Wax Bird
Wax Bird Wax Bird’s “Misery’s Valet” is a powerful and deeply personal exploration of trauma, survival, and healing. In this interview, the band discusses the song’s origins, emotional honesty, and transformative creative journey. 1. What inspired you to finally tell this story through music, and why was now the right time to share it? “Misery’s Valet” actually began years ago, long before my transition, in my solo project and in collaboration with artists like Mishkin Fitzgerald from BirdEatsBaby and others. Back then it existed in a very different form: more intimate, with piano, violin, and a fragile kind of space around it. I wrote the lyrics in about thirty minutes, and it was one of those moments where I didn’t really “compose” so much as let the trauma speak for itself. After years of distance, therapy, medication, rehabilitation, and a lot of hard work, it felt like the right time to bring the song back into the light. I wanted to introduce it to my band and let it become something more energetic and aggressive, without losing its emotional core. That transformation turned it into an experiment — and thankfully, one that worked. 2. How did you approach writing lyrics that were so vulnerable while still making them connect with a wider audience? For me, the key was never to make the lyrics overly literal. The song is full of metaphors, and nothing is just one thing; every image carries more than one layer. That gave me enough distance to write honestly about my personal experience without turning it into something closed off or too specific to my own biography. Because the lyrics came so quickly, there was no overthinking in the way. I just followed the emotion and trusted that if the feeling was real, people would recognize it. That’s usually how the most vulnerable songs end up becoming the most universal ones. 3. What does the line “Am I human after all?” mean to you, and why was it important to the song’s message? That line gets at one of the most painful parts of trauma: the feeling of being separated from yourself, as if your humanity has been damaged or questioned. For me, it reflects what severe trauma can do to a person. It’s a line about disconnection, but also about the strange need to ask the question at all. It says in a few words what can take a long time to explain. It became one of the emotional centers of the song, because it captures both the wound and the self-awareness that comes with surviving it. 4. How did the unique combination of tense alternative rock and trombone arrangements come together? That was really where the band version of the song found its own identity. The original solo arrangement lived in a more delicate world, but when we decided to reshape it, we wanted something that felt more physical, more urgent, and more confrontational. The trombones were actually the idea of our drummer Rouven, and they brought a completely new emotional color into the track. Our guitarist Markus also improvised every little solo very precisely, which gave the song a sharp, volatile edge. The whole thing became this collision of tension and release — raw emotion with an aggressive body. That contrast is what makes the song feel alive. 5. Was it important to avoid a traditional “happy ending” and instead show the reality of healing? I never wanted to pretend that survival is neat or that healing is a straight line. After years of therapy, rehabilitation, and work on myself, I no longer live with cPTSD, and I’m grateful for that. But trauma doesn’t disappear just because life becomes more stable. That’s why I wanted the song to hold onto the harder truth: you can heal and still be marked by what happened. You can be functional, even strong, and still carry echoes of the past. For me, that honesty is more powerful than giving the listener a false sense of closure. 6. Where does “Misery’s Valet” fit within Mood Swings & Middle Fingers, and what do you hope listeners take away from it? Within Mood Swings & Middle Fingers, it’s one of the most exposed and emotionally intense moments. It sits at the point where the record stops performing attitude and starts revealing the pain underneath it. In that sense, it gives context to the rest of the EP: it shows where the anger, volatility, and defiance are coming from. What I hope listeners take away is that trauma can be transformed without being erased. A song doesn’t have to offer a clean answer to be meaningful. Sometimes it’s enough to make something heavy audible, and to let people hear that they’re not alone in carrying contradictions. https://www.instagram.com/wax_bird_official/
R. Nelson
R. Nelson Nelson takes listeners on a deeply personal journey with Songs and Music by R. Nelson, Vol. 1: Grown Man Energy, a concept album exploring love, growth, accountability, and self-reflection through powerful storytelling and soulful soundscapes. 1. Songs and Music by R. Nelson, Vol. 1: Grown Man Energy is presented as a complete concept album rather than a collection of songs. What inspired you to tell this story through a structured narrative, and why was that approach important to you? Music and Written by R. Nelson, Vol. 1: Grown Man Energy was inspired by a lot of real-life observations, things I wrote in old journals, old books of poems… coworkers… (laughs). Thoughts that had been sitting with me for a long time. As I started putting those pieces together, I realized they naturally fit into a story. So I arranged the album in a way that allowed those moments to unfold one after another. I’ve always been a natural storyteller. Whether it’s through music, writing, or just sharing experiences, that’s how my mind works. I like taking individual moments and connecting them into something bigger. That approach was important because life itself is a story. One conversation leads to another. One decision affects the next. I wanted the listener to experience that same progression instead of hearing eleven unrelated songs. 2. The album is divided into three acts and an epilogue, guiding listeners through the stages of a relationship. How did you map out this emotional journey, and were there any challenges in making each chapter feel connected while still standing on its own? Three acts and an epilogue. I mean… I could’ve written four or more, but I didn’t want to go all Star Wars. (Laughs.) But seriously, I wanted people to experience the different stages of a relationship. I wanted them to see how emotions change over time instead of feeling like every song was happening in the same moment. Hopefully listeners pick up on that journey. As far as the challenges… honestly, the entire project challenged me. The writing wasn’t difficult because I lacked ideas. I actually had plenty of source material. I had old journals, poems, life experiences, observations… all kinds of places to draw from. The real challenge was taking pieces from all of those different sources, turning them into individual songs, and then making sure each song connected naturally to the one before it and the one after it. That was probably the hardest part. And then there was Act III. Act III was easily the toughest section because those songs were so fluid emotionally that almost any one of them could’ve fit somewhere else within that act and still worked. Finding the sequence that created the strongest emotional progression took a lot of thought. In the end, I think the story found the order it was supposed to have. 3. Tracks like “Gravity,” “Do I Deserve Love?,” and “Unable to Love” explore very different emotional perspectives. Which song was the most difficult to write, and what personal insights emerged during the process? (Laughs.) Aw man… there goes “Gravity” again.I have to admit, that song was actually a lot of fun to write. But the most difficult song on the album was “Or Maybe.” To write that song, I had to go back to a place emotionally that I really didn’t want to revisit. When I finished it, I was drained. I actually had to step away from the project for a few days just to clear my head because it took that much out of me. But that’s exactly the feeling I wanted to capture. Sometimes, if you’re going to tell an honest story, you have to be willing to sit with emotions that aren’t comfortable. I think listeners can hear the difference when those emotions are real instead of imagined. As difficult as it was to write, I wouldn’t change it, because I think it became one of the most honest moments on the album. 4. The title Grown Man Energy suggests themes of maturity, accountability, and self-awareness. What does that phrase mean to you personally, and how does the album embody those values? This whole project is really a reflection of a side of me that very few people get to see. The mature side. A lot of people know me for one thing or another, but they don’t always get to see the quiet moments. The moments where you’re reflecting, questioning yourself, taking responsibility, and trying to grow from your experiences. To me, that’s what Grown Man Energy is. It takes a certain amount of maturity to self-reflect and hold yourself accountable for your actions and your choices. Once you’re willing to do that, you become more aware of yourself. That self-awareness helps you grow, helps you make better choices, and helps you become a better person. I think that’s exactly what this album embodies. The main character spends more time questioning himself than he does blaming anyone else. He’s constantly looking inward, asking himself difficult questions, trying to understand his own role in what’s happening, and learning from it. That was intentional. It’s easy to point fingers. It’s much harder to look in the mirror. I wanted Grown Man Energy to show that maturity isn’t about pretending to have all the answers. It’s about having the courage to ask yourself the difficult questions… and being honest enough to live with the answers. 5. You wrote and produced the entire project yourself, blending contemporary R&B, neo-soul, soul, and alternative influences. How did your role as both songwriter and producer shape the final sound and storytelling of the album? (Laughs.) Oh… you caught the alternative influence, huh? That was an interesting one to do. A little curveball. To be honest, I wasn’t chasing a specific sound. My process usually starts with the writing. I’ll write the song first, then I’ll read it out loud and ask myself, “What does this sound like?” That’s when I go make the music.
Sophia Bolinder
Sophia Bolinder Swedish pop/R&B artist Sophia Bolinder returns with “My Own Company,” a powerful anthem of resilience, self-growth, and independence. In this interview, she discusses heartbreak, creative inspiration, and her evolving musical journey. 1. Your new single “My Own Company” explores themes of self-discovery and empowerment after heartbreak. What inspired you to tell this story, and how personal is the message behind the song? I basically wanted to share my experience about coming back better than ever than after a heartbreak, showing that you can be independent and that you can become a stronger and better version of yourself than ever before. 2. You’ve mentioned that Tevin Campbell’s classic “Can We Talk” was an early inspiration. How did that influence shape the song, and at what point did it evolve into something uniquely your own? Originally this was the inspiration, I love the intro of the song. Eventually ‘My Own Company’ turned out to be something different but the ambience, texture and classic R&B vibe was something I really wanted to take inspiration from. Babyface is one of my all time favorite R&B producers! 3. You worked with UK-based producers Archie Norris and Jack Buster Weston from Songarchitect on this release. What did they bring to the creative process, and how did the collaboration influence the final sound? They are both great guys to be working with! They definitely brought something new into the creative process, since they’re not really R&B songwriters in the first place. But it turned out to be a great collab! 4. Recorded in Malmö, Sweden, “My Own Company” was created in an environment where ideas flowed naturally. Can you share a memorable moment from the recording sessions or a breakthrough that shaped the track? As always when I record, I often come up with new ideas while recording. I added the wailing in the end for extra power, making it kind of a “hear me roar”-anthem. 5. With songs like “I Can Feel It,” “Under The Stars,” and now “My Own Company,” you continue to blend classic R&B influences with your own modern style. How do you see your artistic identity evolving, and what can listeners expect from you next? Yes, I love that R&B and Soul can be the foundation in every new song I make, but still that I can mix it with different genres! That’s what’s so fun about the creative part in music. My listeners can expect several new songs blending R&B/soul/pop in the next coming months, including a collab with another upcoming R&B artist! https://www.instagram.com/sophiabolindermusic/
Ron Morven
Ron Morven Blending Mediterranean atmosphere, cinematic storytelling, and deep house elegance, Ron Morven takes listeners to the shores of Talamanca with “Meet Me at Shu Ibiza,” a heartfelt soundtrack for summer memories and meaningful connections. 1. Your new single, “Meet Me at Shu Ibiza,” is deeply inspired by SHU Ibiza Beach Club and the atmosphere of Talamanca. What was it about that location that sparked the idea for the song? Some places do more than suggest a melody. They give you a story right away. In Talamanca, I immediately felt this very particular balance between the sea, the light, the music in the distance, and that sense of being suspended between something that is ending and something that might still be about to begin. And, not to overlook an important detail, the food is excellent and they make great cocktails too. (laughs) That is what struck me about SHU Ibiza. It was not simply a beach club or a beautiful setting. It had its own identity and its own natural rhythm. Watching the people, the tables, the movement along the beach, and the way the light changed throughout the day, I started imagining an encounter. That is where the phrase “Meet Me at Shu Ibiza” came from. It felt almost like an invitation, but also like an open-ended promise. 2. You described SHU Ibiza as giving you “a scene, not just a title.” How did you translate the sights, emotions, and energy of that beachside experience into the music and production? I tried not to describe the place too literally. I did not want to create a musical postcard of Ibiza. I wanted to recreate the feeling I had there. The production was built around the atmosphere: a rhythm that is present but never aggressive, warm melodic elements, and an arrangement that gives the track room to breathe. It was important for the music to have movement, but also space. It is similar to being by the sea, where you can hear people, music, wind, and waves all at once. The vocals were also designed to feel as though they were emerging from a memory. They do not explain everything. Some of the images are intentionally left incomplete, because often it is the missing details that make a moment feel more personal. 3. “Meet Me at Shu Ibiza” feels more focused on memories, connection, and atmosphere than on traditional club culture. Was it important for you to present a different side of Ibiza through this release? Yes, absolutely. Ibiza is often portrayed through nightlife, major clubs, and the energy of the dance floor, and of course all of that is part of its identity. But there is another side of Ibiza that is more intimate and cinematic. It is the Ibiza of the hours before sunset, of conversations that suddenly feel more meaningful than expected, and of people you meet only once but, for some reason, continue to remember. That was the side I wanted to explore. The track can work in a dance setting, but emotionally, it is not really about the club. It is about an encounter and about a place becoming part of a memory. I believe electronic music can make people dance while still telling something honest. 4. You have been developing the concept of TNH, Transatlantic Narrative House. How does this track reflect that vision, and what makes TNH different from other forms of electronic and deep house music? Transatlantic Narrative House comes from the idea of combining European electronic production with a style of writing and storytelling that feels closer to an American sensibility. For me, every track should have a place, characters, an atmosphere, and an emotional direction. It does not necessarily need an explicit plot, but there should be a sense that something happened before the song began and that something will continue after it ends. “Meet Me at Shu Ibiza” reflects that vision because the production is not separate from the story. The sound, the lyrics, the visual world, and the location all belong to the same narrative. TNH is not meant to be simply another subgenre. It is more of a creative approach: using house music as a storytelling language while keeping the electronic energy and adding a cinematic, emotional, and recognizable identity. 5. Following the Mediterranean themes introduced with “Es Vedrà,” do you see place and travel becoming recurring characters in your music, and are there other destinations that have inspired upcoming material? Yes, I think places are becoming real characters in my music. I am not interested in using them only as backgrounds. I try to understand what kind of emotion they represent and what kind of story they can tell. “Es Vedrà” had a similar Mediterranean setting, but a different narrative intention. It was not about one specific venue or one particular encounter. It explored something broader: the island, its rhythm, its identity, and the life surrounding it beyond the club scene. “Meet Me at Shu Ibiza,” on the other hand, narrows the focus and captures one specific, almost cinematic moment between two people. Some of the other tracks I am working on are also inspired by real places, but I would rather not reveal too much yet. I can say they will not all be connected to Ibiza or to summer. 6. With international recognition coming through your 2026 InterContinental Music Awards finalist nominations, what goals do you have for the next chapter of your career, and where do you hope “Meet Me at Shu Ibiza” will take listeners this summer? The InterContinental Music Awards finalist nominations are an important sign, especially because they come at a time when the project is still building and expanding its international identity. My goal is not to chase one particular result, but to build something with real continuity. I want to keep developing Transatlantic Narrative House and bring this musical language to a broader international audience while maintaining a strong narrative identity. As for “Meet Me at Shu
Giulio Risi
Giulio Risi In this interview, pianist and composer Giulio Risi discusses his evocative reinterpretation of Ennio Morricone’s Playing Love, exploring the power of silence, emotional expression, and his evolving artistic vision. 1. Your reworking of Playing Love arrives on the sixth anniversary of Ennio Morricone’s passing. What inspired you to revisit this particular composition, and why did this moment feel significant for sharing your interpretation? Playing Love has always held a special place in my heart. Releasing my rework on the sixth anniversary of Morricone’s passing felt like a quiet and personal way to remember him. This arrangement was never about adding something to his music, but about listening more deeply to what was already there. In many ways, it is a tribute to the beauty of silence, one of the Maestro’s greatest lessons. 2. In your notes about the piece, you describe silence as “architecture”. How did this philosophy guide your arrangement process, and what challenges did you face in balancing sound and stillness? Silence in music is never empty space. It is a structural element. In Morricone’s writing, rests often carry the emotional weight of the entire piece (think of the opening of Deborah’s Theme, for instance). In this rework, my main goal was to shift the spotlight onto those hidden structures.The greatest challenge was restraint, stripping everything down to its essence and making sure that when the instruments stopped playing, the music never stopped breathing. I wanted to build the piece around those silences. 3. The dialogue between piano and cello is at the heart of this recording. What drew you to this instrumental pairing, and how did you approach creating an emotional conversation between the two voices? The piano and the cello share a timeless synergy. They felt like the most natural choice for this piece because they can speak with different voices while inhabiting the same emotional space. For this recording, I imagined them as the two lovers portrayed in The Legend of 1900. I wanted their dialogue to feel intimate, almost physical. I treated the two instruments as a shared breath, expressing a longing suspended between tension and stillness. 4. Morricone’s music is often praised for its unforgettable melodies. In focusing on pauses, breathing, and tension, did you discover new layers of meaning within Playing Love that you hadn’t fully appreciated before? Absolutely. When you approach a universally beloved melody like “Playing Love” you get to fully appreciate the emotional weight it carries. In the film, the protagonist, 1900, catches sight of a young woman through the window of the ship. The melody captures that moment of wonder, and seems to be enhancing the birth of a love, although I felt that music in that point doesn’t just tell a story of two people meeting, it tells a story of what it is versus what it could be, the space between a glance and a touch. At the end of the day, in every love story silence is paramount, and the piano and cello dance I wrote hopefully translate that unspoken intimacy into sound. 5. Your work often blends contemporary classical influences with elements from other musical traditions. How has your journey through jazz, gospel, pop, and progressive music shaped the way you approach neoclassical reinterpretations like this one? My journey through these musical worlds has me that music is a language of emotion and storytelling. My background in jazz taught me the value of interplay, of listening to the musicians and embracing the unexpected. Gospel taught me that music can be a form of meditation. Progressive Rock encouraged me to think beyond conventional structures. All of these influences naturally find their way into my work whenever I compose or reinterpret music within a contemporary classical language. 6. Listeners who enjoy artists such as Max Richter, Nils Frahm, Joep Beving, and Ludovico Einaudi may find a connection with this release. Looking ahead, how do you see your own artistic voice continuing to evolve while maintaining the emotional intimacy that defines your music? Looking ahead, I see my artistic voice evolving through an even deeper exploration of texture and sonic space, perhaps incorporating subtle electronic elements or unusual acoustic pairings. However my core philosophy will remain the same. My goal has never been to follow a particular aesthetic, but to keep refining my own voice. If listeners can find a genuine emotional connection in my music, then I know I am moving in the right direction. Ultimately, what I seek is to create a suspended atmosphere, an open space where listeners are free to project their own memories, emotions, stories. Giulio Risi Official Website – nova
Stefanie Michaela
Stefanie Michaela With her uplifting new single “Carefree,” Stefanie Michaela invites listeners to embrace joy, let go of perfection, and live in the present. She shares the inspiration, creativity, and personal experiences behind the song. 1. Your new single “Carefree” carries a refreshing message about letting go of perfection and embracing joy. What personal experiences inspired the song, and was there a specific moment that sparked its creation? For a long time, I felt like I had to have everything figured out and under control. Between raising five kids, managing everyday responsibilities, and pursuing music again, it became easy to get caught up in expectations instead of enjoying the journey. One day I realized I was spending so much time worrying about what could go wrong that I wasn’t fully appreciating what was going right. That realization became the heart of ‘Carefree.’ It’s a reminder to myself as much as anyone else that life is meant to be lived, not overanalyzed. Sometimes the best moments happen when we simply let go, breathe, and enjoy where we are. 2. Throughout your music, you often explore themes of authenticity, resilience, and personal growth. How does “Carefree” fit into your artistic journey, and what makes it different from your previous releases? Every song I’ve released reflects a different season of my life. ‘Let Me See the Real You’ was about authenticity and encouraging people to drop their masks. ‘Carefree’ builds on that message by asking, ‘Now that we’re being our authentic selves, how do we actually enjoy life?’ It’s lighter, brighter, and more playful than my previous releases, but it still carries a meaningful message. I think growth isn’t always about overcoming hardship—sometimes it’s about giving yourself permission to smile, laugh, and be present. 3. As a mother of five who returned to music after dedicating years to raising your family, how has your life experience shaped the perspective and emotional honesty found in your songwriting? Motherhood has changed me in every possible way. It taught me patience, resilience, and what truly matters. Coming back to music later in life means I’m not writing songs to impress anyone—I’m writing from real experiences. I’ve lived through challenges, celebrated victories, and learned that vulnerability is actually a strength. I hope listeners hear that honesty because every lyric comes from a genuine place. 4. “Carefree” blends polished contemporary pop with warm, organic instrumentation. How did you and your co-writers, Nitanee Paris and Mark Dorflinger, work together to create the song’s uplifting atmosphere and feel-good energy? Working with Nitanee Paris and Mark Dorflinger is always such a collaborative experience. We wanted the production to feel as uplifting as the message itself, so every musical choice was made to support that feeling of freedom and joy. We focused on creating something that felt fresh, warm, and timeless at the same time. Everyone brought different strengths into the room, and together we found a sound that lets the emotion shine without feeling forced or overproduced. 5. The song encourages listeners to stop overthinking and enjoy the present moment. In today’s fast-paced and often stressful world, why do you think this message is especially important right now? We’re constantly surrounded by pressure to achieve more, compare ourselves to others, and think about what’s next. It can be exhausting. I think people are craving permission to slow down and simply enjoy life again. ‘Carefree’ isn’t about ignoring responsibilities—it’s about remembering that happiness often exists in the ordinary moments we’re too busy to notice. If the song helps someone smile, take a deep breath, or dance around their kitchen for three minutes, then it’s done exactly what I hoped it would. 6. “Carefree” feels like the start of a bright new chapter filled with optimism and freedom. Looking ahead, what can fans expect from your upcoming music, and are there any new creative directions you’re excited to explore? ‘Carefree’ definitely marks a new chapter for me. While I’ll always write songs with meaningful messages, I’m excited to continue exploring music that feels uplifting, hopeful, and full of life. Fans can expect more honest storytelling wrapped in polished pop production, along with songs that celebrate resilience, love, growth, and finding joy in everyday moments. I’m incredibly grateful to be on this journey, and I feel like I’m just getting started. Stefanie Michaela Official: TikTok, Instagram, Facebook | Linktree
Richard Green
Richard Green Acclaimed musician Richard Green joins us to discuss his latest creative endeavors, musical influences, and artistic evolution. Discover the inspirations, challenges, and stories behind his distinctive musical journey. 1. “Purpose and Price” explores the idea that success can come at the cost of one’s humanity. What was it about that television dialogue that resonated with you so strongly, and how did you translate that concept into music? Well, really on specific sentence from that dialogue resonated in my mind, more precisely a question where a character ask to another one “How much it cost to you??” and he was unable to reply….I thought about that sentence few days and I’ve decided to create a music beat about it, so i wanted a bit aggressive but at the same time chill and quite, first represent the price and the chill section with the guitar solo at the end the purpose. 2. Your music often blends genres that many artists would keep separate. On this single, you combine rock, funk, hip-hop, electronic, blues, and jazz influences. How do you approach creating a cohesive sound from such diverse musical elements? it’s really comes natural to me and I do not want to say that it came always very good and brilliant, sometimes I’ve recorded very messy tracks that I delated immediately after. Since I started all of this, I wanted to develop my own unique music styles and having always listened to several styles of music, so combines different genres comes naturally to me, plus I often compose based on my emotions and instinct in that specific moment…. 3. You handle composition, performance, and production yourself before working with a sound engineer on the final mix and master. What are the advantages and challenges of maintaining such complete creative control over your projects? First and foremost, I want to improve myself day by day, it’s a mindset I have since my younger age, so Ive always thought more stuff I do and better I get, professionally and as a musician. The hardest challenge is surely accepting to make a lot of mistakes, especially in areas i ve studied less, but learning from then and do not get discouraged. I admit to have discarded so many tracks, at least one hundred in 4 years, but I truly believe that is thanks to them if I’m improved a lot and been able to create interesting music…. 4. You’ve cited the Red Hot Chili Peppers as an important influence, particularly due to the music you played during your formative years. In what ways do you think those early experiences continue to shape your songwriting and guitar work today? I’ve played a lot of Red hot and even spent a lot of years listening their music, but, as for every musician who play and study music for many years, musical tastes changes, other musician as Brad Paisley influences me more nowadays, but because I have played Red Hot literally for 10 years at least, there will be always some songs of mine in which their influences will be possible to be heard 5. Having completed a neoclassical trilogy and now releasing projects that range from electronic music to genre-bending rock and funk, what drives your desire to constantly explore different musical styles rather than focusing on a single genre? This question brings back of what I have talked about before, it’s really connected to my desire to create my own personal music style and my desire to improve as musician and composer, plus I do not like set myself any limits in term of music styles, By the way I intend to bring coherence to this working on three main musical projects: – One that will continue the neoclassical trilogy with other classical music, maybe new age/modern classical or kind of electronic-classical – A second one that just released “Electronic therapy”, on this project I’m going to focus on EDM-DANCE, chill out and lounge, and others type of electronic music, kind of producer and make create. music for DJs too. – The Third project is strongly connected to my guitar passion and it’s the one I’m going to play guitar as well, as in Purpose and Price, this project is going to focus mainly on music beat (hip-hop, funk, indie electro) and pop/rock/funky songs with some vocals as well (one of my projects for next year but it’s not sure yet cause still need to find the right singer) 6. With the upcoming Electronic Therapy EP and another release featuring “Purpose and Price” on the horizon, what can listeners expect from this next chapter of your artistic journey, and how do these projects reflect your evolution as a musician? Electronic therapy is an original work where I combine elements from melodic house, melodic techno, EDM music all mixed, with a song, as “Choices ” that surely the most melodic one or Badmouth, a very aggressive house/techno track… The Ep featuring Purpose and Price is for my project as guitarist /composer (third one) and it’s going to be a collection of music beats and even on this one a great mix of music styles, from Funk to Indie Rock and Indie Pop and few beat quite into HipHop music (instrumentals) and, that ep is going to have a lot of guitars recorded. I guess this could reflect my creativity and originality, that it’s my strongest point i guess but of course i do not stop here, because I’m still want to improve a lot and even more important, I’m still having a lot of things to say with my music…. RichardGreenmusic Official: Instagram, Facebook | Linktree
Frank James Band
Frank James Band Before diving into the interview, we speak with Frank James Band about their heartfelt new single Believe, a song twenty years in the making that reflects hope, personal growth, and life-changing experiences. 1. “Believe” took twenty years to write and was inspired by your experiences living overseas. How did the song evolve over those two decades, and what emotions were you determined to preserve in the final version? Believe (one of my first songs) has been through many incarnations. The chord progression and main riff have always been basically the same but the way it was played live has changed a few times: from acoustic to electric, time signatures, where we placed the harmonies all the way to the recent (recorded) addition of a string arrangement. At the heart of the song is the idea of “getting over the hurt” and starting new – being able to put the past behind you and looking with hope to the future. As I have gotten older since the 1st draft of the song my perspective has also changed in that were I’ve been at different points in my life in relation to the core message of the song has also played a role in how we performed the song. I wanted the studio recording to reflect the hope that only the young at heart can have and I feel we accomplished that. 2. This single marks a departure from your heavier rock sound. What inspired you to explore a different musical direction, and what did that shift allow you to express that your previous work could not? Again, “Believe” is of a hopeful nature where most of my previous compositions where for lack of a better term “angrier” I wanted to take a more “delicate” approach. We wanted the narrator to sound less jaded and we wanted the music to sound that way was as well all while staying true, it just happened organically. 3. The song centers on themes of adventure, distance, and connection. Looking back, how did those early experiences away from home shape both your songwriting and your perspective as an artist? It was Henry Van Dyke who said: “True art is a reflection of life” and that couldn’t be more true in my case. All of my songs stem from lived experiences and it’s those experiences that tint the glasses of my perception. I wouldn’t be able to write about something for which I didn’t have strong feelings. 4. You worked closely with producer Marc Muir at Muir’s Music Manor. What did Marc bring to the recording process, and how did your collaboration help shape the final sound of “Believe”? Marc is not only a genius but a very sensitive person and he “gets me”. Most of the time I come to him with nothing more than chords, lyrics, a melody and a feeling and he always manages to deliver what I’m not able to articulate. I consider myself privileged and fortunate to be able to work with someone as gifted as he is and he is an integral part of the final sound. 5. You’ve mentioned that finding the right feel for the song required a lot of experimentation. Can you share a particular breakthrough moment in the studio when everything finally clicked into place? During the musical interlude in believe we had originally intended to just lay the riff over the strings but everyone felt like something was missing. We tried adding a variety of sounds and instruments, a lead guitar but it was Marc who suggested the Ebow/slide combination and as soon as we heard it, we knew that was IT. 6. “Believe” will appear on your upcoming album Sweat, Strings & Scars. How does this single represent the album as a whole, and what can listeners expect from the rest of the record? The listeners can expect a very eclectic album. Each song on the album is different. We have an acoustic song recorded with timpani and cello and others that center around a piano arrangement, we also have heavy rock “barn burners”. This song represents the rest of the album in that all the songs are personal and heartfelt. https://www.instagram.com/frank_james_band
Fiona Amaka
Fiona Amaka Singer-songwriter Fiona Amaka discusses the long-awaited release of the guitar-based version of “Justified,” reflecting on its journey from live favorite to studio recording, the emotions behind the lyrics, and upcoming projects. 1. “Justified” has been a fan favorite in your live performances for quite some time. What made you decide that now was the right moment to finally release the guitar-based studio version? I’d actually wanted to record the guitar based version of this song two years ago- shortly after releasing the cosmic version. For some reason it didn’t happen, probably because the band got our first few gig dates around that time so there was a lot of focus on band gigs, then new recordings. But it got to the point where I’d play Justified solo or with the band, and people would ask if it was on Spotify, and there would be a long explanation. It was all getting a bit silly! I needed to feel that I had recorded the version of the song that I’d set out to, so I could move on from it. 2. You previously released the ambient and meditative “Cosmic” version of the song. How does the newly released version change the listener’s experience, and what aspects of the song do you feel it highlights more effectively? We’ve only ever played Justified with guitars live so the cosmic version was a trip into another genre – an experimental ambient sound which some of my listeners didn’t really associate with my music. I did get some quite impassioned feedback on how different it was! The newly released version reflects how the song was always intended to be. So I guess it’s closer to my ‘typical’ sound if such a thing exists! 3. The song explores themes of love and regret, emotions that many people can relate to. What inspired the lyrics, and was there a particular story or feeling that shaped the songwriting process? I think that, after a close relationship has ended, there sometimes can be a tendency to gloss over things that pulled you apart, or to question yourself about mistakes or decisions made which you believed were forgiven at the time. So you often see people yo-yo back towards what feels safe while they’re working through the internal stuff. That’s what this song is about. I’ve been there. 4. You’ve described the track as having a throwback 2000s sound, sitting somewhere between Macy Gray and Olivia Rodrigo in vibe. Which artists or musical influences helped shape the final direction of “Justified”? Both Macy Gray and Olivia Rodrigo are great confessional artists not just in their lyrics, but in their vocal delivery. Their songs feel like they’re letting you into their head and state of mind in a very real way. When we recorded justified, I tried to deliver the vocals in a way that reflects the anguish of mind that the song is about but without sounding too dramatic. 5. The song features contributions from Andy Zanini, Kate Proudlove, and Stefan Antoinette. How did each collaborator help bring your vision for the track to life? Andy‘s instrumentation completely reflects the vibe of the track without words. You can hear it in the guitar riffs that curl around the vocals like smoke and almost echo them back. Kate’s influence is in the clarity of the vocals which felt pretty important after making people wait this long for the guitar version they’ve been hearing live! Stefan’s final touches add a shimmer, a layer of stardust which makes the song hold together better. 6. After such a long journey from live performances to studio release, what do you hope listeners take away from “Justified,” and what can fans expect from you next? I hope people will enjoy the song! I’m looking at some exciting collaborations so watch this space. Me and the band will be playing some new dates after the summer so I’m pretty excited about that, and I’ll be doing a solo acoustic set at the Camden Club on 08 July! https://www.instagram.com/fiamakamusic
DownTown Mystic
DownTown Mystic DownTown Mystic returns with Mystic Highway Road Trip, a feel-good collection of uplifting rock songs inspired by open roads, classic sounds, and cinematic storytelling. In this interview, Robert Allen reflects on the EP’s origins, collaborations, and creative vision. 1. The idea for Mystic Highway Road Trip was inspired by reviewers who described Mystic Highway as the perfect road-trip soundtrack. What was your reaction to those comments, and how did they shape the concept behind this new EP? It made sense when I read the reviews because of the cover art for the EP. It was always there but I didn’t think of the music being a soundtrack for a road trip. The reviewers made it work, which was very cool. I was coming off the On E Street Remix project and didn’t have a summer release in mind. I had new music planned for the Fall, but then I thought about the Mystic Highway reviews, and the idea of doing a summer road trip began to take shape. I already had the cover and I could brand Mystic Highway by adding Road Trip to the cover. Plus, this group of songs worked really well together. 2. The songs on Mystic Highway Road Trip are filled with positive energy and messages of hope. In a time when many people are facing uncertainty, how important is it for you to create music that uplifts and inspires listeners? I’ve made it my mission to release positive vibes out to the universe and what better way to send the right frequency than through music? Rock’n’roll has always been uplifting to the human spirit and I want to follow that tradition. Music can do wonders and I think it’s an important time to release music that helps to give people a lift. 3. This EP features an impressive lineup of musicians, including Steve Holley, Paul Page, Lance Doss, Jerry Fierro, and Jeff Levine. What did each of these collaborators bring to the project, and how did their contributions enhance the final sound? They all brought their A-Games, which is all I can ask. Everyone is a great musician on their instrument, and with the experience they all bring to the table, it’s as good as it gets musically. To have that to work with as a producer is incredible. I have the best job I could ever want. Take a song on Road Trip like “Live”. I have Jerry Fierro playing a killer harp part that will highlight the track but I’m going to start the song with only bass & drums. I need a bass player who knows what the track is about and will play the perfect part you need to hear. Then I have to highlight the bass up front so the listener can hear it the way it should be heard, like a lead guitar, up against a cool drum part. The two will set the vibe for the track instantly, and we’re only about 10 seconds into the start of the song. Paul Page is the perfect bass player for the part and Steve Holley’s drums always set the right groove. That’s what these guys bring to the project on every song. 4. The collection includes the previously unreleased “Somebody’s Always Doin’ Something 2 Somebody (Uncut Mix).” What made this the right moment to finally share the full version, and what do you think listeners will discover in it that wasn’t present in the original release? It’s the right moment because the Somebody’s Single was the last track on Mystic Highway, and now the full uncut version is the last track on the Road Trip EP, connecting the two releases. The Uncut mix is the original track before edits were made for the Radio Single. The single is the only version of the song that people have heard. Now they can hear the full track as it was recorded, which has a few parts not heard before. The main one is at the end where there’s a jam with Jeff Levine on the B-3 organ that’s very cool. 5. Following the success of the On E Street Remix EP, which connected your music to an important chapter of rock history, how do you balance honoring classic rock traditions while continuing to create music that feels fresh and relevant today? In a way I don’t think that balance really exists. I think it’s already woven into the fabric of what I do. It’s not something I have to think about because it all comes out sounding the way it’s supposed to. I write and play a certain way and the musicians I play with play a certain way. It’s all very natural to the people making the music and we’re all classically trained in playing rock’n’roll. The tradition is baked in and the freshness of the songs will be the deciding factor if they’re relevant. 6. DownTown Mystic’s music has appeared in more than 250 TV shows and films, demonstrating a strong connection between your songs and visual storytelling. When writing and producing new material, do you consciously think about cinematic possibilities, or does that quality emerge naturally from the music itself? I have to say that I never considered what I was doing to be cinematic. The reviewers would keep pointing it out and I realized that they were right. I noticed that all my songs are very big in sound and intricate in a way that could be described as cinematic. Even when I think I’m going to do something that will be simple and straight forward, it ends up as this other thing that’s much larger in scope than where I started it. I’m not so much an all-around guitar player anymore. I consider myself to be a “Part Player”. I think about what kind of parts I can come up with for the song I’m working on. I think it’s the number of parts that contribute to making the track feel cinematic. As a