Lana Crow
Lana Crow Lana Crow’s “Orwellian Times” confronts manipulation, outrage culture, and digital confusion. In this interview, she explores truth, vulnerability, and the creative vision shaping her bold, genre-blending new single. 1. “Orwellian Times” tackles themes of conformity, outrage culture, and digital chaos. What moment or realization first sparked the idea for this song? I was raised in a post-Soviet society. Year after year after the Soviet collapse, the lies that had propped up the empire unravelled—and the sheer scale of the deception and brutality was staggering. What I now consider an advantage is that, when I went to university, Kazakhstan was in the process of finding its own cultural and moral identity. As a result, no particular ideology was forced upon me. Yet those who had been indoctrinated by Soviet higher education remained completely immune to any exposure of the regime’s lies. Nothing could convince them that the Soviet Union had been a deeply flawed and oppressive system. Truth simply didn’t matter. That experience taught me something important: we tend to believe only what we want to believe. Very few people are genuinely interested in the truth; most care only about how it makes them feel about themselves. This human tendency is being exploited on a massive scale today. When I moved to the West many years ago, I was initially heartened by the greater transparency in the media. Over time, however, I watched that transparency slowly erode. For me, the moment it became unmistakable how Soviet-like parts of the West had become was the media onslaught against Israel following Hamas’s terrorist attack on October 7, 2023. Two things struck me as utterly surreal: Ukraine was forgotten overnight. Conflicts with far higher death tolls and suffering — Yemen, Sudan, Syria, Nigeria — were barely mentioned at all, except by a few isolated outlets. Hamas had taken roughly 250 hostages, so the power to end the war had always rested in Hamas’s hands—yet Israel was expected to abandon its own citizens and stop fighting. This absurdity prompted me to try and find out what is being pushed on popular social media these days and what is currently being taught in English-speaking universities, and I discovered some deeply disturbing things (which I won’t detail here). My only advice is this: if you truly want to understand a country or a conflict, don’t rely on books or media. Go live in the place that moves you, learn the language, and find out what actually drives people to act the way they do. Sadly, much of the Western world has been manipulated into believing that being loudly pro-Palestinian makes them virtuous. In reality, the dominant strain of that movement is not “pro” anything — it is anti, fueled by hatred. The street protests did not shorten the war; if anything, they prolonged it by playing into the hands of those who started it. I can almost understand those who have been bombarded with anti-Israel propaganda from every direction. Few of us do real research before forming strong opinions, especially when jumping on the popular bandwagon makes us look morally superior. Most non-Arabic-speaking protesters have no idea that the chant “Free Palestine” actually says “From the water to the water, Palestine is Arab, all land is Arab” in Arabic. They also don’t realise that Palestine would have no problem with Israel if Israel shared Palestine’s religious faith. The sad thing is that certain ideologies have become part of many people’s identity, and identities adopted in youth are hard to shake. When an ideology convinces you that it is virtuous to hate, the future looks bleak for all of us. In short, what sparked the idea of the song was how easily we are manipulated today — how effortlessly we can be made to feel righteous and good while actually being driven by some of our darkest emotions, and how easy it is to divide us. 2. Your lyrics blend irony with emotional vulnerability. How did you find the balance between calling out societal behavior and keeping the message personal and relatable? Because I am just one of many, I know how easy it is to get trapped in a narrative we’re being fed. We are all guilty of bias, and we’re all shaped by whatever pops up on our screens. I often catch myself judging something—or someone—based on a report or a comment, only to find out later that I was wrong. There’s simply too much noise around us. I think the best way to stay grounded right now is to avoid letting foreign conflicts take over our personal space. We can’t help projecting our own values and perceptions onto others, and some cultures are so vastly different that only people with real, personal insight into the daily life of that culture would know what they are dealing with. Some conflicts are just not ours to judge. And it’s a strength, not a weakness, to admit when you got something wrong. The world is changing very fast at the moment and it is ok to make mistakes. 3. The track mixes punchy guitars with cinematic synths, creating a powerful pop-rock atmosphere. What was your sonic vision going into the studio for this single? I asked the producer, George Harris, to create a sound that would land somewhere between Taylor Swift’s “Actually Romantic” (I loved the guitar there) and my own “Don’t Look Up.” He’s a clever guy and a talented artist in his own right—he releases music as Brando Walker on Spotify—and I think when he heard the demo, he immediately sensed that the track needed that eerie atmosphere the synths could bring. And he absolutely nailed it. It was the first time a producer has delivered the perfect track for me on the very first attempt. 4. You’ve said this song is like holding up a mirror to listeners. What do you hope people feel or confront within themselves after hearing “Orwellian Times”? I wish people would stop chasing movements that give them a cheap
Raffy L’z
Raffy L’z Raffy L’z returns with raw honesty in “John Doe,” confronting addiction from both sides. In this interview, he reflects on growth, responsibility, and the lived experiences shaping his bold new voice. 1. Your new track takes on addiction from two opposing perspectives — the addict and the dealer. What inspired you to approach the story from both sides, and how did you balance honesty with responsibility while writing it?I’ve personally seen both sides, first hand. It’s something I grew up around.I wanted to tell the story from both sides because that’s the reality I came from. I’ve seen the addict’s world up close, and I’ve also lived the other side of it — the side people don’t usually talk about without sugarcoating or sensationalising it. Writing ‘John Doe’ wasn’t about glamorising anything; it was about showing the cycle for what it really is: two people trapped in different versions of the same struggle. I balanced honesty with responsibility by focusing on the emotions and consequences more than the lifestyle. It’s a reminder that everyone in that situation is fighting something, and that’s what I wanted the song to capture. 2. You’ve been creating since the MySpace and pirate-radio days as Mr L.KiD. How has the journey from that era to now shaped the tone, confidence, and maturity in your storytelling?Coming up in the MySpace and pirate-radio days as Mr L.KiD gave me a foundation you can’t really manufacture. Back then it was raw — no strategy, no marketing, no second takes. You either had something to say or you got swallowed by the noise. I was just a kid finding his voice, running off pure instinct and energy.The years between then and now forced me to grow in ways music alone couldn’t. Life happened — the mistakes, the lessons, the consequences, the rebuilding. All of that stripped away my ego and left the honesty. So when I write today, the tone is different: it’s more focused, more intentional, more truthful. I’m not trying to impress anyone — I’m trying to tell the story properly.The confidence you hear now doesn’t come from bravado; it comes from surviving everything that shaped me. And the maturity in my storytelling is just me finally having the life experience to really mean the things I’m saying, instead of just trying to sound like I do. 3. After stepping away to build your life and family, you’ve returned with a noticeably sharper, more grounded voice. What personal changes or experiences most influenced this new version of Raffy L’z?Stepping away from music forced me to grow up. I went through things that most artists don’t talk about — rebuilding my life from scratch, becoming a dad, taking care of my responsibilities, and learning what actually holds value. When you’ve lived real life outside the studio, it sharpens you. You stop trying to impress people and you start telling the truth. That’s why this new version of me sounds more focused and grounded: I’m writing from a place of experience now, not ego. Everything I’ve been through — the losses, the lessons, the small and big wins — it stripped away all the noise and left me with a clearer voice and a much deeper purpose. 4. The production is dark, stripped-back, and almost cinematic. When building this track, how did you decide on the raw drum-kit approach and heavy bass to convey the emotional weight behind the subject? For John Doe, I knew the story itself was heavy enough — addiction, power, survival — so the production didn’t need to be dressed up. I wanted it to feel raw and uncomfortable, almost like you’re sitting in the room with both characters. That’s why I went for a bare drum-kit feel and a heavy, dragging bassline. The space in the beat lets every word hit harder, and the bass gives it that sinking-stomach feeling that comes with the realities I’m talking about. The whole point was to strip away any gloss and let the truth of the story do the talking. The production had to feel like where I came from — cold, minimal, and honest. 5. You describe this record as a statement rather than a trend-chasing track. What message or understanding do you hope listeners walk away with after hearing it?At the core of this, I want people to walk away with a sense of reality, not glamour. Whether you’re the one buying or the one selling, drugs pull you into a world that looks tempting from the outside but destroys you from the inside. I’m not trying to preach — I’m showing both sides exactly how they feel: the addict desperate for relief, and the dealer trapped in a role that eats away at you long-term. If someone hears this track and it makes them pause, even for a second, before getting mixed up in that life — then the message landed. That’s all I really want: for people to understand the cost. 6. Your music often comes from real life — pressure, reflection, and lived experience. How do you navigate the line between protecting your privacy and telling the truth with the kind of clarity and emotion that defines your sound?I don’t need to overshare for the story to hit. I paint around the edges — the feeling of being in too deep, the choices that change your life, the weight that stays with you. As long as the emotion is real, the message lands without me exposing every chapter of my past. That balance keeps the music honest, but keeps my private life protected. Chris or L’z. It Depends. (@redefinethismess) • Photos et vidéos Instagram
Riffindots
Riffindots This interview dives into Riffindots’ volcanic new single “Everytime,” exploring its nostalgic roots, experimental recording process, cross-continental influences, and the vivid visual world shaping the upcoming Latitude Bera experience. 1. “Everytime” is described as a ‘magma-laden roller coaster.’ How did you translate that volcanic energy into the music, and what inspired that extreme imagery? I wrote this song a long time ago and the song is actually about a longing to live in the haze of old film. That haze. That pale, scratched texture. If you look at old Kodachrome pictures, you assume that the air, old kitchens and backyards looked just like that. I think the word for this is “Anemoia”. I did grow up in the 70’s, and of course every day didn’t look like that, but in the collective memory, somehow it does. The techtonic volcanic nature of the song was simply the vehicle for this idea. Is there a parallel between the two? Well volcanos spew out from a place of origin. Nostalgia is a desire to return to it. 2. Your recording process in the Basque Country involves a unique pneumatic tube system for song sculpting. Can you walk us through how that unusual workflow shapes the final sound? I wrote a lot of music on my iPad while I was living there, but the songs needed polishing. By sheer happenstance, I met Lole, a sound engineer who happened to be my neighbor. That was 2019. I would send him my piles of spaghetti, and with the patience of someone trying to teach Betty Boop to fly a B52 Bomber, he’d clean them up. He’d add piano and keys and some drum tracks using his keyboards. We still work together, even though he’s 3000 miles away. I send him files from this side of the Atlantic. He’s very loyal, patient and very invested in the production of my songs. We have also enlisted an incredibly talented drummer who’s played on a number of my songs in the past couple of years. 3. The song features raucous guitars, steady bass, and a shrill synthesizer solo reminiscent of classic rock. How do you balance your stoner/acid rock influences with your own experimental touch? I grew up listening to a lot of Classic Rock and a lot of experimental, Prog, New Wave, Post Punk. The stranger the music, the better. It has all been stored in my own nervous system and it will bubble up in one ways, whether consciously or sub consciously. 4. You’ve lived both in Maine and France—how have these different environments influenced your songwriting and artistic vision for Latitude Bera? I like this question. Although the Basque Country was completely foreign to me, there were familiar-seeming mountain lines, horizons, angles of the sun, positioning of the ocean, shadows. I saw these in Maine when I was a kid. Because it was both familiar AND foreign, there was a strange feeling to want them to somehow align. I did feel lonely and out of sorts over there at times. Maybe there was comfort in looking over at the mountains of Spain and thinking that they looked like the horizon I saw in Portland, Maine. 5. You describe yourself as a musician, artist, and foreign language teacher. How do your other passions feed into your music, and do they intersect in unexpected ways? I teach adults, and being a naturally curious person, I like learning about people and learning styles and their fascination for learning languages. I too learned French (and Basque-not so successfully!) as an adult. It’s easier when you’re a kid, of course. But I remember when French really took hold, I noticed some weird unintelligible staticky frequencies of French that started to make their way into my subconscious. Something shifted, and I started to understand it. Also, the brain anticipates what it is supposed to do next when you start speaking. It feels a lot like when a song ends on an album, and your brain jumps ahead in anticipation of the next song. 6. Fans can expect visual mayhem alongside your music. How important is the visual element to the Riffindots experience, and do you plan any surprises to accompany Latitude Bera? This do like to make short, I guess you would call them “visualisers”. 15-30 second slivers of what strikes me to make after a couple cups of coffee. It might be a time lapse of my photchromic lenses changing back to normal after being outside- with my music playing. It may be an animated short of all my western shirts slivering up and down my long hallway. It may be my dogs running fast leaving lysergic visual trails behind them (with the help of certain camera effects). I have dabbled in AI, but I’m trying to use alternative means because I don’t want things to look too AI-y. brittapejicmusicartdogs
Noah Hutton
Noah Hutton Noah Hutton’s “Christmas Time” was born from a spontaneous spark and shaped by heartfelt collaboration. In this interview, he shares the family moments, studio magic, and creative instincts behind his modern holiday single. 1. “Christmas Time” was inspired by a spontaneous moment during a family car ride. Can you walk us through that spark of inspiration and how it turned into a full song just a few hours later? I’m not exactly sure when the spark hit. We were heading home after Thanksgiving lunch, listening to holiday tunes, and my wife, Tash, mentioned that the world needed new Christmas music. She felt we’d been hearing the same ones for too long. I joked that I didn’t write Christmas music and wouldn’t even know where to start. It honestly never crossed my mind again after that.Later that evening, I was practicing for a show and hit a wrong note. As musicians know, sometimes a good-sounding wrong note can be the key to finding the right song. It immediately had a very distinctive, ‘jiggly’ feel. I looked at Tash and said, ‘I think you’re going to get that Christmas song.’ A cute story started playing in my mind right away, and I wrote it out. 2. This track features contributions from Marco Freeman, Edgar Zambrano, and even your son Bryson. How did each collaborator help shape the sound and spirit of the single? I am incredibly grateful for each artist’s contribution to this project. Marco’s bass line is foundational; it provides a steady, rhythmic trot that evokes the feeling of a horse pulling a winter sleigh. Speaking of which, at the beginning of the second verse, you’ll hear a soft set of sleigh bells, added by my son, Bryson, which truly makes you feel the sleigh passing by. Finally, Edgar brought the Christmas magic, adding both lead guitar and keys. He is responsible for one of my favorite parts: a subtle sound effect of little feet sneaking out to catch Santa. 3. You recorded at Eclipse Studios in Normal, IL, marking your first time in a professional studio. What was that experience like, and did it influence the final direction of the song? Erik at Eclipse Studio is a fantastic studio engineer to work with. For Marco, Bry, and I—it was our first time in a professional studio—he immediately made the experience relaxing and a ton of fun.Erik jumped all in from the very first note, vibing with the energy, adding shakers and percussion, and suggesting creative elements I would have missed otherwise. He even switched the lights in the recording booth to red and green to add that extra touch of Christmas magic. We came in with a small idea of how the song should sound, and he took that vision and helped shape it into the tune we have today.My wife, Tash, was there for support and to be part of the experience, and honestly, I don’t think the smile left her face all day. I remember second-guessing myself at times, and she would immediately reassure me that things were sounding on point. The glow on her face when the project was finished let me know it couldn’t have come out better. 4. With the release of “Christmas Time” opening new doors, including recent live performances, how has this song changed your momentum or outlook as an artist? The release of ‘Christmas Time’ brought with it a wave of live shows and news performances, quickly pushing me past my comfort zones. For the first time, I achieved an understanding that I was going to be okay. I am now much more confident in sharing my authentic self and vision as an artist. 5. You’ve said you’re simply trying to tell your story as a singer-songwriter. How does this Christmas release fit into your personal artistic journey and the themes you gravitate toward? The story behind the song itself is part of my artistic journey. Almost all of my songs have some quirky, unexpected element that sparks their creation, For ‘Christmas Time,’ it really was Christmas magic. 6. Holiday music is full of tradition, but your song brings a fresh feel. What elements—musical or emotional—were most important for you to capture in creating a modern Christmas track? Thank you! When a story starts to reveal itself, it happens fast—I’m really just along for the ride. Once I had a chance to pause and process Christmas Time, I knew that was exactly what I wanted to try to capture: the simple, fun moments of Christmas. The kind of moments anyone can place themselves in, and hopefully ones that bring a smile to their face. Noah Hutton
Angerland
Angerland In this interview with Angerland, we explore the spark behind “Commit A Madness,” diving into its themes, creative process, chaotic visuals, and the fierce live energy shaping the band’s current era. 1. “Commit A Madness” feels like a call to arms for those who take risks and rise after every fall. What inspired the message behind the song, and how did it take shape musically? Kermit: We tend to write the same way. Someone brings a rough idea in. We knock it about, jam whatever feels right. Jon adds words and melody so he’s the man with all the messages. The arrangement is often the last thing to take shape depending on what feels like a chorus or mid 8 etc. 2. You quoted Alan Moore’s The Killing Jokein your announcement — “Madness is the emergency exit.” How does that idea connect with the themes or energy of the track? K: Good question! Jon? J: I guess it depends on what you think of as madness. Some might think it’s jumping off a cliff while other might think it’s forming a band and asking complete strangers to listen to your music! I see it as taking a chance, risking everything you have or hope for in that moment. Metaphorically jumping off that cliff and see how you land. 3. Your live history includes sharing stages with Evil Blizzard, Theatre Of Hate, and Ruts DC. How have these experiences influenced your sound or approach as a band? K: Made us hungry for more, I think. It’s been an amazing year. 4. The video, created by Paul Graham, adds a strong visual identity to the song. Can you tell us more about the creative process and how the visuals tie into the track’s message? K : Over to Paul P: The video was created using 14 different takes of live footage at various venues where the band played Commit A Madness during the show. These were synced to fit the studio recording and then graphics overlaid in a frenzied style to represent the confusion of madness. Some of the footage was treated as a duotone in the band’s red & black style and other graphics were created to enhance the confusion., including a video of the graffiti in Quadrophenia Alley, Brighton where the band were playing at the Piepline, a nearby venue. 5. “Commit A Madness” blends punk attitude with vibrant colour and noise. How do you balance raw aggression with melody and atmosphere in your songwriting? K: We just go with whatever feels right. If it ain’t broke don’t try and be clever. If it feels good and sounds right then that’s where it all should be? 6. You’re playing London’s legendary 100 Club in November. What can fans expect from your live performance, and how does this new single fit into your current setlist or era as a band? J: Lots of energy and hopefully a bloody big noise! K: We’re going to enjoy ourselves and hope everyone who comes along joins in. J: It’s a pretty iconic venue in our world so the challenge is to be the band people walk away talking about. Preferably because you’ve put on a great show rather than falling flat on your face! https://anger.land/
Hverheij
Hverheij Hverheij delivers a vibrant fusion of electronic, urban, and experimental sounds. “Mezmer Eyes” channels Vancouver’s dynamic energy, capturing city movement, color, and community through immersive rhythm and emotive production. 1. “Mezmer Eyes” captures the energy of inner-city life. What specific scenes or moments from urban environments most influenced the sound and mood of this track? Getting off sky-train rapid transit in the heart of downtown brings immediacy to Vancouver as a living inner city, where business people mingle with residents from the surrounding towers. The shopping district absorbs the hustle and bustle of traffic, pedestrians, and visitors. And from certain vantage points, the North Shore Mountains display a beautiful backdrop to all. So I would say it’s the lights, the noises, the movement, the vibrant colors mostly on sunny days. There’s a beat to it all – a pattern of artistry and rhythm that breathes with life. Seeing it is feeling it. Without consciously being aware, that rhythm plays to the soul of everyone who’s there – a strange understanding that links their lives and brings them together from over the miles. “Mezmer Eyes” captures all of these sights, sounds, energy and rhythm and shares that through the music. 2. The track blends electronic, urban, instrumental, and experimental elements. How did you approach balancing these genres while still keeping the song cohesive and engaging? It’s a funny thing that while working on it, the choices made to integrate the elements seemed to just click together as I went along; but thinking now about your question, it’s probably the percussion that kept things in check (probably also true of all the tracks on the album). On this track, the central beat was the first stem recorded, from which voice and all of the instruments followed in rhythm. I guess from that the heart was represented first and emotion followed, but only if you accept if those can actually be separated at birth. Can they really? 3. You used tools like the Arturia Mini Freak, Push 2, and MPC Live 2 in the production. Which piece of gear played the biggest role in shaping the emotional build-up of the song—and why? Keeping in line with my previous thoughts, if the MPC Live 2 delivered the heart, then I would say the Arturia Mini Freak provided the most colorful nuances to emotional buildup on this track due to the touch sensitivity of the keys and the playfulness of using the control wheels with plugins. Fun and easy to use. 4. The mastering process involved Michael Southard (Time Rival) and Triplicate Records. How did their involvement elevate the final version of “Mezmer Eyes”? Triplicate Records is a label that supports releases of all types of electronic music: ambient, idm, urban, experimental – you name it. So they encourage new directions, innovations, quality of sound and forward driven music, which is a good thing for me because my projects tend to go in many different directions from one album to another. When I forwarded the concept of this album to TR, they openly embraced it under the label’s banner for this release. I should add that my first ever album release was through Triplicate Records in Dec 2020 (a kind of 2020 vision), from which I have released numerous albums on my own, plus 7 additional albums – including the current one – through the TR label. It’s safe to say in general that all 3 founders of the TR label – that’s Michael Southard (Time Rival), George Ernst (Suncastle) and Bryan Kraft (BVSMV) – have taught me a great deal about music production and they have been very positive in promoting my work. Michael provided final mastering for Let’s Be Clear, including “Mezmer Eyes”, by taming the sharper edges and allowing highlights within certain frequencies to shine. The distorted guitar and tubular bells are prime examples on this track. Since Michael has mastered the majority of my own album releases, in addition to my TR releases, he has an intuitive understanding of my music and is able to bring out the finer nuances while enhancing fidelity in the music’s heart-of-sound. Over time, I believe Michael’s skill has taught me to be more precise in my initial pre-mastering work. I like to think that “Mezmer Eyes” is produced better as a song because of those things. 5. Your music often emphasizes positive energy and momentum. What emotions or reactions do you hope listeners experience when they first hear track 8 on the album? Exactly that. To feel positive about urban community, to experience a sense of being at one with it’s energy, and to embrace connection with a city’s internal rhythm, is an emotional response to that which encourages love, artistry, and freedom. Isn’t that what life is really all about? So when someone listens to track 8, I hope they can feel through the music all that gives those feelings light and life. 6. The album Let’s Be Clear explores unique rhythms and modern sonic shifts. What do you feel sets “Mezmer Eyes” apart from the other 11 tracks on the record? I hope an unbridled joy in the moment of where you are by viewing things in the best direction possible. The interconnection between community and individual I believe is felt most positively in this track through the eyes of the beholder. Musique | Hverheij
Salyse
Salyse Salyse returns with a deep house reimagining of “BARE,” blending vulnerability and movement. In this interview, she explores emotion, spirituality, and how the Sainte Francis remix expands her evolving sonic universe. 1. “BARE” was originally a soulful and intimate confession. What emotion or intention felt most essential to preserve when allowing Sainte Francis to reinterpret the track? “BARE” was originally a soulful and intimate confession. What emotion or intention felt most essential to preserve when allowing Sainte Francis to reinterpret the track?The heart of “BARE” has always been about vulnerability, that soft, trembling honesty that comes from letting someone really see you. Even with the shift in genre, I wanted the remix to keep that feeling of emotional nakedness. The tempo and texture could change, but the vulnerability had to stay intact. Sainte Francis understood that immediately, and built the entire remix around protecting that emotional core. 2. The remix transforms vulnerability into physical movement. How did it feel hearing your voice placed inside this deep, pulsing, club-driven soundscape for the first time? The remix transforms vulnerability into physical movement. How did it feel hearing your voice placed inside this deep, pulsing, club-driven soundscape for the first time?Hearing my vocals wrapped in this deep, pulsing world was liberating. It was like my softness became the heartbeat of the dance floor. The remix made the emotion feel embodied, like the confession could now live through rhythm instead of stillness. 3. Sainte Francis is known for blending deep house, disco, and underground club culture. What drew you to collaborating with him specifically, and what surprised you most about his approach?Sainte Francis blends deep house, disco, and underground club culture. What drew you to collaborating with him, and what surprised you most about his approach?House and disco have always been part of my musical roots; those sounds raised me, shaped my rhythm, and taught me that movement can be spiritual. So when Sainte Francis came across my TikTok FYP talking about the history of house music, it stopped me. The way he honored the culture and the lineage, it truly resonated with me instantly. I was impressed, and I felt this pull like “I need to work with him”.When I reached out, he responded immediately and with so much intention. The connection felt fated; the universe really did its thing!What surprised me most was how deeply he respected the emotional world of “BARE.” Instead of overpowering it, he built the production around my vocals and my roots. He understood exactly where I come from musically, what I am trying to achieve sonically, and expanded it in the most natural, beautiful way. 4. Your music often bridges soul, spirituality, and sensuality. How does this remix expand or shift the spiritual dimension of “BARE”? Your music bridges soul, spirituality, and sensuality. How does this remix expand or shift the spiritual dimension of “BARE”?The original was a poem whispered in someone’s ear during pillow talk. The remix feels more like a release, a surrender of whatever you’ve been holding onto. It adds a communal, ritualistic layer to the spirituality of the song. Instead of one-on-one intimacy, it becomes a collective moment where bodies, breath, and bass create their own kind of communion, but all working together to move your vulnerability and welcome it. 5. The remix invites listeners to ‘let go’ and experience emotional release through dance. What kind of space or experience do you hope this version of the song creates on the dance floor? The remix invites listeners to let go and experience emotional release through dance. What kind of space or experience do you hope this version creates on the dance floor?I hope it creates a space where people can feel free inside and outside themselves, to sweat out the bad vibes, to feel sexy and soft at the same time, and to dance without performing. I want it to be a safe space to release and heal. Imagine a room where the lights are low, the bass is warm, and everyone is allowed to be both powerful and vulnerable without any judgment at all. 6. This collaboration feels like a step into a broader sonic universe. How do you see “BARE (Sainte Francis Deep House Remix)” influencing the direction of your future music? This collaboration feels like a step into a broader sonic universe. How do you see “BARE (Sainte Francis Deep House Remix)” influencing the direction of your future music?Honestly, this was the plan all along. My next single, coming at the top of the year (stay tuned), and the music I’m creating for my debut project all live in this world of house, disco, deep groove, dancehall, and SOUL. I’ve been leaning into music that speaks to the mind, body, and spirit, and also at the same time to rhythms that move you, lyrics that open you, and sonics that feel like ceremony and release.So this collaboration with Sainte couldn’t have come at a better moment. It aligned perfectly with where I’m headed creatively. It feels like the universe gave me a little wink, like “yep, you’re on the right path.” And trust, this won’t be the last time you hear from this duo. We’ve unlocked something special, and there’s more fire on the way. Home | SALYSE
Marc Soucy
Marc Soucy This interview explores Marc Soucy’s creative world—his “mini soundtracks,” genre-blending compositions, lifelong bond with technology, and the visual dimension that shapes his immersive musical journeys and ever-evolving artistic identity. 1. Your work is described as “mini soundtracks” that blend world music, electronic elements, and cinematic storytelling. When you begin composing, what usually comes first—an emotion, a visual scene, or a musical motif? I begin by coming up with a musical motif. If I like it from a pure musical perspective, I’ll start to compose additional parts. As I’m doing it, it feels to me like I’m improvising. I have really good recall of music I’ve encountered my entire life, and I’m quite sure snippets of them all make their way into my thinking as I’m working. I believe this is how authentic music composition works anyway. Originality has become truly fragile and difficult to achieve, since so much has been done and is being done now. I do have the advantage of having studied classical piano for my entire childhood. This gives me a sense of structure, execution, and knowing when something’s right, even if it has nothing to do with classical music. My growing music catalog is made up of many different mixtures of styles: unpredictable, and hopefully emotionally provocative. Getting back to your question, once the musical piece has developed some, I start to examine how it makes me feel, and what visual events might accompany that feeling. Is it ominous? Is it tense and stressful? Is it loving and nurturing? Is it surreal and otherworldly? …and on and on. This thinking gives me a direction to continue developing the piece and the concept I want it to convey. Once many of them were done, the pattern for me became “mini soundtracks”, because of the twists and turns each piece can take as it progresses. 2. You’ve been connected to music since childhood and have witnessed the evolution of music technology from the early days of MIDI to today’s digital tools. How has this lifelong relationship with technology shaped your creative process and the sound of your recent releases? That experience with both music studies and music technology has allowed me to progress beyond what the normal approach to this technology is. As I said, I have a very improvisational approach to this, and finding “that sound” I think I need in a given passage is part of the process. I never let the sound library dictate anything. That’s not my thinking at all. I’ve been asked what sound libraries I prefer. I own seven or eight of them, plus a couple dozen virtual instruments, besides my keyboard rig. I find and use a sound without committing my self to any specific approach or formula on how each thing is used. This gives me even more freedom to create what I hear in my head. The sound of my recent work is indicative of this process. Electronic sounds often appear almost anywhere, or a keyboard instrument from recent history—say a Mellotron or a Clavinet—might appear suddenly. Just because it captures the feeling for that moment. On top of all that, overall, I use organic “acoustic” sounds even more often than the electronic ones. Violin, trumpet, cello, string sections, French horns, tin whistles, you name it. Mixing it up constantly, and never sitting still with a style is what I’m all about. 3. Your compositions often feel like immersive journeys with influences from classical, rock, jazz fusion, world music, and more. How do you approach merging so many genres into a cohesive piece while still maintaining your unique artistic identity? That question is a good one, and also a hard one to answer accurately. I guess I simply refuse to follow ANY of the “rules” out there about how to arrange a song. Any piece of mine might start with a minute long soundscape and suddenly erupt into a dynamic musical thrust. A minute later, it might become introspective, or awe inspiring. It could go silent and crawl its way back. If anyone wants me to “get to the point” or “where’s the hook?” forget about it. You won’t get that from me. I am not a creator of “popular music” in any form. I might touch upon it briefly here and there, but that’s it. 4. Each track is accompanied by a music video and often carries elements of sci-fi, surrealism, or spirituality. How important is the visual dimension in your artistic vision, and what role does it play in deepening the listener’s emotional experience? Creating my music videos is my hobby, whereas music itself is my art. Let’s be clear about what my intentions are. I consider my music “sync ready” and I am working to make it so for the entertainment industry. That said, I see the videos as just one possible interpretation (among many) of what the music implies. That “mini soundtrack” concept really kicks in when you watch the videos. Most listeners have a much more immersive experience when they watch them. The industry people may have little use for my music videos, but the public might. Plus they are fun to do. 5. Reviews have compared your work to cinematic giants like Hans Zimmer and Max Richter, yet highlight that your sound remains unmistakably your own. How do you navigate the balance between recognizable influences and forging a distinct personal signature? I keep my distinct musical signature my being free of any rules. That constant exploration, and willingness to add another style to any piece is my approach. I never sit still in a given genre or sound. There are many very gifted music artists and composers out there that can cross stylistic boundaries, and really master them at a level that I can’t. I listen to people like that for enjoyment. For me though, it’s all about the constant change and unpredictability of my music that keeps it “me”.. You can’t listen to ANYTHING that I’ve done, and assume
Eastar and Karlie
Eastar and Karlie Eastar and Karlie discuss their collaboration on Moonlit Dreams, a late-night, cinematic pop track capturing freedom, emotion, and that magical 3 AM feeling, exploring creativity, chemistry, and the power of musical connection. 1. Moonlit Dreams feels like a song about freedom and that late-night magic where time stands still. What inspired the idea behind the track, and how did it come to life in the studio? Eastar: First I had the beat and gave it to Karlie to write the song. Karlie: I immediately felt the world of it — that clean, late-night vibe. We didn’t force anything; the topline came fast. It had that “everything quiet, mind awake” energy from the start. You know what I mean? 2. Eastar, you mentioned that Karlie’s vocals gave the song the emotional edge you’d been searching for. Can you both describe that creative chemistry between you? What makes your collaboration “click”? Eastar: Karlie is easy to work with and open for ideas and suggestions. Honest if she likes it or not. Karlie: There’s a lot of trust between us. We both show up with good instincts and no ego, so ideas move fast. He creates a world I can step into, and I know I can try things without overthinking. That’s why it clicks. 3. The song captures that special 3AM feeling — where the night feels endless. Was there a real-life moment or memory that shaped that mood? Eastar: I had to dig back in my memories, but then I remembered a moment when I was young and went back to my grandfather’s village, Seri, on the island of Ambon, Maluku. I remembered the big clear full moon in the dark sky at night — almost unreal. Karlie: For me it’s that mix of calm and focus you get when the world goes quiet. Especially surrounded by close friends and family. A twirl is your stomach, that feeling of happiness. Those moments always feel a bit cinematic, and that mood ended up shaping the whole track. 4. Karlie, this single is part of your upcoming debut album, which Eastar is also producing. How does Moonlit Dreams fit into the bigger story or sound of your album? Karlie: It’s part of the lighter, more fluid side of the album. The record has depth, but it’s not heavy — it’s confident, sleek, emotional pop. Moonlit Dreams shows that late-night clarity and freedom that runs through the whole project. And ofcourse it’s so special to have this collaboration with EASTAR on the album. To work together on another level. 5. Two weeks after Moonlit Dreams, you’ve released the See Her (EASTAR Remix) — a deeper, late-night version of an earlier single. How does the remix transform the original, and what do you hope listeners feel when they hear it? Eastar: I wanted to create a more danceable club version of the song, which is more pop. Karlie: The remix takes the message from reflection to release. It’s the See Her world — but turned up, brighter, faster, louder. It even touches that late-night rave feeling. It’s the kind of freedom where you stop thinking and just move. The best feeling 🙂 I hope listeners will feel that vibe. To feel strong, powerful. Like an anthem for self love. 6. Both of you seem to blend emotion and nightlife energy in your music — that mix of vulnerability and freedom. How do you balance those two sides when creating? Eastar: I follow my heart and feeling, hoping to inspire Karlie to finish the song. Karlie: For me it’s always about balance. The track has energy, but it never loses emotion. That’s the sweet spot — pop you can feel, the kind that makes you move but makes you think and feel as well. THIS IS KARLIE
The Mikols/Goble Project
The Mikols/Goble Project The Mikols/Goble Project began when Karl Goble discovered Philip Mikols’ music online, sparking a faith-driven collaboration that merges diverse styles into heartfelt, soulful songs filled with meaning and musical ingenuity. 1. This collaboration started from a simple online message. Can you walk us through that first connection and what made each of you feel that this partnership was worth pursuing? Philip: Karl sent me a DM saying that he found my music online and if I would be interested in doing a collaboration. I checked out his Cosmic Silk Project and responded by asking him to send me some demos of what he had in mind. The first song was Under the Wings and I thought it had potential. Then he sent me Much Wiser Than That Now, and I said, “Let’s do this.” The lyrics to Much Wiser Than That Now really hit home. Any man who has been through the wringer in life can instantly relate to this song. Karl: When I first thought of collaborating with Philip, I was thinking lyrics. Wow, was I surprised! He sent me back this music that caused my heart to leap. I mean, you don’t get a chance to play with this caliber of musician, but maybe once in a lifetime if you are lucky. So, Philip wrote me, let’s do an album. Here we are now with an album. 2. Your musical backgrounds are vastly different — from folk and gospel to classical and progressive rock. How did you approach merging these styles without losing the essence of what defines you individually as artists? Philip: It all starts with a good song, and the song itself will dictate what needs to be done with it. No amount of technical wizardry and virtuosity can fix a bad song. Many of the songs I actually reworked to be much simpler than what was on Karl’s demos. With the simpler chord progressions and song structures of Karl’s songs, it gave me the opportunity to do some interesting things that I don’t normally hear in this genre of music. Things like using different chord voicings and chord inversions for each section of the song instead of playing the same thing each time. Plus, I was able to let the bass take a lead role in many songs by playing subtle counter melodies throughout the song. Karl: I never really thought about our styles merging. I just think of it as two musicians improvising and having a great time doing it. 3. Faith appears to be a central thread in both of your creative identities. How does your shared spirituality influence the themes, lyrics, and emotional direction of your music together? Philip: It is all for the glory of God. Our coming together for this project was quite a synchronicity. I have released seventy-four of my own instrumentals and was working on some new ones but was not feeling very inspired. I was thinking that I would like to do something really different with someone else, and shortly thereafter, Karl’s DM showed up. Karl: Well, I pray a lot and count my blessings just for being in life with God. The ideas come straight from Him, and they are all His songs. If God doesn’t write it, I can’t. I personally believe God brought us together for such a time as this. 4. Karl, your songwriting often feels deceptively simple on the surface while carrying deep meaning underneath. How did Philip’s arrangements and instrumentation help expand or reinterpret the messages in your songs? Karl: I write the songs, the basic melody, and send them to Philip. He interprets them in what ever way he does. Philip may ask for more lyrics to be added, but usually when I send a song to him it develops. I write by feeling, and that feeling comes from God. 5. Philip, you come from a classically trained perspective with a strong focus on composition. What was it like adapting your instrumental style to complement Karl’s storytelling and vocal approach? Philip: I am actually not a fan of any of the genres that Karl writes in, but there was something very unique about his songwriting that really appealed to me. There was a lot of really good raw material to build from. I started putting some backing track ideas together and found myself having way too much fun with them because I have never done anything with this style of songwriting before. It was really easy to adapt my compositional style to Karl’s songs because they are just so good. I was able to do something with them outside of the same, tired old pentatonic and blues scale licks. “Honest With You” is a song that is really different from Karl’s original demo. It was a techno rock song, but I started playing around with 7th and 9th chords, and it became a 1970’s style “yacht rock” song and is a favorite of mine. The mood of the song really fits with the moody lyrics. There were little bits and pieces of melodic ideas in the demo that I was able to develop more fully, and am really pleased with how that song came out. 6. As this project continues to grow, what can listeners expect next? Are there themes, sonic directions, or messages you’re excited to further explore in future releases? Philip: It is anybody’s guess as to what comes next. There are a few of Karl’s demos that did not make it on this album that I will be revisiting. I also have a few musical ideas floating around in my head that would work with Karl’s lyrics and voice. Karl: God is in charge, so I just hang on. Cosmic Silk Project Musique | Philip Mikols