New Nobility
New Nobility New Nobility shares the heartfelt vision behind One Child One Smile, blending global sounds with a message of hope, unity, and kindness, setting the stage for their uplifting upcoming album. 1. What inspired you to focus on children’s struggles around the world in this release? One Child One Smile came from a simple but powerful idea, that every child, no matter where they’re born, deserves joy, safety, and hope. We’re constantly seeing stories of hardship around the world, especially affecting kids, and it just stayed with us. This song was our way of turning that awareness into something positive, something that reminds people that even small acts of kindness can make a real difference in a child’s life. 2. The track blends World, Afrobeat, and Pop influences. How did you approach combining these styles? We wanted the music to reflect the global nature of the message. Afrobeat brings that uplifting rhythm and movement, World elements add cultural depth, and Pop makes it accessible and memorable. It was about finding that balance, keeping it soulful and rhythmic, but still delivering a melody that connects instantly. The groove carries the emotion just as much as the lyrics do. 3. How does One Child One Smile set the tone for the album Let’s Make a Better World? This track really is the heart of the album. Let’s Make a Better World is all about hope, unity, and action, and One Child One Smile captures that perfectly. It’s not just about highlighting problems, it’s about offering a vision of what we can do together. The rest of the album builds on that, with different stories and perspectives, but always coming back to that core message of making things better. 4. What message do you hope listeners take with them? That they matter more than they think. You don’t have to change the whole world overnight, sometimes it’s as simple as showing kindness, offering support, or just being present for someone. If the song inspires even one person to make a small positive change, then it’s done its job. 5. How important is music in bringing people together and inspiring change? Music is one of the few things that truly crosses borders, languages, and cultures. It connects people emotionally before anything else. In a divided world, that’s incredibly powerful. A song can start conversations, shift perspectives, and remind people of what we all share. That’s why we believe music isn’t just entertainment, it’s a tool for unity and change. 6. What’s next for New Nobility? We’re really excited about what’s coming. The album Let’s Make a Better World explores a range of themes, hope, resilience, love, and community. Fans can expect more uplifting songs, strong melodies, and meaningful messages. We’re also looking at visual content and live, style experiences to bring these songs to life in a bigger way. This is just the beginning of the journey. New Nobility Band – Music for a Better World
Riley Finch
Riley Finch Riley Finch opens up about raw emotion, betrayal, and self-discovery behind Only When You Come, revealing the unfiltered songwriting, confronting truths, and sonic choices that shape this personal debut album. 1. Only When You Come is such a raw and emotionally intense debut—what pushed you to tell this story so directly and without holding anything back?I don’t know if it felt like a choice at the time. It was more that I didn’t really have another way to write it.A lot of those songs came out while things were still happening or right after, so there wasn’t much distance between what I was feeling and what ended up in the lyrics. I think if I had waited, maybe it would’ve been more filtered or easier to shape into something “cleaner,” but that didn’t feel honest to where I was at.I also think I spent a long time before that trying to say things in a way that felt more acceptable or easier for other people to hear. And it never really landed the way I wanted it to. It sounded right, but it didn’t feel right.So when I started writing these songs, I kind of stopped trying to manage how it would come across. Not in a reckless way, just… I wasn’t softening it anymore.I didn’t really think about whether it was too much or too direct while I was doing it. That came later. At the time, it just felt like the only version of the story I could actually stand behind. 2. The album explores themes of loyalty and betrayal in a very personal way. Was there a specific moment or realization that became the emotional starting point for the record?I don’t think it was one big moment. It was more like something that kept repeating until I couldn’t ignore it anymore.I think the realization was more about seeing the difference between what someone says and what they actually do, especially over time. You can explain a lot away in the moment, or tell yourself it’s just a bad day or a misunderstanding. But when it starts to feel consistent, it’s harder to keep giving it the benefit of the doubt.That’s probably where a lot of the album comes from. Not just the feeling of being hurt, but that shift where you start to see things more clearly than you maybe wanted to.It wasn’t dramatic when it happened. If anything, it was quieter than I expected. Just realizing that something I thought was solid… wasn’t, at least not in the way I believed it was. 3. Tracks like Did You Even Flinch? and Last Fucking Mistake carry a strong sense of confrontation and anger. How did you channel those emotions into your songwriting and performance?I think those songs sound more explosive than they actually felt while I was writing them.A lot of the anger wasn’t loud at the time. It was more controlled, or pushed down, or sitting there without really having anywhere to go. So when I finally wrote it out, it comes across sharper because it’s not filtered, but it’s also not exaggerated.I wasn’t trying to make them sound aggressive. I was just trying to say things I hadn’t said when I probably should have.With Did You Even Flinch? especially, a lot of that comes from looking back at something and realizing how one-sided it felt in ways I didn’t fully process in the moment. And Last Fucking Mistake is a little more direct, but even that isn’t as impulsive as it sounds. It’s more like reaching a point where you’re done questioning it.I think the way I approach it is just… don’t dress it up. If it’s uncomfortable or blunt, it probably means it’s closer to what I actually meant. 4. Your sound blends alternative rock, grunge, and industrial textures. How did you shape this sonic identity to match the emotional weight of the album? I don’t think I ever sat down and tried to define what the sound was supposed to be. It was more about whether something felt like it matched what I was trying to say.A lot of the time, if something sounded too clean or too polished, it just didn’t sit right with the lyrics. It felt disconnected from what the songs were actually about. So I kept leaning toward things that had a little more weight or tension in them, even if they weren’t perfect.The alternative, grunge, and some of the more industrial elements are also just what I’ve always been drawn to. That’s the kind of music I go back to when something actually hits me, so I think that naturally shapes how I hear things when I’m working on my own songs.There’s something about those sounds that doesn’t try to smooth everything over. They leave space for things to feel a little rough or uncomfortable, which felt more honest for this record.And with some of the colder or more distant textures, that was more about certain moments needing to feel a little detached underneath everything else. Even the quieter parts didn’t feel like they should be soft, just… held back.I think it all just came down to not forcing anything into a style. If it supported the feeling, it stayed. If it didn’t, it didn’t matter how good it sounded on its own. 5. On My Own Undoing and My Own Flame, there’s a shift toward self-reflection and independence. How important was it for you to include that personal growth in the narrative?It was really important, because without that, it would’ve felt incomplete.I don’t think I could’ve been honest about that situation without also being honest about my part in it. Some things were one-sided, yeah. But I was still there. I stayed. I let certain things keep happening longer than they probably should have.I don’t see myself as someone who was just a victim in it. That never felt true to me. At the same time, that doesn’t mean nothing happened either. It’s just…
Callie Joy Porter
Callie Joy Porter Blending ambient darkness with cinematic rock, Callie Joy Porter unveils the deeply personal world behind “9”—a powerful exploration of resilience, rebirth, empowerment, and confronting hidden truths through music. 1. Your album “9” blends soft ambient dark music with cinematic and alternative rock elements. How did you develop this unique sonic identity, and what emotions were you hoping listeners would feel throughout the record?Due to my mystical development and my knowledge in mythology, I tried to infuse the energy of resilience and learning more than guilt-tripping and disserving in my songs. Some of them help in acquiring the feelings they give the audience. Everyone, no matter biological gender, can take away from the experiences, the stories in this album have a lot to do with what most people have a tendency to hide in shadows, over fear of others judging them over their life experiences. With this album, I’m trying to infuse energy, acknowledgement, sensuality and strength. Empowerment. Of course, dedicated to women, but everyone who has ever been diminished or guilted into feeling small can take the energy of release and empowerment, the returning to the core, and the experience of rebirth from the album. 2. The concept of the album is built around “what if” scenarios, especially the idea of January birthdays being overlooked or misunderstood. What inspired you to explore this theme, and how personal is this story for you?It is enormously personal, because I named this album after the most energetically tied to me. I was born in January 9th, and because of having working parents, and working summers myself, I’m from Chile, it’s a highly touristic season, it’s summer then, my family has always worked Summers, so I worked tourism for over 15 years, sometimes I still come back, besides everything I do on my daily life. Whenever I don’t want to forget something, I give it that number. When it came time, and I realized who I am, it was also a January 9th. 3. Songs like “Hero” and “Just Rise” focus strongly on resilience and self-empowerment. How important is it for you to include messages of strength and self-worth in your songwriting?It’s very important, because I hope kids, from 25 and lower, can listen to empowering songs and think they can still be that person for themselves or someone else. I went through a lot in my 40 years on this earth. Most of it was caused because of my impostor syndrome, the fact that I posponed things I wanted for myself, the binds that broke me, ended up being my version of rock bottom and when I thought I wouldn’t blind, my music returned to me, my will for my music, acting, performing in all ways, returned to me. I realized one of the gods I believe in, the one that is the reason for my second album’s track, Liminal Goddess, Hekate, was once more giving me the choice to either stay the same or move on. Make the move. And this time I made it. I just hope some of my music gives younger generations, the will to go for their dreams sooner. Earlier than I did. 4. Tracks such as “Sweet Darling” and “Stellan” carry a dark, femme-fatale atmosphere. What draws you to this aesthetic, and how does it help you express the stories behind these songs? I teach mythology, tarot and I read tarot cards, as I’ve said before, I’ve been reading tarot cards since I was 9, so I’ve been literally called a femme fatale, or told that ‘I did something’ to someone when they wanted me but they were with someone else. People, men and even some lesbians, were blaming me over their feelings for me. I don’t consider me a femme fatale, I’m too filterless to be one. I speak my mind and I’m opinionated and to me, relationships are important. So, if someone, anyone, lies to someone about me, which has happened as well, those songs are one – if you want me, you need to be single and not be a creep, no matter how hot you are – that’s mostly Stellan. And well, Sweet Darling is the typical one that I gave a shout out because they were going to hell on the first line. Why? because most of the ones who have gone on me or my friends in my time when I used to go out more, well, were supposed to be committed in one way or another or people who went to their religious temple or church many times … But they lied a lot. Faked a lot. And many younger women believe men. I’m trying to warn them. And no, it doesn’t matter how much people think it’s the woman’s fault. In the song the femme fatale was literally saying that she wasn’t going for him. 5. The number 9 plays a symbolic role in the album, representing closure and rebirth. How did this symbolism shape the structure and narrative arc of the record?It’s a death and rebirth album, because it was released on my birthday. I left 39-year-old me behind, and I’ve been shedding, and new music will be coming in about 3 months, another couple of EPs or Singles, and an album by the end of this semester should be expected, something tells me you will know when all of that will happen earlier. But yes, I’m working on some Singles in Spanish, and some more in English, I’m picking up some instruments that I want to try my hand at. I’m recharging the dream. I’m choosing which thing comes when and where and if they pass me, because I’m very much a perfectionist when it comes to what comes through 6. Your music blends fantasy, reality, and themes of empowerment for women. What do you hope listeners—especially women who relate to these experiences—take away after hearing the album?All my albums have a thing, I make it with intentions. Depending on the song, and
Carmen Rose Davidson
Carmen Rose Davidson Blending genres and raw emotion, Carmen Rose Davidson opens up about her multicultural roots, powerful influences, and the deeply personal story behind “Make Sure” and her debut album Sincerely Yours. 1. Your music blends Country, Jazz Fusion, Blues, Funk, and Ethereal soul — how did you develop such a unique and genre-crossing sound?I think it was inevitable really. I grew up in Ealing, West London — one of the most ethnically diverse boroughs in the UK — with mixed South Asian and Christian roots. My ears were soaking up a whole world of sound from the very beginning. Gospel, Arabic maqams, 80s rock, country, Vivaldi — all before breakfast! That cultural collision became the heartbeat of my sound. I love the fusion of genres and wanted every sound that has ever inspired me to have a seat at the table. So when you listen, it sounds like the hustle and bustle of the musical heart of London — because that’s exactly where Make Sure was first born. 2. “Make Sure” is deeply personal, born from experiences of betrayal and mistreatment. What was the emotional process like turning that pain into such a powerful and empowering song?Honestly, it poured out of me. I discovered a former lover had been cheating on me via social media and my heart just sank. I sat down with Dolly Parton playing in the background — because if anyone understands that kind of betrayal, it’s Dolly — and the words just streamed out of my hands and the tears out of my eyes. The song also draws on a broader landscape of past relationships where I experienced abuse and mistreatment. Writing has always been how I process pain. It’s like my heart speaks before my head catches up. The empowerment in the song wasn’t something I set out to create — it came naturally from choosing to turn that pain into something that might help someone else. 3. You describe the track as a “woman-to-woman plea” rather than a political statement. What message do you hope listeners, especially women, take away from it?I hope they feel seen. Not judged, not lectured — just held. Sometimes we all need reminding of our worth, and this song is for every woman who has ever forgotten hers — including me. I actually want the song to reach anyone who feels mistreated in any kind of relationship — the message of knowing your worth belongs to everyone. I’m not standing above anyone with this song. I’ve been there too. I know what it’s like when your nervous system normalises something that isn’t right, when you mistake control for strength or mistreatment for passion. I just wanted to reach out a hand and say — you are worth more. You always were. 4. Your vocal style has been compared to artists like Beth Hart, Joss Stone, Aretha Franklin, and Lana Del Rey. How have these influences shaped your voice and artistic expression? Those are extraordinary women and I’m deeply honoured by those comparisons. What connects them all for me is that they sing from somewhere real — there’s nothing performative about their pain or their joy. Beth Hart and Joss Stone have this volcanic, uninhibited quality that I’ve always been drawn to. Aretha is the foundation of everything — that Motown soul, that authority, that grace. And Lana brings a dark cinematic atmosphere that I connect with deeply. I’ve never consciously tried to sound like any of them — but I think when you grow up absorbing music that genuinely moves you, it lives in your voice whether you intend it to or not. 5. The release of “Make Sure” coincides with the cultural conversation sparked by Inside the Manosphere. Did that timing influence how you view the song’s impact or relevance today?Watching that documentary was a profound moment for me. Seeing some of those women — the pain behind their eyes, the body language that told a different story to the words they were saying — I felt compelled to respond. I’ll be honest, I’m impulsive by nature and I felt it immediately. Not from a place of judgement or moral superiority, but from deep compassion. I understand that everyone navigates their relationships in their own way — but sometimes you just need someone to hold up a mirror with love. Make Sure was written long before the documentary existed, but sometimes a song finds its moment. The fact that it landed the same week as Louis Theroux’s film feels less like coincidence and more like the song knew where it needed to go. I really hope it reaches the people who need to hear it. 6. Your debut album Sincerely Yours is now out — what does this project represent for you personally, and what can listeners expect from the rest of the record?Sincerely Yours has been ten years in the making — and I mean that literally. These songs have been living inside me, growing with me, sometimes waiting for me to be brave enough to release them. Grieving the loss of a young musician reminded me that we don’t get unlimited time to share what matters. So here I am, finally putting my heart on display. The album is a sonic diary — a mixture of originals and reimagined covers that explore mental health, trauma, addiction, faith, toxic love, and the long road to healing. It’s the beautiful and the broken parts of what it means to be human. I write real music for real feelings, and Sincerely Yours is the most vulnerable thing I’ve ever done. Carmen Rose Davidson
Haifa Melliti
Haifa Melliti A deeply introspective artist, Haifa Melliti invites us into a serene world where piano, intuition, and spirituality intertwine, shaping Mélodie de la Déesse into a meditative journey of silence and soul. 1. Your album “Mélodie de la Déesse” is deeply inspired by meditation and inner silence. Can you tell us how these spiritual practices influence your creative process at the piano? My creative process is born in silence before it becomes sound. Meditation allows me to empty myself from the noise of the world and return to a space of pure presence. In that stillness, I don’t “compose” in the traditional sense I listen.The piano becomes a channel, a sacred space where something greater than me can flow. Each note arises like a breath, guided by intuition and inner peace. It is not about control, but surrender. This is where the music of Mélodie de la Déesse is born in a dialogue between silence and the soul. 2. The music on this album was born from intuitive improvisation. What does that moment of improvisation feel like for you, and how do you know when a melody is complete?Improvisation feels like entering a timeless space, where the mind dissolves and only sensation remains. It is a state of deep connection almost like a prayer, or a trance of presence.I don’t decide when a melody is complete. I feel it. There is a moment when the energy settles, when the breath of the piece naturally comes to rest. It’s as if the melody tells me: “I have said what needed to be said.”Completion is not technical it is vibrational. 3. The concept of the sacred feminine plays an important role in your work. What does this idea represent to you personally and artistically?The sacred feminine is the essence of creation itself. It is softness and strength, intuition and power, silence and expression.Personally, it is a path of remembrance reconnecting with the inner wisdom, the body, the heart, and the unseen. Artistically, it manifests as a presence that flows through my paintings and my music. It is the voice of the invisible becoming visible.Through Mélodie de la Déesse, I honor this energy as a living force a vibration that heals, awakens, and reconnects us to our divine nature. 4. You are both a pianist and a painter. How do these two artistic worlds interact, and do your visual creations influence the emotions or imagery in your music? For me, painting and music are two expressions of the same inner language.When I paint, I hear melodies. When I play, I see colors and symbols. The two worlds are constantly in dialogue. My paintings the Déesses, the symbols, the light often become emotional landscapes that later translate into sound.Each note carries a color, each canvas holds a rhythm. Together, they create a complete sensory universe where emotion, vibration, and imagery become one. 5. The atmosphere of “Mélodie de la Déesse” feels very calming and reflective. What kind of emotional journey do you hope listeners experience when they hear the album?I hope listeners feel a return to themselves.In a world that moves so fast, this album is an invitation to slow down, to breathe, to reconnect with inner peace. I wish for each person to feel held, soothed, and gently guided inward.It is not only music it is a space. A sanctuary where emotions can soften, where the heart can open, and where silence becomes a source of comfort and strength. 6. Looking ahead, do you see yourself continuing to blend music, visual art, and spirituality in future projects, and are there new directions you would like to explore?Yes, absolutely. For me, these three dimensions music, visual art, and spirituality are inseparable.I feel called to create immersive experiences where sound, color, and space merge together. I imagine exhibitions where my paintings are surrounded by live piano, where visitors can step into a living, breathing universe of the sacred feminine.I am also open to collaborations with dancers, poets, and creators from different cultures expanding this vision into something collective and universal.At the same time, I remain deeply connected to the intimacy of my process. No matter how much it expands, it will always begin in silence… and return to it. Haifa Melliti – artiste – peintre
Elina Filice
Elina Filice After two years away, Elina Filice returns with “These Days,” a heartfelt, nostalgic anthem exploring long-distance love, emotional storytelling, and a bold new creative chapter. 1. After nearly two years away from releasing new music, how did it feel to return with “These Days,” and what made this song the right one to mark your comeback?It was definitely an accidental hiatus! The last two years have been full of love, adventure, travel, developing Drop Rocket, writing, recording and producing – just no releases! I did want a ‘comeback track’ to mark a new era of upcoming music. I felt that “These Days” was the right track for the job! It’s heartfelt and nostalgic, but upbeat and (I hope!) a song you’ll want to scream-sing in the car. It also describes a long-distance relationship, which I think a lot of people will be able to relate to. 2. “These Days” explores the emotional reality of long-distance relationships. Can you tell us more about the personal experiences or moments that inspired the lyrics?I wrote this song in my head while driving to and from another city, a few years ago when I was in a long-distance relationship. It describes the feeling of always running out of time, and yearning for a future where you’ll have all the time in the world. I wanted to capture that unresolved feeling of leaving your heart in another place and always being on the run, never truly here nor there. There’s this push and pull and waves of uncertainty that you ride when in an LDR. But also a hope that you have to hold in your heart to make it through the hard times. 3. The song builds from sparse, emotional verses into a powerful, anthemic chorus. How did you approach the songwriting and production to create that emotional rise?I wanted the verses to describe quick vignettes, memories, and moments in time: movement, longing, loneliness. I tend to lean into strong storytelling in my music so that people can immerse themself in and see themself in the song. I wanted the hook to feel like an arrival: full of hope in the future, and reassuring a loved one that everything will be ok. In terms of production, we kept the verses pretty sparse and then added a ton of layers and texture into the hook to convey those emotions. 4. Your music often blends different influences, including indie-pop, blues, and spoken word. How do these elements shape your artistic identity?I definitely have a hard time committing to a genre! I feel very influenced by the world around me – what I’m listening to, how I’m feeling, what I’m experiencing. My music and what I have to say has never felt like something I can put in a box. I like the freedom to pursue any idea or influence. If you listen to my discography, you’ll hear everything from folk to rap to rock to house. They say this makes me hard to market. I think it keeps things fun. Though varied, you’ll definitely hear strings of ‘me’ throughout my discog. 5. You’ve been a strong advocate for queer visibility through your work. How important is it for you to use your platform and music to support and represent the queer community?It’s incredibly important to me. Music is a powerful tool for the queer community to take up space and pursue greater visibility by telling our stories. Stories of solidarity and heartache, but also hope and love. For a long time I was scared to use female pronouns in my music. At some point I realized that I had a responsibility, to myself and my community, to tell these stories honestly. Because this is my life and my friends’ life, and our lives and stories matter. 6. Beyond being a musician, you’re also the founder of Drop Rocket. How has building a platform for independent artists influenced the way you approach your own career and releases?Being the founder of a music release platform definitely puts the pressure on for my own releases! I use Drop Rocket for all of my own releases, and I try to take my own advice. Though I’ve been releasing music for years, built a whole platform around it, and help other artists through it, it still really is no easy feat. Honestly every time I release music it gives me greater respect for independent artistry. It’s a huge amount of work and we really do have the world on our shoulders. It makes me want to develop an even better product for all of the hardworking artists out there! elinafilice | Instagram, TikTok | Linktree
Claudia Balla
Claudia Balla Hungarian singer-songwriter Claudia Balla crafts dreamy, melancholic songs that feel like three-minute films. In this interview, she discusses emotional songwriting, classical influences, musical exploration, and balancing music with her career as a psychiatrist. 1. Your music has been described as a dreamy, melancholic journey through powerful emotions. When you write a song, do you usually begin with a specific feeling, a story, or a musical idea?When I write a song, most of the time I begin with a feeling and a phrase that becomes a melody, and the song slowly unfolds by itself. 2. You once described your songs as “movies told in three minutes.” How do you approach storytelling in such a short format while still creating vivid emotional landscapes for listeners?I try to capture the key elements of the story and the essential emotions to best describe it. Setting the stage, introducing the characters, establishing the conflict, developing it, and arriving at a moment of catharsis. 3. Your upbringing was deeply rooted in classical music with composers like Bach, Mozart, and Tchaikovsky. How do those early influences continue to shape the way you compose and arrange your modern folk-pop songs?I suppose I have an old-school, somewhat predictable and measured approach to songwriting – that each song follows a certain structure, has a destination, a musical arc, a concept etc. I rarely experiment with more out-of-the-box formats or solutions – maybe I should be more innovative and risk taking in the future. 4. Artists such as Joni Mitchell, Bob Dylan, Nina Simone, and Billy Joel have also influenced your musical journey. What elements from these legendary songwriters resonate the most with your own creative style? The storytelling, the musicality, the desire for excellence in songwriting, and the poetic, yet relatable lyrics. The songs in question are not complicated on a structural level; they are accessible for a wider audience, efficient in communicating emotions, despite having a clear, intricate, relevant, and meaningful message. 5. You’ve experimented with many styles—from pop-rock and electronic to classical crossover—and even collaborated with members of the Hungarian National Radio Choir. How important is musical exploration to your artistic identity?I love the freedom of experimenting with different genres and the idea of not being limited to a particular way of expressing ourselves. I like to discover and to try new sounds and styles. It’s like dyeing your hair a different color from time to time. 6. Beyond music, you work as a practicing psychiatrist. Do your experiences listening to people’s stories and emotions in that field ever influence the themes or empathy found in your songwriting?My work certainly has an influence on my music, and my professional experiences probably impact my songwriting. However, I don’t think I’ve ever written a song about a specific case I’ve witnessed. I almost always express my own feelings, even if it’s concerning something that hasn’t actually happened to me – I don’t wish to misinterpret or misuse something that doesn’t belong to me. Claudia Balla | let’s see where this goes
Peter Renwood & Crazy Wild Horses
Peter Renwood & Crazy Wild Horses Croatian songwriter Peter Renwood pays heartfelt tribute to legendary outlaw country icon Kris Kristofferson with “Goodbye Kris,” a cross-continental collaboration honoring timeless songwriting, analog tradition, and the enduring spirit of classic country. 1. What inspired you to write this song, and what does Kristofferson’s legacy mean to you personally and musically?As I wrote in the song itself, Kris Kristofferson was much more than just a singer and musician. He was an actor, a highly educated Rhodes Scholar, an athlete, and a true Renaissance man. Yet, despite all those achievements, he remained incredibly humble—leaving behind a stable, promising career just to become a janitor in a Nashville recording studio, all so he could be close to the music. That kind of devotion is rare.Musically, I’ve been listening to the legends of country music since I was a kid, especially The Highwaymen and all of their individual members. Kristofferson’s brilliance, his simplicity, and his clear vision of what he wanted to say have always inspired me. When he passed away in 2024, I wrote the lyrics for this tribute almost immediately. But I didn’t have the right opportunity or the right musicians to bring it to life, so the song waited in a drawer for almost two years. Now, at the end of 2025, the stars aligned. With the support of these top-tier session musicians, my vision for this song has finally been realized, and it’s finally seeing the light of day. 2. The track brings together musicians from different parts of the world, bridging Croatia and Nashville. How did this international collaboration come together, and what did each contributor bring to the emotional tone of the song?The vision for the musicians playing on ‘Goodbye Kris’ was entirely guided by Kris’s life and the things he loved during his musical and film career.The choice of the singer was very logical to me. Both as an actor and as a person, Kris loved Mexico and Mexican culture. He was practically born on the border in Texas, and through his films like Pat Garrett & Billy the Kid, which was shot in Mexico, he lived that culture. Joe Romero had that emotion, that soul, and he brought that melancholic color to the vocal that perfectly expressed the sorrow of losing such a legend.For the rest of the musicians, I was looking for the absolute best people to bring this project to life. As an independent, amateur country enthusiast from Croatia, I couldn’t let a tribute to such a legend be recorded poorly. So, I spent a lot of time finding the right guys. I found our drummer Esteban Rotunno from Argentina, and the legendary Nashville pedal steel player John Heinrich. I also hired the very talented multi-instrumentalist Dante Sesin, who played bass and did an excellent job producing and mixing the track.Finally, to make sure the song retained that authentic Outlaw sound from before the 2000s, I reached out to Andrija Tokić, a top-tier expert in analog sound. I’m incredibly proud that ‘Goodbye Kris’ has that traditional Nashville seal—with John on the steel guitar and Andrija on the analog master. They did an amazing job, and I hope people will listen to it and love it.” 3. The recording features the pedal steel work of Nashville veteran John Heinrich and the powerful vocals of Joe Romero. What made them the right choices to help bring “Goodbye Kris” to life?As for Joe Romero, his selection felt incredibly natural for this song. Kris Kristofferson was practically born on the Texas border, and through his life and films like Pat Garrett & Billy the Kid, he was deeply connected to Mexico and its culture. Joe is from Mexico, and he sings with that genuine emotion, grit, and soul—what they call ‘corazón’. His melancholic voice was exactly what I needed to convey the sorrow of this tribute.When it comes to John Heinrich, he doesn’t need much introduction; he is a living legend of the Nashville scene who played with Ronnie Milsap and many other giants. Since I’m an independent artist from Croatia, I just reached out to him online, sent the demo, and asked if he’d be willing to play. To my surprise and honor, he liked the song and agreed. ‘Goodbye Kris’ is actually the third song we’ve worked on together—he played his signature pedal steel on two of them, and dobro on one. Having someone with his pedigree repeatedly play on my songs is the ultimate confirmation that this project is on the right track. 4. The song was mastered using vintage analog gear by Andrija Tokić at Bomb Shelter Studio. Why was it important for you to keep the production raw and traditional rather than polished and modern? I am a traditionalist at heart. I grew up listening to the absolute giants of country music—Willie Nelson, Johnny Cash, Waylon Jennings, and of course, Kris Kristofferson. I wanted the production itself to be an homage to those legends. To me, that raw, unpolished, 70s-style analog production does something very important: it puts the story and the lyrics right in the foreground. It brings us back to the very core of what country music is supposed to be—three chords and the truth.Today, mainstream country is heavily computerized, polished to the absolute maximum, and blended with pop. I’m not saying that’s a bad thing for the evolution of the genre, but as someone who loves Outlaw Country, I want to stay true to the original path. I strongly believe there is still an audience out there that craves that real, analog warmth.To achieve that, I knew the mastering had to be done in Nashville, by people who naturally understand how this music should sound. Everything just clicked when I found Bomb Shelter Studio. As it turns out, the stars aligned perfectly—the owner and analog wizard, Andrija Tokić, actually has Croatian roots! We connected very quickly. Having a professional of his caliber master this song gives me a massive confidence boost, because
Julia Sound
Julia Sound On midlife, Julia Sound blends introspection, collaboration, and atmospheric electronics to explore hope, frustration, and creative freedom. In this interview, she reflects on inspiration, collaboration, and staying authentic in a changing music landscape. 1. Your new album midlife explores themes ranging from introspection to frustration with the current state of the world. What emotions or experiences most strongly shaped the songwriting for this record? Bringing in different featured vocalists to co-write from their perspective is an interesting process. I think approaching a record this way surfaces common themes of things on people’s minds – the zeitgeist undoubtedly has an influence. Some of the most common themes are a sense of trying to provide shelter and comfort in the face of troubling times, as well as a sense of hope that things can get better. And that’s laced with a healthy dose of venting, because we can’t just sit and idly hope – we need to also speak up in any way we can, and a little rage now and then is what’s needed in times like these. 2. The album blends mellow synth pads, chill beats, and atmospheric sound design. How did you approach crafting the sonic mood of midlife compared to your previous releases? I approached all my albums similarly – sitting with a blank slate, exploring sounds, playing with ideas, getting in a flow state. I think what’s different about this album is I allowed myself more time to really sit with the songs – let them inform me what the best next steps would be. I worked on this over the course of about 18 months, but just chipping away rather than any major push. There were no time pressures to finish and release which was liberating.. 3. Several tracks feature collaborators like Dolly De Guerre, Yo Megasonic, Keely Halward, and Kinnie Starr. How did these collaborations influence the character and energy of the songs? I think all the collaborators played a huge part in each of the songs. Part of the process is me writing the track and in my head imaging what it needs from a vocalist to bring it to the next level. When I reach out to a vocalist and share the early versions, I have this strange mix of an idea of exactly what I want to hear, combined with no expectations – leaving the process very open to interpretation. I am always blown away at how my collaborators go above and beyond and bring a track to the next level. I play off that energy when I’m finishing sculpting the songs. 4. Songs like “One Love,” “Shelter,” and “Finally I’m Free” bring a slightly higher tempo and a nostalgic feel. What inspired this shift in pace and style for this album? I have played a few live shows, and have a lot of material to draw from with my previous three albums. Much of that though has been slower and mid tempo and I wanted some new material that amped up the energy for certain shows. That’s the main reason! The 90’s rave and trip hop era was an influential time in my life – being a GenX Brit – so I think that nostalgic nod to the 90’s just comes naturally. 5. You’ve worked extensively across music, film, television, and video games. How do these different creative worlds influence the way you compose and produce your own music? Film, TV and particularly Games are these very complex pieces of entertainment, which take a lot of people – huge teams – working together to figure out all the pieces of the puzzle. I absolutely love that, but by their very nature of being larger and more complex, as well as usually bound by NDAs, you can work for years on a project before it seeing the light of day. What I love about creating music is that the stakes are lower and I have control over what’s worked on, and when! I adore Game Audio Direction for many reasons, but there are phases when that job can often mean focusing less on the intricate creative process and more on the directorial and managerial tasks – all still creative but less “in the weeds”. Creating music as Julia Sound gives me a creative “in the weeds” outlet, low stakes, and also means I can release content more frequently and on my own terms. 6. In a time when AI and content-driven culture are rapidly changing the music industry, what does staying authentic as an artist mean to you as you continue creating beyond midlife? At the root of it, there’s something in the creative process – the craft of starting with a blank slate and solving the challenges of how to build a song – that I love. Typing prompts into an app just doesn’t exercise the brain and the creative yearnings in any way. It’s boring. It doesn’t appeal to me at all. Sure, you might get quick results, but I’d rather the music I’m working on come from me, and that includes all my limitations.. Because I don’t care about chasing followers, likes, spins etc that also relieves the pressure. Creating music for the process itself – the art, the therapy, the collaboration – is something that for me, only humans can do. The music industry has always been obsessed with youth – “if you’re past 25, you’re too old” kind of mentality. What’s liberating about reaching midlife is that you realize none of that actually matters. One of my regular collaborators, Dolly, said to me recently “you’re just getting started!” which resonated. I hope to be an old old lady playing with synths, patches and bleeps and bloops, to the very end 🙂 https://www.facebook.com/JuliaSoundMusic/
Joseph Turner & The Dudes of Hazard
Joseph Turner & The Dudes of Hazard In this interview, Joseph Turner & The Dudes of Hazard discuss the inspiration behind “A New Moon,” exploring themes of transition, quiet hope, collaboration, and the personal landscapes that shape their reflective indie-folk sound. 1. “A New Moon” feels like a journey from uncertainty to quiet hope. Can you take us back to the moment the song was born and what you were personally navigating at that time? When I wrote “A New Moon”, I was in a period of transition. The kind where some doors have clearly closed, but the new ones haven’t quite opened yet. I was trying to make sense of endings and beginnings at the same time, which can leave a person standing in a bit of emotional fog. That’s where the song came from. It started as a reflection, almost like a conversation with myself about uncertainty and the strange hope that hides inside it. I’ve always felt that the moments when you don’t know what comes next can be the most honest ones. You’re stripped of plans and expectations, and all you can really do is listen to what life is telling you. So “A New Moon” became a way to sit with that feeling. Not to solve it, but to acknowledge it. Sometimes the best thing you can do is accept the darkness for a moment and trust that something new is slowly beginning on the other side of it. 2. The moon’s phases mirror the emotional arc of the track — light, shadow, and return. Was that symbolism present from the beginning, or did it reveal itself as the song developed? The symbolism of the moon actually revealed itself along the way. When I started writing the song, I wasn’t consciously thinking about lunar cycles or anything like that. I was simply trying to capture that feeling of standing between darkness and possibility. But as the song developed, the metaphor of the new moon started to make perfect sense. A new moon is interesting because it represents a moment when the moon is technically there, but you can’t really see it yet. It’s basically a reset in the sky. That idea felt very close to what I was experiencing at the time. Life tends to move in cycles like that. You have periods of light where everything feels clear, and then moments where things fade into shadow for a while. But the return is always part of the cycle too. In that way, “A New Moon” became a reflection on the idea that the same moment in life can look like a goodbye from one side and a hello from the other. 3. Your sound blends indie folk intimacy with subtle pop hooks and traces of your rock background. How do you balance softness and strength in your songwriting without losing emotional honesty? I think that balance comes from letting the song decide what it needs. I grew up loving a lot of different kinds of music, from rock records that had real punch to quieter folk songs that felt like someone was telling you a story late at night. Those influences naturally find their way into my writing. With Joseph Turner & The Dudes of Hazard, the goal is always to keep the emotional core of the song intact. I usually write and compose the songs first with just an acoustic guitar and my voice. Once that foundation feels honest and strong, I start building the arrangements around it. Sometimes that means keeping things intimate, and other times a melody asks to open up a bit more, where subtle pop hooks or a touch of rock energy can lift the song without losing its sincerity. For me, songwriting is about staying close to the feeling that sparked the song in the first place. As long as that feeling stays at the center, you can move between softness and strength without losing the truth of the story. 4. The Dudes of Hazard are described as a rotating group of collaborators. How does that fluid dynamic influence the creative process, both in the studio and on stage? The Dudes of Hazard are really a group of friends and musicians who come together whenever a song calls for it. That flexibility has been one of the most enjoyable parts of making this record. Every musician brings a different personality and musical instinct to the table, and that keeps things fresh. Some songs were recorded in very focused one-on-one sessions, while others turned into larger group moments where everyone added their own color to the arrangement. Those sessions had a great energy. There’s something special about watching a song evolve when different people start contributing ideas. On stage it works in a similar way. Depending on the show, different Dudes might step in to back me up, which gives the live performances their own character each time. It keeps things organic and reminds me that music is, at its heart, a shared experience. 5. As the first glimpse into a 13-track album, “A New Moon” sets a reflective and vulnerable tone. What can listeners expect from the rest of the record — will it explore similar emotional landscapes or venture into new territories? The album definitely lives in that reflective space, but it explores a range of moments that come from real life. These songs were written over a period where I was thinking a lot about the things that shape us as people. Some tracks look at the freedom and perspective that come from traveling, while others deal with heavier themes like loss, fear, and the lessons that come with growing older. In many ways the record is a collection of personal stories about navigating the school of life, if you want to call it that. What ties everything together is honesty. Each song comes from a real place, whether it’s a moment of doubt or a sense of wonder about the world. If “A New