Madeline Rosene
Madeline Rosene Unfiltered and genre-bending, “Love and Algorhythms” blends satire, grief, and glitching intimacy. We spoke with Madeline Rosene about humor, handmade art, digital grief, and being known beyond the algorithm. 1. “Love and Algorhythms” walks a fine line between satire and emotional vulnerability. How do you balance humor and sincerity when writing about something as personal as intimacy in the digital age?I try not to take life too seriously in general so using some kind of humor in my songs comes very naturally. But this is a subject I feel very strongly about and I do take seriously. The song is sort of a lament- a mournful ode to human connection and “real life” experiences. I think finding a balance between humor and sincerity is not something I search for consciously. But I do think people are more likely to listen to a message that’s not obnoxiously serious and straightforward. I guess sometimes it’s best to use humor to make a point because ultimately it’s easier for everyone to digest and it’s more memorable. 2. The song mixes acoustic elements with 8-bit, synth, and electric textures. What inspired this blend of organic and digital sounds, and how did Patrick Windsor help shape that vision?Patrick Windsor did help shape that vision. I came to him with some ideas from other songs. I think I gave him “Running” by No Doubt as an example, “A.M. 180” by Grandaddy, and “Crush” by Tessa Violet.I mentioned that I wanted 8 bit in the song because it’s supposed to feel a little abrasive- like technology invading the track, like it has sort of aggressively invaded all of our lives. I wanted to mix mechanical (programmed drums) with the non-mechanical (acoustic guitar)…if that makes sense. I love what Patrick did with the beginning. Unfortunately my dog doesn’t and every time the song comes on, he barks. 3. You described the track as exploring the grief of being known by an algorithm. Has releasing this song changed your own relationship with social media or technology?Yes, it’s a bummer. I wish I could say that this track has made me change and improve my social media habits or my time spent online, but my relationship with technology is still not very healthy in my opinion. I will say that writing the song happened very organically- these lyrics just poured out of me in I think one night. I was wondering if anyone had thought about algorithms like this before…have other people thought about how an algorithm can know someone better than you know that? What does it mean to know someone? What does it mean to know? Can technology “know”? 4. The claymation video is a bold statement against AI-generated art. Why was it important to express this message through such a slow, handmade medium? My brother, Jack Hubbell, who created the music video is a very patient person. He’s deeply artistic, sensitive,and thoughtful. I wanted to showcase his talents with this song because, idealistically, I want to believe that real artists (IYKYK), human beings like Jack, who exude creativity with every new thought and every decision will always be needed and wanted to: 1. Create the originality, the voice and vision, that technology profits from.2. Add meaning through art to a world that can sometimes feel devoid of meaning.3. Be the life behind the art. When someone interesting creates something, the result is much more compelling. When someone creates something in an interesting way, the result is much more compelling. 5. Your music often dives into existential themes. Do you see “Love and Algorhythms” as a continuation of that journey or the start of a new chapter?If I’m not making people listen to something that makes them feel an emotion, I at least want to try to make them think about something in a way that maybe they haven’t before. I’ll probably always write about philosophical themes. Philosophy is probably the second most romantic thing to write about- after love anyway. I have several songs coming out in 2026 that I think lean more into questions of existence and meaning but I’m always trying to make them a little whimsical in some way…because life and songs deserve a little whimsy, ya know? 6. What do you hope listeners feel or reflect on after hearing the song and watching the video, especially in a world where attention is constantly pulled in different directions?I hope that people unplug for a second, kiss and hug their loved ones, look into each others’ eyes, tell secrets, go for walks, and you know, stop and smell the flowers or whatever. I hope that the people who say, “AI is just another tool to make music” really think about what that means…because if you have any foresight at all and if you understand that the masses and creators of AI generally value quantity, speed, and convenience over lived human experiences, human connection, and original narrative- then you know it won’t always be “just a tool”. It will become a replacement for those things and we will be further and further separated from each other because of it. You’re not helping yourself or anyone else by believing differently. Madeline Rosene (@madelinerosene) • Photos et vidéos Instagram
Tim Eveleigh
Tim Eveleigh Tim Eveleigh builds this LP around reassurance—an antidote to uncertainty, financial anxiety, and fragile mental health. Through fearless studio experiments and deep collaboration, the record feels like both a message and a lifeline. 1. This LP centers around the idea of “reassurance.” Why did that theme feel urgent to you now, and how does it guide your writing even beyond this album? I try to have the word ‘reassurance’ in the front of my mind whenever I am writing or recording. I think we could all do with some reassurance right now! I am particularly concerned with my own – and other peoples’ – mental health and I think that reassurance is a big part of solving potential problems that it can create. In particular I think reassurance can help with worries about financial issues – I think it is easy to underestimate how much they are affecting oneself. 2. You worked closely with producer and multi-instrumentalist Andy Thornton, longtime collaborator Tim Eveleigh, and vocalist Maria Levesley. How did those relationships begin, and in what ways did their contributions shape the identity of the record? I’ve been a fan of Andy Thornton for years. It was both difficult to believe and simultaneously an absolute pleasure to work with him to complete this (and other) recordings.I *am* Tim Eveleigh so I’ve been collaborating with myself for the whole of my life!Maria is a friend and extraordinary talented singer and it was a very easy decision to ask her to help to make this record better than it (hopefully already) was. 3. You’ve mentioned a growing confidence in the studio. How did that evolution influence the sound of this album compared to your earlier work, and what does that confidence unlock creatively for you? I have been worried about both my singing voice and my ideas about what arrangements might or might not work in the recording studio for years but more recently have become significantly more confident about both of these aspects of recording. This means that I feel free to experiment and also that I have a greater belief that I can arrange instruments so that they accurately reflect what I can hear in my imagination. 4. Tracks like “Surfeit” and “Enough” explore new territory—spoken-word textures, choirs, horns, and unexpected arrangements. What stories or moments pushed you toward those experiments, and what do these songs reveal about you that past releases didn’t? I hope that the songs will reveal more about me personally – how I think about and see the world. The horn arrangements (and performances) during “Trespass” and “Flooded” are by the ridiculously talented Sam Gee. I am extremely fortunate to know Sam and to have his help. The spoken word sections of “Enough” seemed to come naturally to me and I still enjoy listening to the song myself so I hope that this means that it is also enjoyable for others. The choir section towards the end of “Rage In The Darkness” is an idea that I have had in my head for sometime (although I am aware that it is not entirely original) and also offered the opportunity to include more people in the recording process – something that I always enjoy. 5. The album was recorded “rhythm-up” at Churchgate Heights, Andy’s personal studio. How does starting with cajon change your approach to building a song, and what kind of atmosphere or freedom did that space give you? I think that ‘rhythm-up’ recording (this wasn’t strictly that – but it was close) means that the starting point is an almost empty page. I hope that this increases the space for additional instruments and vocals to fit into a song and encourages me to include only what is necessary for the song to feel complete. 6. The press reaction has already delivered lines like “his new LP is a wonder.” When you hear something like “his new LP is a wonder,” or even the bold claim “this new LP is a wonder,” what does it mean to you personally after this journey, and how do you hope listeners will feel when they press play? I am overwhelmed by this type of response and overjoyed that someone believes this enough to publish it in a public place. It definitely helps me to believe that the time that it has taken to put these recordings together has been worthwhile. I hope that listeners will feel free to respond in whatever way they would like to and feel no pressure the have any particular response. They might like it – they might not – and either is OK. Tim Eveleigh
I, Captain
I, Captain I, Captain return with their third full-length album, a lo-fi homage to 70’s analog grit. We dig into their evolving process, vinyl-soaked identity, sonic craft, and the drive to keep rock raw, eclectic, and unmistakably theirs. 1. This is I, Captain’s third full-length album, built entirely on new material. How did your creative process evolve compared to your previous releases? The creative process evolved through the writing and shaping of the compositions. A lot of the songs were written and recorded in pieces at different times. The ideas can just pop up as you go and that’s what happened with this album. 2. The album’s concept leans into a sound “pulled off a dusty shelf,” inspired by the ashes of 70’s vinyl. What drew you to that nostalgic, analog identity for this record? I guess it’s always been the I, Captain approach. Lo-fi style with old elements of rock. I lean into it all the time in that respect. I like the idea of the sound being identifiable, which I try to do with the images as well. Something to stick in your head and remember. 3. Listeners are promised an eclectic and unique alternative-rock experience. How did you balance experimentation with the core rock elements of I, Captain? I’d have to say that using a variety of influence and style helps shape and balance all of that. I use words like eclectic and unique only because I’m trying to do that with the project. So much has been done that allows people to find similarities in everything which makes things feel less unique or eclectic however, it’s all those things to me so I will describe it as such. I’m sure it will get compared to something or someone which is all good in my opinion because things can be similar but not the same. 4. The press release describes this album as the “next step” in your musical journey—especially in production and composition. What were the biggest sonic risks you took in the studio this time? I used different recording techniques and equipment mainly. I redesigned my studio which made things easier. I tried some different filters etc. Every single recording I do is a “next step” I suppose. Just getting better at the craft or at least I think I am. So I feel no real risk was taken. 5. The inspiration is described as continuing the I, Captain journey. What keeps you motivated to push this project forward album after album? Just a love for playing and writing music. Simple as that. Motivation comes naturally when you love something. 6. With the album currently on Bandcamp and a full streaming release planned for January 1, 2026, how important is platform accessibility in connecting your music to both longtime fans and new listeners? I try to make it available as many places as possible. Obviously, streaming services are a big help. I try to connect with different outlets to help promote which can go either way when it comes to results. I’m always happy just to have it out there. I personally love finding new music and hopefully I, Captain can be found by people looking for themselves. This album is a fun one and I think those who discover it will like it a lot. I, Captain Pete Rogers (@icaptainmusic) • Photos et vidéos Instagram
Callie Joy Porter
Callie Joy Porter Callie Joy Porter breaks her silence with Black & Fvck, a dark indie–cinematic pop manifesto on impostor syndrome, owning the shadows, and closing one era before rebirth. 1. “Black & Fvck” explores darkness, temptation, and self-discovery. What emotional or personal moment made you realize this album had to exist now? Thank you for this question, honestly, it came from the need to prove that black isn’t evil. People equate the color black or darkness with something they must hide, and the truth is darkness and black are part of life. We all have moments when we aren’t bright in color, and some people never do. Black to me, is like that experience you want to live but people would judge you if you follow through with it? Then again, I am singing. To me, this was the equation of the same. My impostor syndrome repeatedly said, you’re going to be 40 soon, what are you doing, showing songs you’ve had and never showed to the world now? I had some of them, not all of them. They didn’t let me do anything besides creating them and they were specific when it came to everything. No, this needs to sound this way, no this is better than this other tone, it was … interesting to say the list. 2. Your sound blends cinematic pop and ethereal darkness. How did you approach building that mystical atmosphere across the 8 tracks? To be fair, I have a rule, if I listen to it repeatedly, and at first it doesn’t convince me, I play with the music again. I’ve changed, at the last minute, perfectly good songs.. Fvck for example, was absolutely remade like 3 hours before I sent it because I kept feeling this impostor syndrome telling me “are you sure you want it this way and not with your original idea?” – You see, most people fear their impostor syndrome, mine… started out putting every single fear in line for me, and when it noticed I don’t do well with people – anyone, even shadows from within like it is..telling me what to do? I’m too old for that. It began to give me second guessing in something that would work in my favor. Eventually, I listen to every song, again and then I choose which one sounds like what and I choose the ones I love the sound, and those I love the lyrics but change my mind on, usually means they had to be changed somehow. 3. Songs like “Liminal Goddess,” “Belladonna,” and “Phoenix” feel symbolic. How do you use imagery and metaphors to tell your story? Liminal Goddess is a dedication to Hekate, so yes, it’s absolutely symbolic. But also is devotional for me, though Belladonna and Phoenix are not dedications.. They were built from the perspective of societal norms towards women. Belladonna is basically ‘what if the not so typical femme fatale were to speak to the world about what happens to her? And Phoenix is something that hits home much deeper. Phoenix is a song of self-awareness, so using metaphors was the easiest way to get the point across. Basically, one says ‘we are all beautiful and those who are obsessed with you, don’t necessarily need to love you or care for you or even know you to be all on your case, so be like Elsa, let it go. It’s not your responsibility to fit into anybody’s idea of you. And when it comes to Phoenix, it’s a reminder too. We are all exceptional in our own ways, and we are the only obstacles we have for ourselves. The only constant in life is change, the sooner we realize that, the easier our lives will become. 4. This album closes the era you began in 2024 with “Bye” and “I Decide.” What did you learn about yourself during this chapter, both as an artist and a person? I learned that the impostor syndrome, the inner critique, the bullying, all the suffering people go through only can stop you if you let them. It took me many months to face my fears to be able to send out the albums I’m sending out. I mean, to be fair, I am going to be sending out one on January 9th, for my birthday. And another on January 24th that is ABSOLUTELY FAN SERVICE. Because as a roleplayer, which is one of my hobbies, I have been in the supernatural family forever, from the beginning. I absolutely based some of my characters from my books of the Abyss and the Spark on my favorites and I think a thank you is in order, mostly because to me, it’s been 20 years being those guys. I have 5 accounts, and those accounts are the ones I’m doing the fan service to. All 5 based on a certain squirrel from that show. They are not him, but .. yeah I think I owe him a thank you. 5. You dedicate this era to all women. What message do you hope young listeners take from your journey of owning the dark and evolving through truth? It’s never too late to do what you love, Keep your nose clean, your chin up, stay out of people’s messes, own your own life, or someone else will instead. Learn the difference from being a good friend to a people pleaser, I was a people pleaser for a long time, it came down to me not doing things because others mirrored their lack of enthusiasm onto me, so, no. Do things smartly, intelligently, keep your head on at all times. My journey is a cautionary tale and it shows in my songs. It’s what I’ve lived, what I’ve seen women go through. It’s never okay to let everyone else eat their cake, when you want pie. Everyone, even those you love, only see as far as their own existence goes, the world, the biggest minds in it, the best people in it are
Grey & Purple Songbook
Grey & Purple Songbook Grey & Purple Songbook is a text-driven music project from Oslo blending storytelling and melody. Their new single “Over the Blue Sky” reflects themes of morning calm, gratitude, and universal serenity. 1. “Over the Blue Sky” captures a peaceful, almost cinematic morning feeling. What moment or emotion first sparked the idea for this song? The motivation for writing the text/song to “Over the Blue Sky” is my personal experience starting an early morning at a mountain cabin, looking out on the snow covered landscape outside with clear blue sky and a bright sun shining. That gives a rewarding and intense feeling of gratitude and joy. This feeling easily facilitates a serene moment of reflection. 2. Your project begins with storytelling through text before music is created. How does that approach shape the final sound and message? Both creators behind the artist name Grey and Purple Songbook are socially engaged persons and important social and human issues are important to us. We therefore decided early on that we wanted melodies with lyrics about topics that are important to us, and that we believe have a resonance with our listeners. The text is a very central and important part of the creation- process. We hope it results in melodies with a message and that the songs give “food” both for the mind as well as for the heart. And that the songs have an impact also after the song has been played. 3. Many listeners find comfort in songs about simple everyday moments. Why do you think morning serenity is such a universal theme?That is not an easy question to answer, but I think many of us looks at the mornng hours as the start of something, hopefully nice and good. It gives many of us a serene moment during the day where we get the opportunity to feel a little bit of our own thoughts and feelings. That is very nice to be able to do, once in a while. 4. What do you hope listeners personally take away or reflect on when hearing this track for the first time? I hope the song will both give a nice feeling emotionally both through a text that invites to reflection on the value of small things in life, things that we in a hectic daily life do not get the time to reflect over. And a tune that invites to a “sing along-feeling” or contributing to a good feeling. 5. What makes “Over the Blue Sky” stand out in the Grey & Purple Songbook catalog and why is it significant for the project? The song “Over the Blue Sky” is a song that stands out in the collection as a text and tune that has a spesific focus on the morning hours, with serenity, no stress and the possibility to reflect on things that we maybe otherwise do not have so much time to reflect over. The song is unique in it’s own, but is also part of a greater project giving voice to music/songs with a “message”. 6. After this release, how do you envision the next chapter of Grey & Purple Songbook evolving creatively?It is of course difficult to predict the future, but both of us that stands behind this project, The Grey and Purple Songbook, has the vision of continue to create and produce texts and music that convey a message we think is important. At the same time, we are aware that text and music are closely connected. We are therefore very concerned that the music supports the text. We hope the texts and the music from The Grey and Purple Songbook will reach many listeners world-wide, because we love writing and creating music that the listeners like and enjoy. For us, as I think for many, many others, music is life. Thank you for the opportunity to tell a little about the vision behind the project Grey and Purple Songbook, and the creative process behind creating the texts and the music. Musique | The Grey and Purple Songbook
Lana Crow
Lana Crow Lana Crow crafts heartfelt indie-pop with raw honesty. In this interview, she reveals the personal story behind Laugh With You, exploring resilience, self-acceptance, ego, vulnerability, and the inner power that shapes our reality. 1. “Laugh With You” carries a strong message of resilience and self-acceptance. What personal experiences or emotions first inspired you to write this song? The lyrics, “I don’t care if you judge me, I don’t care if you laugh — if you want, I’ll laugh with you,” came to me after a night out with friends. This was shortly after I started releasing music. All of my friends were surprised to learn that I was writing music, and some were impressed. One of them, however, made a couple of remarks that, let’s just say, weren’t meant to be supportive. My emotional response was, “I really don’t care what you have to say, and it’s a shame that you feel my writing music makes you any less talented.” And that’s how the song was born. The resilience and self-acceptance in “Laugh With You” come directly from my own life. I grew up in an environment where any hint of self-love would get you labeled a selfish brat, so for a long time, liking myself felt almost wrong. It shaped me in ways I didn’t fully understand back then. I was vaguely aware something was off — I’d feel jealous of people who seemed at ease with themselves and others, and I carried this quiet sense of being less than most people. It took a painful event a couple of years ago for me to really see how deep it went. Instead of falling into victimhood, I chose to see it as a message I needed to hear. It wasn’t easy, but over time I got the answers I was looking for and turned the experience into something that helped rather than cripple me. While my upbringing was chaotic, it did have an upside. I was born into a culture vastly different from the Western one, and when I moved to the West, I experienced a kind of culture shock — but in a good way. I continued to be exposed to different cultures because I mixed with other foreigners from all over the world, while also making an effort to assimilate wherever I was. That rollercoaster widened my perspective, and I feel it gave me an insight into other cultures that not everyone has. It helps me see things that aren’t always obvious to others. I’m grateful for that awareness — it was costly to gain, but I appreciate having it. 2. The line “If you want, I’ll laugh with you” feels both defiant and unifying. What does laughing through hardship mean to you on a deeper level? I think it’s important that we don’t take ourselves too seriously; it makes life a lot easier. Some of us are more sensitive than others, and there’s nothing wrong with being sensitive—I’m still a very sensitive person myself. However, challenging your ego every time it rears its ugly head can be an acquired skill—and a very useful one. When you can laugh at yourself, you rise above the unhealthy noise of judgment around you. You become more grounded, more open, and honestly, easier to be around. When you accept your own imperfections and failures, other people’s negative reactions lose their power over you—you understand where they’re coming from, and you’re no longer shaken by it. In the last chorus, I intentionally switch roles in the so-called “dialogue.” Lines like “Please don’t care if they judge you, I’ll be there, I’ll stick with you” are written as how I imagine God would speak to us, if we could hear that voice clearly. I often bring this kind of presence into the bridges of my songs. To me, God isn’t a distant figure, but an immense intelligence we’re all part of. We’re co-creators living in this earthly realm, and the chaos we see around us is largely a reflection of our inner world. God cannot force us into choices that are better for us; we have to make those choices ourselves, and it’s harder than it seems because it takes a certain level of self-awareness. The song is a reminder that we carry far more responsibility—and far more power—in shaping this world than we tend to realize. 3. Your music often addresses judgment, comparison, and inner strength. How do you personally navigate these pressures as an artist and as a person? I do wish judgment and comparison weren’t as celebrated as they are. We’re born into a world where competitiveness is encouraged as a motivator, but often all it really does is breed jealousy and a sense of self-deficiency. Every single one of us is talented in our own way, yet not all of us get the chance to find out what that talent is because we often aspire to be someone else. I’m still learning how to navigate the pressures we all face these days, and I think it’s an ongoing process—especially as the world keeps changing so fast and throwing new challenges at us. What really helps, however, is viewing every painful experience as a message pointing to the inner issues you need to address. When you approach every setback with that mindset, you still get hurt, but the pain loses its power over you. 4. Sonically, the track blends indie pop warmth with emotional intensity. How did you approach shaping the sound to support the song’s message? When I work with a producer—who I always hire online—I send them my demo along with a reference track, and they help shape the final sound based on those. I have to admit, my demos are pretty flat. I’m not a strong pianist, and playing and singing at the same time is a big challenge for me. I do try to put as much emotion as I can into my voice, but sometimes it gets lost because I’m so focused on hitting the
Lisa Jo
Lisa Jo Lisa Jo opens up about transforming real-life trauma into “Lord of the Night,” her perfectionist process, self-produced sound, and the unstoppable creative force balancing inner chaos with a calm, presence. 1. “Lord of the Night” is rooted in real events. How did transforming a true story into lyrics shape the emotional intensity of the track? Lord of the Night was the first rap song I ever wrote. And yes, it was based on true events that occured one evening in my life in late 2017 in a club in Clifton Park, New York during the darkest point in my life. I had just walked away from my brand new home I built with my own hands out of what was left from my paycheck each week that took about 2 years because I needed to end my marriage of over 30 years. During the wake/funeral service for my sister evidence was handed to me that my husband and best friend had been covering an affair for months. This new information layered on top of the pain and anguish only a week or so before of finding my sister deceased on her bathroom floor with an empty heroin needle still stuck in a vein of her left wrist brought my lifelong pain and rage (see my life story in The Hands That Held Me @ a.co/d/i0lAAw5 for further explanation) to a level that could no longer be contained. I knew if I didn’t leave I could have made an entirely different decision that would have resulted in having to adjust to prison life. So as I sat in the club that night and bullets shattered the pieceful aura, the glass of wine in my hand was struck by a stray bullet and shattered with it and a second later a total stranger forced me to the floor and covered my body with his to protect me. When the bullets stopped and the shooter exited the club screams and cries filled my ears from everyone around me, yet there I was, so very calm because at that point I didn’t care if I had survived it or not and the level of chaos outside of my body that night still could not begin to compete with the chaos that had been roaring continuously inside my body. With that said… I do not feel the reality of those events had any effect on the resulting intensity of the my song, but rather it moreso reflected a lifetime of feeling something similar to a tazmanian devel on steroids with loaded weapons going off at full throttle inside my soul and mind, but having had a lifetime of practice to master a smooth, calm, confident exterior that still easily portrayed to those around me how serious and how dangerous I had (or have) the ability to be as a result of a lifetime of abuse, severe trauma, loss and betrayal had created in me. I hope that paints an accurate and clear picture that answers that question fully and honestly. 2. You recreated the song multiple times before finding the final version. What were you listening for that told you, “this is the one”? I had created The Lord of the Night several times before I was satisfied that the sounds heard from the song accurately reflected the cold, dangerous ticking time bomb inside me while still reflecting the calm, confident, emotionless exterior that I possess and live by that makes me who I am. Best example or analogy I can give is… If my buddy took someone’s life in a fit of rage, his nerves and conscience eould destroy him, whereas if I did the same, I could calmly go home, eat spaghetti dinner, turn on the tv and sleep soundly without giving it another thought. I do not wish to give the impression that I am heartless, rather it is because my heart is huge and soft and damaged that I am this way. The battle is real. The music combined with the lyrics “drop you in front of your ma then I’ll make your lady squeal” and “I don’t owe you nothin but the bullet in your back” perfectly portray the point I was trying to make. 3. You handle both lyric writing and beat creation yourself. How does producing your own beats influence your flow and storytelling as a rapper? Sadly, the answer to this question I believe I already gave within my response to #1 and #2. My lyrics do not influence my beat, nor vice versa… Rather they are 2 parts to one tool with the goal of simultaneously conveying both my interior and my exterior… I guess, now that you ask and I analyze it… I believe I am using my lyrics to express my internal frame of mind while using the beat to convey my smooth yet still very much dangerous exterior, if that makes sense. 4. Your influences span classic 90s gangsta rap and modern hip-hop voices. How do you balance nostalgia with a contemporary sound? This one is easier to explain… Every part of who I am can only be expressed by 90s gangsta style rap, while I still have an ear and respect for what is current in the sounds of music. 5. With over 30 songs created in just three months, what drives your creative momentum, and how do you avoid burning out creatively? Also an easier one to answer… I will never burnout because what drives my creative momentum is the spilling over bubbles of pain and rage seeping from the seems of my body that have been needing and desperately seeking a constructive, non-deadly outlet for about a hslf century now. I really don’t have to write my songs, I just have to peal the lyrics from the inner linings of my soul that have been already written without my permission. Honestly it feels like there is likely hundreds of songs taking up space inside me and necrotizing
Sabrina Nejmah
Sabrina Nejmah In this interview, Sabrina Nejmah reflects on writing “Don’t You Worry,” blending trust, growth, family collaboration, and sci-fi symbolism while stepping confidently toward independence and future releases in music career. 1. “Don’t You Worry” explores trust and confidence during uncertain times. What personal feelings or experiences inspired you to write about this theme?I spent a school year in down under. To go there was a great adventure for me. “Don’t You Worry” describes very well the feelings and thoughts that finally allowed me to take this decision. I did not regret it. 2. The song is set on a spaceship while reflecting a couple’s everyday relationship dynamics. How did you come up with this sci-fi setting, and what does it symbolize for you?When I wake up in the morning being the first one awake in the house, I enjoy the undisturbed silence and start thinking about basically everything that matters. These moments help me to work on my worries and to grasp optimism. Especially that I know I have the support of my family and my friends make me believe that things will be fine. This feeling of confidence, trust and reassurance is what the song is about. When I focus on my inner feelings it kind of feels like on starship isolated from everything. The starship symbolizes the spot where I am close to my beloved ones. 3. Compared to your first release, how do you feel you’ve grown as a songwriter and vocalist on this second track?This song was another team effort with my father Norman Astor. Meanwhile I am working on my own songs. Like this I’ve been growing a lot. As vocalist I took lots of benefits from the coaching I had from my producer Markus Nowin Rummel. 4. You often collaborate closely with your father when writing music. What does that creative process look like, and how does it shape your songs? When we come together in our home studio we usually start jamming around some ideas that my father or I bring up. This is lots of fun. We develop this to a certain point then we work separately on it and when we meet again we see a new song being created. It is a magic moment and so exciting. 5. Being raised between Moroccan and German cultures, do you feel this background influences your music or the stories you want to tell?My musical background is pop and rock with english and french lyrics and jazz. The major influence I had from being Moroccan and German is that I learned very early that there is not only one culture. 6. As you move toward future releases, what direction would you like your music to take, and what can listeners expect next from you as 2025 comes to an end?This is my second song. As I wrote it together with my father, it exhibits our common signature style. There are two more songs to come from us both to be released in 2026. I am working on my own song ideas, that will be the next step in my evolution. Sabrina Nejmah
Made of Sand
Made of Sand Made of Sand delve into atmosphere and release, discussing the emotional spark, collaborative craft, and international production behind “Scream at the Moon,” while hinting at future releases and their chapter. 1. “Scream at the Moon” blends downtempo, synth-pop, and trip-hop into a deeply atmospheric piece. What emotional core or moment first sparked the idea for this song? The sense that sometimes life can really get you down so how can you get it into perspective. 2. The track explores the feeling of being overwhelmed and needing a cathartic release. How did you approach capturing that intensity while still keeping the song intimate and cinematic? Great question. By ensuring the emotional impact of the lyrics and vocals aren’t overwhelmed by the arrangement; that there’s space to breathe. 3. Aaron’s vocals bring a haunting, ethereal quality to the track. How does her Lithuanian folk background influence the band’s overall sound and identity? Aaon brings such a different mood and intensity to her vocal compared to a lot of singers out there; you can hear some Lithaunian folk traits and other east European inflections. 4. Matthew and Dan have impressive musical histories, from collaborations with Grammy-winning artists to crafting electronic music and visual art. How do your diverse creative backgrounds shape the way you write together? We work very collaboratively; Dan creates the soundscapes over which I play some guitar plus I write the lyrics and most of the melodies. 5. Production took place between Rome and London, including work with Mauro Campana. How did this international collaboration influence the texture and atmosphere of the final mix? Though Dan and I are both English, as you can tell we like working with people who bring a different European dimension to our tracks. Mauro brings a very distinctItalian-influenced dance vibe. 6. With “Scream at the Moon” marking such a powerful return, what can listeners expect next from Made of Sand as you move toward future releases and a new creative chapter? We’d like to put on a launch happening next year to coincide with the debut album we are working on right now. In the meantime, in the New Year an extended version of our first single Come Find Me will be dropping.Thank you, Matthew Made of Sand – Band/Music
Andy Smith
Andy Smith In this interview, Andy Smith discusses resilience, creative control, and personal upheaval, revealing how adversity, defiance, and self-belief shaped “How Do We Keep Moving On” into a dark rock statement of survival. 1. “How Do We Keep Moving On” feels like a battle cry for resilience. What personal or emotional experiences inspired the message behind this song? After I moved from the UK to Australia and started my new job, the manager who brought me over initially went over the plan. As time went on, over a period of three years, this did exactly formulate as was explained. Long story short, he was a narcissistic bully who felt threatened by me and tried everything in his power to come between everyone I had met, in work and out of work, and even my own family! Had to keep going and be strong even though it was a low point, after moving 10,000 miles across the world. 2. The track channels strong ’80s dark rock energy while still sounding modern. Which artists or eras most influenced the atmosphere and sound you were aiming for? With the guitars I was aiming for the raw slightly echo dark bass tone, similar to New Order/Neil Young/Talking Heads with a punky vibe with the drums. Probably 90’s Britpop with the drums with the 80’s guitars. 3. There’s a strong sense of defiance and perseverance throughout the song. How important is it for you to create music that feels empowering rather than purely introspective? Great question. I don’t think of it like that when I am writing. It really is how it comes out and if I’m on that track during the process, then I will steer it that way. But I have the idea or moment in my life as to what i’m going to say and then it becomes a song. Once I have the song, in demo format, I then edit around how I want it to sound and then occasionally change some lyrics. But usually it’s written in one go and then the production gives it that feel! I produce and record myself so I have that creative control to make it sound like I wish and can change things as I see fit. 4. The driving rhythms and haunting guitar work play a huge role in the song’s impact. How did the songwriting and arrangement evolve during the creative process? Not much really. The demo, just an acoustic guitar, has the verses just like the record and the choruses were always going to be big! There are a lot of tracks for the chorus to give it that sound, but I didn’t want to go over board with distortion or overdrive, just wanted the wall of sound, rather than completely overdriven/distorted. But it was always the plan to separate the two from the beginning. Using the wah in the breaks with the pounding drums was something I tried in production and I’m really happy how that came out. 5. You describe this release as more than music—it’s a movement. What do you hope listeners take with them after hearing this track? That anything is possible! However bad a day you are having, whatever goes wrong, the plan gets changed or you get bad news, get up, dust yourself down, move on and don’t let the bastards get you down or see whatever has happened has affected you! Keep your head held high as every single one of us has a spot and purpose in this life! The dark clouds always move on and that light will shine on you again! STAND TALL ALWAYS! 6. Looking ahead, does “How Do We Keep Moving On” represent the direction of your future releases, or is this song a unique chapter in your artistic journey? It definitely is a statement to myself with my musical journey. As an independent artist, there is not much adulation, so it’s always a battle to keep going. But for me, it’s getting the music I enjoy writing, recording and producing out there. If one person enjoys it or even takes something from it, wow, great! With the direction of my next releases, I’ll keep doing the same thing. My previous release was really different, and my next releases will be different again. I like to challenge myself with different styles and genres and keep surprising people with what I create. The meaning of this track will always be there and I may hang a print of these lyrics on the wall in my studio as I reminder, when things get tough again! Andy Smith Music