ve actually tried something new for the people who lack the patience for detective work. If you head over to our YouTube, you’ll find videos where we actually delve into the philosophy behind the album and shed a little light. Consider it an experiment in clarity before we retreat back into the shadows. Unholy Spirits Light Divine de Anatomy of the Heads 4. This release leans heavily into minimalism, stripping things down to skeletal arrangements and eerie atmospheres. Was this creative limitation liberating or challenging, especially compared to your more layered past work? Oh, absolutely. It’s a massive departure from our usual “everything-and-the-kitchen-sink” approach. Normally, if a song feels thin, I just throw a bucket of noise at it and call it avant-garde. But here? There was nowhere to hide. You actually have to commit to a handful of tools and make them work, rather than relying on a Mr. Bungle-style genre pivot every four seconds to keep things interesting.To be honest, it was a total grind. It’s significantly harder to make a skeletal arrangement feel haunting rather than just… empty. It was rewarding in a masochistic sort of way, but let’s be clear: this isn’t an “everyday” headspace. You have to be in a very specific, probably quite miserable, mood to inhabit that kind of restraint.While I’m sure we’ll circle back into musical emaciation eventually, I’ve had my fill for now. The next
Michellar
Michellar Exploring vulnerability and modern pop influences, this interview with Michellar dives into “Do We Love Us,” unpacking workplace emotions, creative collaboration, and a bold shift toward a lighter, more playful sound. 1. “Do We Love Us” explores emotional vulnerability and connection—can you tell us more about the personal experiences or feelings that shaped the song’s narrative? The experience of having a crush with someone you work with is a common occurrence. When you develop a crush with a person you work with, it’s hard to restrain those feelings especially when you both work so closely together. There is always a lingering question in one’s mind as to what kinds of feelings he or she may have for you as well. Those uncomfortableEmotions is the basis for this song. 2. You’ve cited The Weekend as an influence—how did his sound and style inspire the direction of this single? The Weekend sound inspired the sound of this song because of the simplicity in the instrumentation and lyrical quality of the song. 3. The track evolved from a slower, guitar-driven piece into a more upbeat, energetic song. What sparked that transformation, and how did it change the overall mood? The transformation was sparked by my craving for something more upbeat and fun. After having released an album, a single and an EP full of reflective songs in the country/folk/alternative genres I wanted to change the pace a little bit by going into a pop genre. A change of pace for me keeps the balance and interests in my curiosities as an artist. 4. You collaborated with Marius Alexandra on production—how did this creative partnership enhance the final sound of the track? Our partnership in our collaborations stems from our cohesive vision of how the track should sound like. We both love music and we often talk about the many different genres we would like to produce. When we discussed the ideas for the sound of the track…. Marius came up with the loop and synthesizer mix which… I in turn came up with a new bridge to fit his instrumentation. We also changed the melody on some parts of the song to fit the pop vibe better. Marius has a way of creating an atmosphere to the songs I give him. At times, he completely comes up with new beats that I mold my melodies and lyrics into. He keeps it modern and I love that about his work. 5. The song touches on the emotional complexity of working closely with collaborators. How do you balance creative intimacy with personal boundaries? I balance creative intimacy and personal boundaries with discipline and clarity. One gets caught up in emotions of creative sharing because songwriting is fueled by so much emotion that it’s so easy for the boundaries to blur. But I keep my distance, and remember very well where the boundaries lie. 6. Compared to your more serious songwriting, this track feels lighter and more playful. Do you see yourself exploring more of this side in future releases?Yes, Pop arouses my curiosity at the moment, so I plan to release a few more pop songs. Michellar | michelle bond music
M0n0 Jay
M0n0 Jay Blending neon pop spectacle with raw strength, M0n0 Jay’s L.L.L. reimagines gym culture through bold visuals and deeper themes of empowerment, body positivity, and unapologetic self-expression. 1. L.L.L. (Lift Lift Lick It) blends gym culture with high-camp pop aesthetics in a really striking way. What inspired you to transform the gym into this neon, pop-art “Candy Gym” universe? Honestly, it started with a visual joke. I connected two lollipops by their sticks and realized they looked exactly like a barbell or a mini dumbbell. That sparked the whole thing! I’m a competitive powerlifter here in Sweden, and the gym is basically my second home. But gym culture can take itself so seriously. My local club (Täby AK) is incredibly inclusive, we have everyone from 15-year-olds to 80-year-olds, beginners to literal world champions. I wanted to capture that actual, ridiculous joy. I wanted to take the heavy, gritty reality of lifting iron and crash it into a colorful, unhinged pop universe to show the joy of becoming strong in a space that you fully own. 2. You describe your music as “power, not performance.” Can you expand on that philosophy and how it shaped both the sound and visuals of this release? Both the fitness and music industries are obsessed with the “after photo.” It’s exhausting. EVERY SINGLE DAY you’re supposed to look perfect for the algorithm or for somebody else’s gaze. As a busy professional, a mother, and an athlete, I was just so tired of it. “Power, not performance” is about not hiding the sweat or the effort of becoming your best self right now, step by step. It’s about taking up space and feeling invincible in the body you have today. Visually, that meant bringing in my actual lifting crew, not models, and showing that strength can be sweet, sexy, and glamorous without posing for anyone but ourselves. 3. The track feels like a “Trojan Horse”—a club banger on the surface, but with deeper themes of body positivity and freedom. How intentional was that contrast when creating the song? 100% intentional. I actually wrote L.L.L. back in May 2024, and it took a while to realize it was actually this fun, quirky track that doubles as a HIIT workout in under 3 minutes! If you want to talk about body positivity and reclaiming your space, you can’t just preach to people. You have to make them move first. I built this 128 BPM industrial club beat with a mischievous xylophone hook specifically to create that friction. The beat pulls you in, but the message is what hopefully makes you stay and move. m0n0_jay · m0n0 jay – L. L. L. (ATH Remix) 4. As both a powerlifter and an independent artist handling your entire creative direction, how do those two worlds influence each other in your work? They are basically the same discipline! Powerlifting means showing up, training hard, nourishing your mind and body over several years, iterating, and not giving up. As an independent artist and a Marketing Tech Director in my day job, I approached this release with that exact same mindset. I spent a month in my kitchen painstakingly hand-painting 7 to 10 layers of acrylic onto heavy barbell plates to get the set design right. I sourced the vinyl, the costumes, the glitter. When you are the director and the financier, you don’t have to ask for permission. You just lift the heavy things yourself. I learned so much on the way. 5. The visual campaign for L.L.L. has already gained massive traction before the audio release. How important is visual storytelling in your artistic identity, and what role did platforms like TikTok play in building your audience? Visuals aren’t an afterthought for me, they are an integral part of releasing the music to my fans. Because of my day job in marketing, I know how saturated the digital world is, so I intentionally planned a series of short-form vertical videos to help me introduce the concept. But I didn’t have to think about everything in advance: the pink tulle was a gift from a neighbour, and the silver body paint was actually just a way for me to feel attractive during a bad psoriasis flare-up. Platforms like TikTok let me test that visual thesis directly with an audience. Seeing it nearing two million views right now proved that people across the world really just need more joy and colour in their lives. 6. L.L.L. is the lead single from your upcoming EP Secret Selfies. What can listeners expect from the full project, and how does this track set the tone for what’s to come? L.L.L. is the bright, adrenaline-fueled front door, but the rest of the EP explores darker themes when the gym is closed. Secret Selfies is a cinematic look at the uncurated, private snapshots of the human mind, unsurprisingly written from a place of actually living through life! The upcoming tracks dive into the exhaustion of modern dating, the visceral reality of mental burnout, and surviving trauma, before finally resolving in a very intimate lullaby. The themes get more serious, but they are all tied together by that same heavy, industrial, metallic club production. I can’t wait to share it with you later this year. https://www.instagram.com/m0n0_jay_music
Arn-Identified Flying Objects and Alien Friends
Arn-Identified Flying Objects and Alien Friends Blending dream-born melodies with shifting tones, Arn-Identified Flying Objects and Alien Friends craft “The Sparrow,” a haunting, introspective piece where surreal imagery and emotion merge into a deeply personal sonic journey. 1. “The Sparrow” has such a vivid, dreamlike origin—can you walk us through how that dream translated into the final composition? One morning I woke up with the melody for the chorus/hook ringing in my head along with words that, at that moment really didn’t make much sense: “I never left the temple where sorrow takes a breath”. I didn’t want to force the process but sat down by the piano to see what would happen. Part of the tune and lyrics grew organically, without me consciously interfering. Later in the process I of course had to organize it and give it a coherent musical structure of sorts. 2. The song moves through several tonal changes and mostly minor keys. How intentional was this in shaping the feeling of uncertainty and melancholia? This pattern was there from the beginning and I was careful to maintain it, even underscoring it: Thus the chorus starts with the chord and in the key of A-minor. But the next chord isn’t the expected F major but an F minor, which gives the tune an eerie feeling – and one of that uncertainty mentioned in the question., as this unconventional chord change also changes the key. This was not all intentional, but rather a result of me plunking aimlessly on the piano. The following key changes, in the verse (with the first chords going from D minor to B minor), were more calculated 3. The narrative twist—that the dying sparrow might represent the narrator—is powerful. What inspired this introspective storytelling approach? I’m not quite sure. The image of the dying sparrow came to me quite early in the process (but after the dreamlike words about the temple, that now ring in the chorus). When I was writing the third verse I thought I wanted to shift perspective from the narrator (me) to the sparrow, and I think I realized that I WAS that sparrow, as we all are in a way. 4. Elements like church bells and mellotron add a unique texture. How did you decide on these sounds, and what role do they play emotionally? I played around with different sounds – there’s also honky tonk piano, slightly out of tune, underscoring that strange dream-like atmosphere. The church bells, well, I was not sure about them. The connection to the lyrics was in a way to obvious. But in the end I decided to keep them! 5. How did Andreas Quincy Dahlbäck’s drumming contribute to keeping the track organic despite its atmospheric complexity? His vivid drums are absolutely necessary here. In my demoversion I used sampled and digital drums and the song simply didn’t come to life. It was as dead as the sparrow in the lyrics (in a bad way). I actually doubted that I would be able to finish the recording. Andreas’ drumming changed all that! 6. Featuring Stefan Petersson on the high-pitched “Fly, sparrow fly” lines is a striking choice—how did that collaboration come about, and what did he bring to the song? Stefan is great singer, and although he loves soul and root rock, he originally sang hard rock and metal. His voice has a really wide range. In the higher notes (we’re talking soprano here) he has a sharpness and a vocal projection that few singers have. I think it adds an extra edge these lines, preventing them from being to “sweet”. And it’s also nice to work with him – in spite of the “evil” tone in his singing he is a lovable guy! https://www.instagram.com/andalienfriends/
Connie Lansberg and Brad Rabuchin
Connie Lansberg and Brad Rabuchin A deeply intimate collaboration born from instinct and trust, Aeroplane captures Connie Lansberg and Brad Rabuchin embracing spontaneity, minimalism, and emotional depth—crafting a raw, soulful dialogue between voice and guitar. 1. Aeroplane was recorded in just one day with no safety net. How did that intense, spontaneous setting shape the emotional and musical outcome of the album? Connie: The focus was intense. We gave ourselves a target of no more than 3 takes per song. We’re human, so there is limit to how long a guitarists finger and the singer’s voice can actually hold out. The rule is, when you go in the studio, go in with the best. 2. Your collaboration has a remarkable origin story, dating back to an unexpected performance of “Georgia on My Mind” linked to Ray Charles. Looking back, how does that moment feel now that you’ve created a full album together? Connie: It’s an example of how the universe is always playing the long game with me! I’ve learned to keep working no matter if I get an outcome or not because eventually, the outcome presents itself. 3. Connie, your songwriting drives seven of the eight tracks. What themes or personal experiences influenced songs like “Broken Doll” or “Everything Ends Up in the River”? Connie: Ok, get ready. I’m actually a powerful energy healer and my delivery for that healing is my voice AND the songs. I have two other original albums and every song is channelled to affect the emotional body of the listener. Each song carries a specific energy that works to clear your emotional body of forgotten trauma. My expertise is the emotional body and my book, Your Healing Is A SONG, gives people the ability to do deep healing just by listening. So, this is another reason I trust the long game. I’ve always known there was a purpose to every song I write, and the world had to catch up to this new, fun and easy healing. 4. Brad, you’ve worked with icons like Stevie Wonder and Willie Nelson. How did your past collaborations inform your approach to such a stripped-back, intimate duo setting? Brad: Working with great artists like Ray, Stevie, and Willie taught me the importance of listening, adapting, and supporting. They’re not necessarily waiting for you to figure it out over time, or usually even wanting to offer much of an explanation. You have to come up with something that’s good and works quickly, and the only way you can do that is by listening hard, trusting your instincts, and adapting your musical identity to someone who already has an iconic sound and vibe. Those situations taught me that when I approached playing in a duo with Connie, it was not enough just to “play the chords” but that we needed to trust our instincts and collectively create a vibe and musical personality for each tune. Drawing from both each tune separately and Connie’s and my musical personalities, so that we could come up with something that’s our own take on playing a set of tunes. Those great artists found ways to sustain playing music based on “their own take” over long careers. I think Connie and I tried to tap into that idea for this project. 5. The album includes one surprising pop cover. What drew you to reinterpret that particular song, and how did you make it fit into the sparse, jazz-driven atmosphere of Aeroplane? Connie: My recording of the Billie Eilish song What Was I Made For clears the stuck energy of Fanaticism, an energy that is causing much destruction to people and to this world. It’s a very high vibration song and I think is so fantastically written. 6. There’s a strong emphasis on space and simplicity throughout the record. In a music landscape often driven by heavy production, what does “less is more” mean to you creatively, and do you see yourselves exploring this approach further in future projects? Connie: I was in LA this past Dec/Jan and did another album with Brad. We also pulled in double bass and drums to explore a full band sound. Connie Lansberg | spiritual jazz music
Nadia Maria
Nadia Maria Exploring self-love, growth, and artistic evolution, Nadia Maria opens up about the emotional journey behind “This Is A Solo And Not A Duet,” revealing resilience, creativity, and embracing imperfections. 1. Your EP “This Is A Solo And Not A Duet” centers around self-love and personal growth. Can you tell us about the emotional journey behind the project and what inspired its title?The title is a line from my song Beautiful Coward. I wrote it about a toxic attachment I had to a man, who’s opinion I valued more than anyone else’s, even my own. But he kept ghosting me and then sneaking back into my reality. Until one day, I understood that he was a coward and that I am amazing and worthy of the things I want in life. It was one of the greatest realisations that I’ve ever had! We all learn from these kinds of situations, because we find out how we react and we grow and get to know ourselves this way. That’s what builds real confidence and trust in yourself. At some point I came to the conclusion that my self-worth is determined by the relationship I have with myself and not by the opinions of others. The songs on “This Is A Solo And Not A Duet” are a collection of these moments, the journey to the love I now feel for myself. I just felt like the title truly encompassed all of it. 2. You mentioned that one of the songs was written ten years ago. How has your perspective evolved over time, and how did that influence the final version of the EP?Those ten years were basically my entire twenties, so a lot has happened 🙂I had just started writing songs and I was working with some people who didn’t unterstand what I wanted to express with my music. At the same time I was studying classical music, which is where I met my best friend OLO. We both didn’t really identify with the role of the “classical musician”, so we decided to ditch it for each other. It was crazy, because we had never worked with a DAW or anything like that and it took us a long time to get the hang of it. But we just knew that we could make the music we actually wanted to listen to. There was a lot of perfectionism in our minds that was holding us back from finishing and releasing tracks, because we could always hear things that should be “fixed”. So, the songs on the EP went though a lot of different versions.In 2024 I entered my song Upside Down into the Soundclinic contest of the Musikbüro Basel and won. Thanks to that, I had the opportunity to work with some amazing coaches, who taught me so much about the music industry. They were the ones, who helped me decide that it was time to put out an EP. Of course, we were still changing little things until the very last moment. But we’re incredibly happy with it and super ready for the next one 🙂 3. Your sound blends 2000s R&B, Soul, Disco, and electronic elements. How did you approach shaping this warm, nostalgic yet modern sonic identity with producer OLO?The foundation was built by the music that we were listening to growing up. Luckily, there was a lot of overlap. My first favourite song was Miss You Much by Janet Jackson and OLO’s favourite artist was always Michael Jackson. We both loved R&B and Pop and Hip Hop and Soul, so, naturally, that’s where we started when we first learned how to produce. OLO also really got into synths, with all the ways you can shape the sound and transform the trajectory of the song.We never sat down and tried to define where we would go sonically, we just had fun with it and picked and chose our favourite elements and combined them into our own thing.I think this also allows us to explore a lot of different styles, while always keeping our distinct sound, which is quite liberating and gets me really excited for all the music we have yet to create! 4. Having a background in opera and jazz, how have those early influences shaped your vocal style and songwriting in this more contemporary pop and neo-soul direction? First and foremost, I am really grateful for how much my education influenced my vocal technique. It gave me an incredible amount of flexibility to sing lots of different styles and really play with my voice. I always admired singers like Aretha Franklin, because she had this perfect balance of power and lightness in her voice. Thanks to my studies, I learned what to listen for and how to adapt. This analytical aspect also influenced my songwriting, because it made me pay attention to structure and harmony and how the sound of the lyrics actually influences the melody. Studying jazz also really helped with that, as I learned to improvise and see all the directions that a song can go. I’m really lucky that I could incorporate all these lessons into the sound that you can hear on the EP. 5. You’ve already achieved major milestones, from Switzerland’s Got Talent to the Eurovision national final. How have these experiences impacted your confidence and artistic vision today?It was absolutely amazing for me to experience what it’s like to be on such a big stage. There’s really no feeling in the world that could even come close! I just felt that I was meant to be there. During that time, I started writing a lot of songs – it was basically the first step towards the EP I released now. But after participating in those shows, I had signed some unfortunate contracts. I had no experience with this side of the music industry yet and it took me years to learn how to navigate it. It was a great lesson that I might not have learned without it.
By Million Wires
By Million Wires After fourteen years of silence, By Million Wires return with renewed purpose, unveiling Not Over—a deeply personal EP shaped by time, transformation, and the enduring spark of unfinished stories and creative resilience. 1. After fourteen years since Letters to the Absent, what inspired By Million Wires to finally return, and why did Not Over feel like the right moment to break the silence? Life happened, but music never truly left. For fourteen years, these sounds were humming in the background of my daily life. I realized that some stories simply don’t have an expiration date—they wait for the right emotional frequency to be told. Not Over felt like the perfect title and moment because it’s a statement of fact: the creative fire wasn’t extinguished, just dormant. Breaking the silence now feels like finishing a conversation that was interrupted mid-sentence over a decade ago. Creating music is also an escape from the daily grind and responsibilities; it’s a way to capture and release emotions. 2. The EP reflects a shift from dreamlike post-rock to a more direct alternative sound—what drove this evolution, and how natural did that transition feel for the band?Coming back after 14 years, we didn’t want to completely disconnect from our debut album’s spirit, but we felt a strong need for a more organic evolution. The ‘cleaner’ production of the past made way for a rawer, more direct sound.Our main goal was to capture the energy of a live rock quartet – the breathing, the tension, and the authentic vibe of four musicians playing together in one room. It’s less ‘polished’ and more ‘human’. However, our post-rock roots are still there – you can hear it especially in the outros, where the atmospheric, layer-by-layer build-up takes over before the final eruption. 3. Mirek, stepping into the role of frontman is a major change—how did taking over vocal duties reshape both the songwriting process and the emotional core of the music?Stepping into the frontman role was a significant evolution for me, though the seeds were sown long ago. Even before our debut album, I was already writing lyrics and vocal lines. In fact, a track like ‘I Know Better’ was written entirely by me—both the music and the lyrics—years ago. Ania even used to perform it during our live shows back then.However, making the full transition to lead vocals was a real challenge. I had to fundamentally change my approach to the guitar. I had to let go of focusing so much on complex effects and intricate parts. Instead, I had to learn how to ‘drive’ the song primarily with my voice and a solid chordal foundation. Interestingly, this shift opened up a lot of new space for Dawid to experiment and get more creative with his own guitar parts, which added a new dimension to our sound. 4. Not Over was recorded years ago but released now—what made you hold onto the material, and how do you feel its meaning has changed over time? The delay wasn’t a choice, but rather a result of the weight of reality to all of us. Every member of the band went through pivotal, life-changing moments during those years, and for a while, music simply had to take a backseat. However, this collection of songs never gave us any peace.Interestingly, listening to them now, they feel more relevant than ever. Themes of survival and persistence resonate differently when you’re older. What used to be a song about a moment is now a song about a lifetime of experiences.Interestingly, we feel that as a conceptual whole, this material has become even more relevant to our lives today than when it was first written. It matured along with us. 5. The focus track “I Know Better” stands out with its triple-meter rhythm and atmospheric textures—can you walk us through how that song came together creatively?Answer: To me, ‘I Know Better’ is one of our most special older tracks. It’s a song I personally feel most comfortable singing, so I was determined to include it on our upcoming release.The original arrangement was quite different from what you hear now. It was structured with the verse and chorus played in full at the beginning and end, sandwiching a middle section that heavily stripped back the dynamics. That version relied on long pauses and a slow, tense build-up of atmosphere. You can actually still find that early version on YouTube if you dig deep enough!For the EP, however, I wanted to give it a more ‘song-oriented’ character—something a bit more accessible and lighter to the ear, while still keeping its emotional weight. Who knows, maybe we’ll return to that more experimental structure in the future?Technically, the recording process was interesting because many of the atmospheric, layered guitar textures were actually tracked years ago in my home studio. When we got into the professional studio to finish the EP, those original takes were so spot-on that we simply imported them into the new sessions. It’s a perfect blend of past inspiration and present-day energy. 6. The EP touches on themes of survival, continuity, and unfinished stories—how do these ideas connect to your journey as a band and what comes next after this release?Answer: Our journey is the definition of an unfinished story. Coming back after 14 years is the ultimate act of survival in an industry that usually demands ‘new, new, new’ at every turn. For us, continuity means that the thread was never really broken; it just waited for the right moment to be pulled again.Since our debut, the entire music landscape has shifted—from the total dominance of streaming to the rise of AI-generated music. In this new world, we want to stay true to our original conception of music creation: human, raw, and atmospheric. This record was the perfect way to re-establish that identity.As for what’s next—we are already looking forward. There is a bunch of already written songs that just need some polishing before their release. ‘Not Over’ is the bridge.