The Big East
The Big East Inspired by childhood stargazing memories and fueled by cinematic indie rock, The Big East’s “Shiny Satellites” blends nostalgia, synth-driven energy, and expansive storytelling. We discuss creativity, evolution, and the project’s future direction. 1. “Shiny Satellites” is inspired by childhood memories of stargazing with your mother on warm Ontario summer nights. What was it like turning such a personal memory into a song, and did revisiting those moments influence the way you approached the lyrics? Turning a memory that pure into music felt less like writing a song and more like trying to accurately develop a mental photograph. Stargazing as a kid gives you this wild, dual perspective: you feel completely microscopic against the scale of the universe, yet entirely safe and warm because of who is sitting next to you on the grass. When I sat down to write the lyrics, that contrast dictated everything. I didn’t want the song to just be a passive, nostalgic look back; I wanted to recreate the physical transition of those nights. The verses start intimate and whisper-quiet, mimicking the darkness of the yard, before the chorus suddenly blows wide open to capture the sheer, brilliant scale and mystery of an unpolluted night sky. 2. The Big East has evolved from a collaborative project into a solo studio venture driven by your own songwriting and production. How has this transition changed your creative process, and what new opportunities has it opened up for you as an artist? Shifting to a solo studio venture completely removes the filter between the initial emotional spark and the final master chain. In a collaborative band environment, a song is naturally shaped by democratic compromise, which can be beautiful. But operating solo forces me to trust my absolute raw instincts implicitly. My creative process has become much more fluid and immediate. If I wake up at 2:00 AM with a pulsing synth line or a gritty guitar hook, I can walk straight into the studio and build it without needing to explain the vision to a boardroom. The biggest opportunity this transition opened up is sheer agility—I am now completely free to bridge genres and experiment with textures that a traditional four-piece rock band might structurally struggle to execute. 3. Before returning to The Big East, you spent several years producing house and electronic pop music under the name itsnotu.me. How did that experience shape the sound of “Shiny Satellites,” and what elements from both musical worlds did you want to bring together on this release? Electronic music is a masterclass in tension, release, and the physical power of sub-frequencies. My time producing house and electronic pop under itsnotu.me completely permanently re-wired how I look at song architecture. It taught me how to manipulate energy, how to build a dynamic “drop,” and how to keep a rhythmic groove driving forward restlessly. With “Shiny Satellites,” I didn’t want to abandon that toolkit; I wanted to weaponize it inside an alternative rock framework. I wanted to take the ultra-clean, hard-hitting low-end and the intricate sound-design of modern electronic pop, and smash it directly into the organic grit, human imperfections, and raw emotional vulnerability of indie rock guitars and vocals. It’s electronic bones wrapped in a rock ‘n’ roll skin. 4. You’ve described the track as a blend of indie rock, synthpop, and your own “Cottage Rock” identity. What does the term “Cottage Rock” mean to you, and how does “Shiny Satellites” represent the next evolution of that sound? Living and creating out here in Huntsville and the wider Muskoka region, you are completely surrounded by this massive, rugged, beautiful landscape. To me, “Cottage Rock” is the direct sonic reflection of that geography. It’s an aesthetic born out of isolation, deep pine woods, cold lakes, and long open roads. It’s rock music that has space to breathe because it isn’t trapped inside a concrete city grid. “Shiny Satellites” represents the next evolution of that sound because it finally bridges the earth with the sky. Previous iterations were much more traditional and earthbound, but this track introduces a glossier, more infinite midnight sheen. It proves that “Cottage Rock” can be both deeply organic and unashamedly cinematic at the exact same time. 5. The song balances intimate storytelling with huge, festival-ready choruses and cinematic production. When writing and producing the track, were you imagining a particular scene, audience, or emotional experience that you wanted listeners to share? I have a vivid memory of driving back to Muskoka from Toronto and being overwhelmed by the clarity and visual splendor of the sky. I drove with my head out the window to try to take it all in. That late-night vision and many other moments like that, guide my artistic sense. The air smells like fresh pine, the headlights are cutting through the absolute pitch black, and the sky overhead is completely alive with stars. It’s that rare, therapeutic moment of total isolation where you feel completely alone in the world, yet entirely connected to the universe. The intimate verses represent the quiet thoughts of the person behind the wheel; the explosive, festival choruses are the moment they look out the window and feel that sudden rush of absolute clarity and freedom. 6. With “Shiny Satellites” marking the beginning of a new era for The Big East and another cinematic single already in the works, what can fans expect from the next chapter of the project, and where do you see this creative journey taking you in the future? Fans can expect a continuous, uncompromised unfolding of this cinematic universe. “Shiny Satellites” is the official flag in the ground for this new era, showing that the boundaries are completely gone. The next chapter is all about depth and consistency. The follow-up singles I’m engineering right now dive even deeper into those atmospheric, mood-driven alternative textures, but they keep that driving, upbeat groove completely locked in. Ultimately, my goal for the future of The Big East isn’t just about chasing brief algorithmic trends;
ELTUS
ELTUS Paris-based electronic artist ELTUS discusses the inspiration behind “CAN’T OWN ME,” a powerful dance anthem driven by themes of freedom, self-respect, and inner strength, blending infectious club energy with a deeply personal message. 1. “CAN’T OWN ME” was inspired by a powerful real-life experience during your travels. How did witnessing that moment of resistance shape both the song’s message and its musical direction? During one of my travels, I witnessed a young woman who clearly understood that her actions could lead to serious consequences. But even with that pressure around her, she acted with complete conviction. There was fire in her eyes, strength in her character, and a sense that nobody could really stop her. That moment stayed with me. It was not just about rebellion — it was about inner freedom. She was not asking for permission to be herself. She was drawing a line around her own soul. Musically, I wanted “CAN’T OWN ME” to carry that same energy. The track needed to feel fast, confident, and impossible to hold back — with a strong kick, a driving bassline, and a vocal performance that feels bold, feminine, and fearless. I did not want the song to feel sad or passive. I wanted it to feel like movement, resistance, and power. 2. The track blends dancefloor energy with a deeper statement about freedom and self-ownership. How important is it for you to balance entertainment with meaningful storytelling in your music? For me, it is very important. Most of my tracks carry a certain philosophy of life. I do not want electronic music to be only about rhythm, dancing, or energy. Of course, the track has to work on the dancefloor — the groove, the bass, and the atmosphere must move people physically. But I also want the idea behind the music to stay with them emotionally. I believe music can reach people in a way that ordinary words sometimes cannot. Through sound, emotion, and movement, you can speak directly to something deeper inside the listener. That is what I try to do with my music: create tracks that people can dance to, but also feel and think about after the music stops. 3. Askella’s vocal performance is a central element of the single. What made her the right collaborator for this project, and how did she help bring the song’s emotional core to life? I have always been drawn to female vocals, especially when they feel emotional and come from the heart. For this song, I needed a voice that could carry not only the melody, but also the strength, vulnerability, and inner fire behind the message. Askella became the right vocal identity for this project because her voice carries that feminine energy in a powerful way. I felt that this kind of vocal performance could express my thoughts and emotions more completely than words alone. “CAN’T OWN ME” is about freedom, self-respect, and the courage to stand your ground, and the vocal had to sound alive, confident, and fearless. For me, Askella helped turn the idea of the song into something human and emotional. She gave the track its heart. 4. You’ve mentioned that “CAN’T OWN ME” was built around the message first and the beat second. Can you take us through the creative process of turning a personal philosophy into a club-ready electronic track? For me, “CAN’T OWN ME” started with the idea first. I did not begin by thinking only about the beat or the club energy. I began with the message: a person must have the right to belong to themselves, to protect their inner freedom, and to refuse being controlled by someone else. After that, I started thinking about how this idea should sound musically. I did not want the track to feel soft or dramatic in a sad way. I wanted it to feel like confidence, movement, and resistance. That is why the rhythm had to be strong, the bassline had to push forward, and the vocal had to sound bold and fearless. The creative process was about turning an inner statement into physical energy. The philosophy became the emotion, the emotion became the vocal, and the vocal led the track into a club direction. In the end, I wanted “CAN’T OWN ME” to work both as a dance track and as a personal declaration of freedom. 5. As ELTUS, you aim to create electronic music that resonates beyond the dancefloor. What themes or stories are you most interested in exploring in future releases? In my music, I try to reflect the way I see life. Many of my tracks come from my inner world, from the emotions, thoughts, and personal state I am experiencing at the moment when I write the lyrics or build the idea of the track. I do not want to limit myself to only one mood or one message. Sometimes my music can be deep and philosophical. Sometimes it can be lighter, more positive, and more entertaining. But even then, I want it to feel honest. Each track is different because each one reflects a different state of my soul at that time. In future releases, I want to continue exploring themes connected with freedom, inner strength, human emotions, personal choices, and the way people fight to remain themselves. For me, electronic music is not only sound and rhythm. It is also a way to express what is happening inside a person. 6. The line, “For me, CAN’T OWN ME is not only a title. It is a line you draw around your own soul,” is particularly striking. What do you hope listeners take away from that message after hearing the song? I hope listeners feel that they have the right to protect their own inner world. “CAN’T OWN ME” is not only about resisting someone else’s control. It is about remembering who you are, even when the world tries to tell you what role to play. For me, the line “a line you draw around
Hellkern Warriors
Hellkern Warriors Hellkern Warriors take listeners on a cinematic journey through neon-lit streets, industrial landscapes, and restless motion. In this interview, the band explores the inspirations, themes, and creative vision behind “Rain, Steam and Speed.” 1. “Rain, Steam and Speed” paints a vivid picture of neon-lit streets, restless motion, and urban mystery. What inspired the song’s concept, and what story are you telling through its lyrics and atmosphere? With Rain, Steam and Speed, our intention was never to tell a conventional story. Instead, we wanted to capture a specific mood and an emotional state. The song takes place in a fictional city somewhere between reality and imagination—a place filled with rain, steam, neon lights, and endless streets. At its core, the song is about the feeling of constantly moving forward without ever truly arriving. The city becomes a symbol of our modern world: fascinating, full of energy and possibilities, yet at the same time anonymous, overwhelming, and difficult to escape. The lyrics reflect this tension between movement, longing, and the search for orientation. Another personal influence comes from Tom, who lives in Berlin—a vibrant metropolis whose atmosphere became a major source of inspiration for the song. While writing, he found himself wondering how a city like Berlin might evolve in the future and how technological developments could shape both everyday life and the way people perceive the world around them. The decisive spark, however, came from J. M. W. Turner’s painting Rain, Steam and Speed – The Great Western Railway. What fascinated us most is how a work created in 1844 still feels remarkably contemporary, anticipating themes such as speed, technological progress, and uncertainty in an astonishing way. 2. The track combines driving riffs, pounding rhythms, and darkwave textures into a highly energetic experience. How did you approach balancing the song’s intensity with the cinematic qualities that define Hellkern Warriors? From the very beginning, we wanted Rain, Steam and Speed to feel like the soundtrack to a film that doesn’t actually exist. Every musical element has its own role: the bass and drums provide a constant sense of forward motion, the guitars create tension and energy, while the analog synthesizers drift through the mix like steam or distant signals, adding atmosphere and spatial depth. The thunder at the beginning also plays an important role. It opens the world of the song like the first scene of a film, immediately placing the listener into an unstable, electrically charged environment before the music even begins. Our goal was to combine organic energy with a more mechanical and industrial sonic aesthetic. At the same time, we wanted movement, decay, and stillness to coexist within the music. The song should feel like an endless journey through a fictional city at night—fast, loud, and full of energy, yet with no real way out. That constant tension between movement and stillness, fascination and threat, defines the entire song for us. 3. The title immediately evokes movement and momentum. What does “speed” symbolize for you in this song—escape, freedom, desire, or something else entirely? For us, speed deliberately carries several different meanings. It can symbolize freedom, curiosity, and progress, but also restlessness, pressure, and the constant demand to move faster and faster. It also represents the rapid acceleration of technology and society. Technological and social developments continue to move at an ever-increasing pace, often creating the feeling that this momentum is becoming almost impossible to control, regardless of the area of life. In Rain, Steam and Speed, speed becomes both a driving force and a trap. The faster we move, the harder it sometimes becomes to recognize where the journey is actually leading. That ambiguity was one of the central ideas we wanted to explore. 4. As an international project with members spread across Germany, Italy, and Colombia, how did the creative process for “Rain, Steam and Speed” unfold? Did the distance influence the final result in any way? Absolutely. Hellkern Warriors was conceived from the very beginning as an international project rather than a traditional band centered around a rehearsal room. Instead, each member contributes whenever time and creativity allow them to be fully present in the creative process. Everyone brings their own musical influences, listening habits, and personal experiences into the project. We see this diversity as one of our greatest strengths. Rather than limiting our collaboration, the geographical distance has allowed different perspectives to shape our music. The creative process usually begins with Tom presenting a new song idea to the band. Mauricio then develops the drum tracks, followed by Tom recording guitars and vocals. Fabian adds the bass, before Kabal completes the sonic landscape with his analog synthesizers. Finally, everything is mixed at Artgot Studio, where additional sound design and atmospheric effects are added to complete the production. 5. The imagery of rain, steam, rusty steel, and neon lights creates a striking visual world. Were there any particular films, books, artworks, or real-life experiences that helped shape the song’s aesthetic? The most obvious inspiration was, of course, J. M. W. Turner’s painting Rain, Steam and Speed – The Great Western Railway. What fascinated us most was that a painting created in 1844 still feels surprisingly modern, anticipating themes such as speed, technological progress, and uncertainty. Beyond that, we are generally inspired by cities at night, industrial architecture, and dystopian cinematic worlds. We’re fascinated by places where beauty and decay exist side by side. That’s why Rain, Steam and Speed doesn’t describe a real location—it creates its own cinematic world. 6. “Rain, Steam and Speed” is another step forward for Hellkern Warriors. What can fans expect next from the project, and does this track offer any clues about the direction of future releases? Yes, we believe this song clearly points toward the direction we’re taking as a band. At the moment, we’re working intensively on our debut album, where we plan to further develop the atmosphere and themes introduced in Rain, Steam and Speed. Analog synthesizers, driving guitars, cinematic soundscapes, and emotional as
Mad Painter
Mad Painter Mad Painter’s latest album Island Poetry is a vibrant celebration of classic rock’s adventurous spirit, blending Hammond-driven hard rock, progressive influences, and imaginative storytelling into a rich and captivating musical journey. 1. “Island Poetry” draws inspiration from a wide range of classic rock influences, from Deep Purple and Uriah Heep to Queen, Motörhead, and even space-disco pioneers Ganymed. How did you balance these diverse inspirations while maintaining a cohesive Mad Painter identity throughout the album? The cohesion comes from the fact that these influences are not artificially imposed on the songs. They are all part of what I have listened to for most of my life, so they naturally enter the music through my own writing and through the way the band plays. We never begin by deciding that we need one Deep Purple song, one Motörhead song and one space-disco song. A musical idea appears, and its character may remind us of something within that broad spectrum. The finished piece still passes through the same musicians, the same Hammond-and-guitar relationship, the same vocal approach and the same production process. That gives the album a consistent personality even when the individual tracks occupy very different stylistic areas. The sequencing also helps. The album moves through those changes deliberately rather than presenting them in a random order. It begins with energetic rock and roll, grows heavier, moves into space rock and art rock, opens into more progressive and blues-oriented material, and then returns to dramatic balladry and heavy metal before ending with the grandeur of “Circle of Hands.” The references are visible, but the underlying identity remains Mad Painter. The influences provide the vocabulary; the arrangements, performances and personalities of the band determine the final language. 2. The Hammond organ plays a central role in your music, often taking the spotlight rather than serving as a background instrument. What is it about the Hammond’s sound and character that continues to inspire you as songwriters and performers? The Hammond has an enormous emotional and physical range. It can whisper, sustain, growl, roar or completely fill a room, and it can move between those states within a few seconds. It is capable of providing rhythm, harmony, atmosphere and a lead voice simultaneously, which makes it much more than a background instrument. In Mad Painter, the organ is often present from the earliest stage of the composition. The song is not written as a guitar piece with keyboards added afterward. The Hammond may establish the riff, the chord movement or the entire emotional character of the arrangement. That immediately changes the architecture of the song. It also creates a natural dialogue with the guitar. The two instruments can reinforce one another, answer each other or compete for the foreground. Deep Purple and Uriah Heep showed how dramatic that relationship could become, but once you begin working with it yourself, you discover many other possibilities. The Hammond also gives our music a strong sense of continuity. Even when a track moves toward space disco, heavy metal, progressive rock or a piano-led ballad, the sound and personality of the organ help keep it within the Mad Painter world. 3. Each track on “Island Poetry” seems to explore a different musical landscape. Were there any songs that challenged you creatively or pushed the band into new territory during the writing and recording process? We would never voluntarily enter uncharted stylistic waters merely for the sake of being “different” or “eclectic.” Every piece of music I write reflects my own influences and whatever I happen to be listening to at the time. That can lead us into almost any style or genre, but it does not feel forced because there are no rules governing what I choose to play on my stereo, whether I am at home or on the go. Progressive rock naturally plays a major role. We had songs such as “Gone Gone Gone” in the past, and on this album there is “Nektarized,” which is an unusual homage to Nektar. All of its lyrics are made up of Nektar album and song titles. There is a break in the middle featuring an odd, almost alien-like chant: “Automaton Horoscope, please cast your fate.” That phrase simply appeared in my head from nowhere. It was not an attempt to imitate anybody. The same applies to the space-disco element. If I listen to Ganymed for weeks, as I did when I was a child, or spend time with Dee D. Jackson or Sheila and B. Devotion, that influence will eventually emerge somewhere in a song. “Two Horsemen” developed in a very different direction. The lyrics originated as a Russian poem by Soviet dissident poet Joseph Brodsky, translated into English by Natalia Belenkaya. They seemed perfectly suited to a free-roaming Wishbone Ash-type piece, something that could have come from the world of ‘Argus’ or ‘Pilgrimage’. The early-1970s British rock and blues-jam influence was already part of my musical palette, as was the Canterbury touch. On that track I like to approach the keyboard solos in a way that owes something to Caravan. “I Am the King” followed a similar process and became something like an amalgamation of the Moody Blues and Barclay James Harvest. None of this was especially difficult because these sounds are all part of the same personal landscape. The band may enter different territories, but they are territories I already know and love. 4. Six songs on the album feature lyrics by writer and music journalist Dmitry M. Epstein. How did that collaboration come about, and what did Dmitry’s lyrical approach bring to the album that might have been different from your usual songwriting process? The collaboration originally began with “Illusion,” which appeared on “Splashed”. I already had the melody and recorded it as an instrumental demo. I then gave Dmitry the general lyrical idea, and he wrote the words. The same process was repeated with the ballad “I’ve Been a Fool,” which is also on “Splashed”. After that, the nature of the
Waste Fifty
Waste Fifty Waste Fifty discusses the inspiration behind the electronic single “A.I.,” exploring artificial intelligence, digital creativity, and the evolving relationship between technology and music production. 1. Your new single “A.I.” explores the world of computer computations and hints at the future of technology. What sparked your fascination with this theme, and how did it shape the song’s lyrics and atmosphere? It is electronic music so its binary data 0 and 1 s. It mentions analog circuit. Analog is mentioned. They are two areas of electricity. But the song is made of BINARY. In future it is possible that Tertiary computers are common 0 1 2. And analog maybe will do a retro comeback, I hope. 2. You mentioned experimenting with artificial intelligence by combining ideas from different songs and seeing what the technology could create. What was the most surprising part of that creative process? That A.I. was able to bring up subject of Analog into the song. 3. Since “A.I.” is largely generated with the help of artificial intelligence, how did you balance the role of technology with your own artistic input and performance? To be honest this was a 7, I had luck in the process. 4. The song seems to reflect both the potential and unpredictability of AI. Do you see the track as a celebration of the technology, a cautionary statement, or something in between? It hints on the idea that combining analog and digital we can create next step in technology It is all positive about AI, it doesn’t bring up the subject about AI used for crimes and wars. 5. Electronic music has always embraced innovation and new tools. How do you think AI will influence the future of electronic music and music production as a whole? It will become overused. 6. You describe “A.I.” as a unique release that may become less unique as AI-generated music evolves. Looking ahead, do you plan to continue exploring AI in your music, perhaps even with the sequel you hinted at? Thanks for the idea. (229) Waste Fifty – YouTube
Michael A. Levine and Rafaela “Rita” Crevoshay
Michael A. Levine and Rafaela “Rita” Crevoshay In this inspiring interview, songwriter Michael A. Levine and Rafaela “Rita” Crevoshay discuss the award-winning “Rita’s Song,” personal transformation, authenticity, and the powerful message of living truthfully at any stage of life. 1. Your journey from lifelong gardener to author, advocate, and inspiration for “Rita’s Song” is remarkable. Looking back, what has been the most meaningful part of sharing your story with the world? The moment when my cousin Michael and I ascended to the podium at the Grauman Chinese Theatre to accept the Grand Prize for Music Video marked the commencement of my new life, my authentic life. The Golden State Film Festival appropriately awarded Michael for his creative prowess but, in my case, I had no role in the film’s production – it was my story. Not a story written by me, but a story lived by me. It was the first time I had been openly and very intentionally exposed to the public since my gender transformation. I faced a crowd of nearly 500. That exposure revealed a me that was totally honest and Transparent for the first time in my seventy-six-year-old life. Decades of hiding in plain sight, in my male persona, supported an invisible deception, one designed to conceal my true female identity. It’s a slippery slope. If not managed with vigilance, deception can occupy the conscious mind like a viral outbreak. Gender transformation terminated my deception. At the moment of the crowd’s applause, I was liberated. 2. “Reimagining Your Garden: Visions of Transformation” connects biodiversity in nature with personal transformation. How do you see the relationship between cultivating healthy gardens and cultivating an authentic life? Biodiversity is nature’s norm. Our planet’s spectacular diversity within its three kingdoms: plant, animal, and fungal, validates our human quest for authenticity. Estimates of living species reach almost nine million. That mind-boggling variety of life forms forms irreversible diversity for humans, and suggests that we align with it. It establishes a lesson that we must not shirk – that we ought personally to cultivate diversity in body and soul. We can achieve harmony with Earth’s life forms by encouraging our hearts to seek our unique authenticity. Human creation displays endless diversity, physically and culturally. It’s our responsibility to promote and protect it. 3. “Rita’s Song” beautifully captures your transition and the emotions surrounding it. What was your reaction when you first heard the song, and how accurately did it reflect your personal experience? It was a surprise to hear it. I had no idea that Michael had written and recorded it. He brought me home from the hospital and offered it. I was flabbergasted by the depth of his sensitivity. It showed a profound understanding of my trans journey. In essence, he got it right, and I knew it immediately. 4. Transitioning at the age of 76 required tremendous courage. What would you say to people who may still feel afraid to embrace their true identity, regardless of their age or circumstances? Many friends and admirers have praised me for my courage – it ain’t so! We do what’s necessary in difficult circumstances. Perseverance wins success. Courage is merely window dressing. Embracing authentic identity is often about issues unrelated to gender. For many people, of all ages and genders, it’s about realizing a dream that has always seemed out of reach. I had my Pinocchio moment of fulfillment 65 years after first experiencing my dream. Don’t fear the struggle; we are on earth in this life to evolve. The transformative energies available to you favor your success. Hang in there and persevere! 5. The music video uses a striking transition from black and white to color to symbolize your journey. Which scenes or moments in the video feel most personal or significant to you? I guess I’ve watched the video at least 108 times. I still cry every time I see it. The scene that shows Ralph’s face reflected in a mirror that shows Rita’s face is particularly moving. It reveals that Ralph lost many years in hopeless frustration in juxtaposition to Rita’s knowledge of the great future that awaits her. This is all very real to me. 6. With the success of the book, song, and award-winning video, your message is reaching audiences worldwide. What do you hope your legacy will be for future generations of gardeners, creators, and people seeking the courage to be themselves? There’s a comprehensive question! My original goal, before the completion of the transition, was to achieve a major impact on our food and agricultural system. What I’ve learned since has inspired me to expand the scope and focus of my message. I remain deeply involved in agricultural reform efforts. It continues to be my life’s mission, but now, it’s part of an expanded mission. I’ve acquired a role of leadership in the Transgender community, or more accurately, it has acquired me. I’m willingly obligated to help my Trans sisters navigate the social chaos that contaminates our lives. I’m often introduced to terrified Trans teens who can’t see their way forward. I urge them to look at me, a newly transitioned Gal who is in the final chapters of her life – and I’m thrilled to be female at last. They need to be reassured that their entire life is ahead of them, and life is gonna be good. I’m Rita from the video, and I say so! https://www.instagram.com/ritacrevo/
About Aphrodite
About Aphrodite Blending cultures, genres, and emotions with remarkable elegance, About Aphrodite’s Songs Without Words transcends linguistic boundaries. In this interview, the duo discusses musical alchemy, Persian influences, artistic connection, and the universal language of music. 1. “Songs Without Words” blends Persian folk traditions, jazz, chamber music, synth-pop, and electronic textures into a remarkably unified sound. How did you approach weaving such diverse influences together while maintaining a cohesive artistic identity? We are very familiar with the various stylistic elements that make up “Songs Without Words”; we have considerable experience with each one of them. That is why blending them — while simultaneously preserving or even forging a new identity — does not feel difficult. Of course, it involves a bit of musical alchemy, in the hope that the whole will amount to more than the sum of its parts, but when you know the individual elements and their effects well, the chances of success certainly improve! 2. The album’s title suggests communication beyond language. What emotions, stories, or experiences did you hope listeners would discover through these instrumental compositions? What the six “Songs Without Words” have in common, among other things, is that they are all based on simple, highly lyrical melodies. Their harmonic structures are uncomplicated, too. Frequently we break out of this framework through improvisation, yet we always return to it, making it very easy and inviting to follow our little stories. Moreover, the musical category of “Songs Without Words” is deeply Romantic in spirit. It embodies the hope that there exists a form of poetry beyond spoken language — one that is deeper and fosters a stronger sense of connection than words alone allow. One might think of it as a reverse Tower of Babel: the possibility of telling stories and conveying emotions across all linguistic barriers.Yet these emotional worlds remain open; they emerge in the space between the telling and the listening. 3. Gilda, your combination of theremin and soprano saxophone is highly distinctive, while Hanzō’s piano and synthesizer work creates rich sonic landscapes. How did your individual musical backgrounds shape the creative dialogue at the heart of this record? Let me start with a little anecdote: one night, I actually dreamt that I could play the theremin, and the next morning I had an overwhelming desire to turn that dream into reality. I told Hanzō about it, and he initially thought I was crazy. But no sooner said than done! In a way, the theremin found its way to me; ever since, I’ve been a saxophonist and thereminist — or the other way around.Hanzō is an experienced jazz pianist who also studied classical composition. He has always had a keen interest in electronic music, too. Building on this foundation, we’ve embarked on so many musical journeys — spanning acoustic jazz, world music, techno, ambient, and every conceivable crossover project. The current chapter of our shared story is “Songs Without Words”. 4. Several tracks draw inspiration from Persian culture and history, including “Sartschubeh,” “Newrusi Cats,” and “Taraneh.” Could you share how these cultural references influenced the compositions and why it was important to bring these stories into the album? As a Persian woman who grew up in Germany, I am naturally shaped by both Eastern and Western culture and history. That may sound like a cliché, but it is simply the case. While there is much to be said about this multicultural background, one aspect is particularly important to me: we never actually set out to create an album with such a distinctively Oriental influence. It just happened organically; looking back, it might seem as though we had deliberately chosen a specific theme, but that wasn’t the case. Many subconscious processes were at play. Of course, we aren’t prophets, but the fact remains that shortly after we finished *Songs Without Words*, Iran increasingly moved to the center of global politics. Naturally, our positive sentiments and solidarity lie with the Persian civilian population — a people battered from both within and without. 5. A recurring theme throughout the project is the idea that “music has no passport.” In today’s increasingly divided world, what role do you believe cross-cultural collaboration and artistic exchange can play in fostering understanding between people? We firmly believe in the unifying power of art in general, and music in particular. Simply because we have never known anything other than being musicians, we can easily jam with musicians from anywhere in the world and always find a common language. Moreover, our tours through a wide variety of countries have taught us one thing for certain: people everywhere share more or less the same idea of what constitutes a fulfilling life. Yet the opportunities to achieve such a life are distributed so unfairly, and the problems are vast and far-reaching. They are global in nature and, of course, can only be solved globally.If we had a common language at the level of global politics — the kind that comes so naturally and is so welcomed among musicians from diverse cultural backgrounds — the world would be a better place! 6. With “Songs Without Words” now reaching audiences worldwide, what do you hope listeners take away from this musical journey, and what are the next creative horizons for About Aphrodite? After recording this album and listening to it in its entirety, we realized what we want to convey to our listeners. We aim to transmit a sense of lightness and the joy of living through our music, coupled with a touch of melancholy. Our music is meant to uplift, not weigh you down. With About Aphrodite, we already have a fair amount of new, unreleased material. What might be the shared focus of these new tracks — and those yet to come? We’re excited to find out ourselves! About Aphrodite – About Aphrodite
Reetoxa
Reetoxa Reetoxa’s latest single “Bottle” breathes new life into a song written three decades ago, blending raw 1990s alternative rock energy with modern production. In this interview, frontman Jason McKee reflects on its origins, influences, and the band’s exciting future. 1. “Bottle” was originally written in 1995 when you were just fifteen years old. What was it like revisiting a song that had been sitting with you for more than three decades, and how did your perspective on it change over time? When I started the soliloquy project again just before covid, I revisited the original double album songs and bottle stood out to me. What a banger I remembered that song being. Now with my own mental health therapy I felt even closer to the song. 2. The song is inspired by a real-life story involving friendship, mental health struggles, and teenage rebellion. Why was it important for you to preserve the authenticity of those experiences when bringing the track into the present day? Jody was my girlfriend at the time we dated for five years. Jody was an amazing friend who really supported my music. I hope she does not mind me dragging up the past but I feel this song is still prevalent today and has an important message. 3. You’ve described growing up in Frankston during the height of the grunge era while also craving a more modern sound. Which artists and musical influences helped shape “Bottle,” both in its original form and in this new recording? I guess in 1995 I was obsessed with the alternative music scene. It has a fun 90’s vibe to it I think. I believe this song could have launched my career back then if I’d had the money to record it properly. 4. Producer Simon Moro and musicians Kit Riley, James Ryan, and Peter Marin all played key roles in transforming “Bottle” into what you call a sonic explosion. How did each collaborator contribute to achieving the balance between 1990s grit and contemporary production? Simon and I gave them a rough demo of the song but the boys were like that’s cute and jammed it out. What they came up with sounds fresh but true to its origins. I can’t thank them enough. 5. Reetoxa has been described as “Cool INXS,” and you’ve even shared a memorable encounter with Michael Hutchence in the ’90s. How have Australian rock icons influenced your songwriting and performance style over the years? I have always loved the Australian music scene and used to sneak into gigs. I wanted to be like the band “rail” so much I worshiped them. I must of seen them 20 times. Our first album got described as Aussie pub rock which made me proud, but we expanded the sound on this album. 6. With discussions underway with record labels and plans for a European and UK tour, what are your hopes for the next chapter of Reetoxa, and how does “Bottle” represent the journey that brought you to this point? I hope to be able to do a world tour and see the planet. I have done a lot of travel solo and in the navy but I’m always hungry for more. We are actually recording our third album in a few weeks as I had a creative explosion after I got the second album out of the way. Reetoxa
Robbie Z
Robbie Z With #YOLO, Robbie Z delivers a colorful, nostalgic celebration of early internet culture, self-expression, and joy. We spoke with the rising pop artist about the EP, its inspirations, and what comes next. 1. Happy birthday and congratulations on the release of #YOLO! Releasing the EP on your 24th birthday feels symbolic. What made this the perfect moment to share this project with the world? Thank you! At the time I was creating the EP, I wrote a song called “B-Day Cake <3”, so I naturally checked if my birthday fell on a Friday, which it did. I thought, what better way to celebrate than to have my EP come out on the same day? I usually don’t release music on my birthday because I like to celebrate with my loved ones, but turning 24 is actually quite significant to the project, which is why I did. I remember that in 2014, the period my EP is inspired by, my favorite artist was 24 and I thought, “Wow, she’s so grown up,” haha. It’s a full-circle moment with the song, the EP’s theme, and me being 24. 2. The EP is heavily inspired by the early 2010s internet era, from Tumblr culture to colorful pop icons. What are some of your strongest memories from that time, and how did they influence the sound and message of #YOLO? The early 2010s really made me fall in love with music in the first place. I loved how big, fun, and bold pop music was back then. Some of my favorite memories from that period are watching Miley Cyrus and Iggy Azalea’s music videos, spending hours on Tumblr, taking “aesthetic” photos, and filming my own music videos. There’s so much! I wanted #YOLO to recreate that feeling through big choruses, colorful production, confidence, and not being afraid to be a little cheesy or over-the-top. 3. You’ve said that you don’t necessarily miss 2014 itself, but rather the optimism that seemed to define that period. Why do you think that sense of carefree enthusiasm feels rarer today, and how does #YOLO aim to bring it back? Yeah, as much as I love the art from that time, I was also a very anxious child, haha. I definitely romanticize the good parts of the early 2010s. It’s hard to say people were more optimistic in general because that depends on so many external factors. Overall though, I think these days we’re forced to face reality from a much younger age. The #YOLO songs are full of confidence, fun, and positive affirmations through a Tumblr lens, and I hope they remind listeners not to take themselves too seriously and to believe in themselves a little more. 4. Artists like Miley Cyrus, Ariana Grande, Justin Bieber, Iggy Azalea, and Charli XCX helped shape the project. How did you balance those influences while still creating something that feels uniquely Robbie Z? I wouldn’t say they shaped the project, but rather that they were artists whose energy I channeled into the songs and artists I listened to a lot back then. The fact that I’ve been influenced by all of them for so many years, while also going through my own experiences and developing my own taste and other influences, inevitably makes the project very Robbie Z. Nothing is completely original after all. My music is just a mix of everything I love, filtered through my own creative instinct. 5. The EP’s title and themes encourage people to stop worrying so much about other people’s expectations and embrace joy. Was there a personal experience or turning point that inspired you to adopt that mindset in your own life and music? Yes! For the longest time, the EP was going to be called 2014 because that’s the specific year that inspired it. But then I felt like it limited the project to one year, and I wanted a broader term that captured the whole era better. One day, while I was travelling to the airport at 5 AM on one hour of sleep, I started thinking about how smart “YOLO” actually is. It’s something we used to say completely unironically in 2014, but now we mostly say it as a joke. As funny as “YOLO” can be, it’s also true. You only live once after all. Why do we take ourselves so seriously? I think we need to have more fun with life and with art in general. Obviously, I’m saying this from a very privileged position, and I’m aware of that. But when I say we need more fun, I really mean we should be less critical of ourselves and each other, and allow ourselves the freedom to just be. 6. With #YOLO celebrating self-expression and marking a new creative chapter, you’re also preparing to release your first Bulgarian-language single. What can fans expect from this next phase of your journey, and how does it differ from the world of #YOLO? I like my projects to contrast with each other, so when I started working on my Bulgarian project, it naturally took a different direction from anything I’d done before. I’ve just been following my creative instinct, and it’s actually taking me somewhere I never expected to go. I love it so much, and I can’t wait to continue working in that direction and share more very soon. It’s a little more grown-up and a little less conceptual. Each song is inspired by experiences I’ve had over the last seven months. Usually it’s hard for me to be specific and honest in my songs, especially in Bulgarian since it’s my mother tongue, but I challenged myself to be more open. Visually, it’s very different too. Stay tuned! Robbie Z Official: TikTok, Instagram | Linktree
Otto Orany
Otto Orany Blending jazz, contemporary classical music, and imaginative storytelling, Otto Orany invites listeners into “10 Blue-Penciled Stories”, an album of ten unique musical worlds. We discussed its inspirations, creative process, and artistic vision. 1. “10 Blue-Penciled Stories” is described as ten distinct musical worlds, each with its own rules and identity. What inspired you to structure the album this way, and how did you ensure that each piece maintained its individuality? The structure is a fluid arch with increasing energy, with its exact climax at “Gloria In Excelsis Neo.” The structure, like many things in my life, occurs intuitively. (I usually receive an idea late at night, while falling asleep, which I then develop the next day.) The individuality comes from humbly observing the needs of each different style. 2. The album brings together an unusual ensemble featuring woodwinds, harpsichord, keyboards, bass, and drums. What attracted you to this combination of instruments, and what unique possibilities did it open up for your compositions? Drums are the stable rhythm of life. Bass is water flowing toward the richness of life. Keyboards are the textures of life, and woodwinds are more subtle, sky-like textures. 3. Track titles such as “Tiptoe Elephant,” “Running Unicorn,” and “Temple of Friendship” evoke vivid imagery and a sense of playful imagination. How do these titles connect to the music itself, and what role does storytelling play in your creative process? Storytelling is key to my work. I imagine every musician as an important member of my musical family. 4. Your work often explores the intersection of contemporary classical music, jazz, and electronics. How did those influences shape “10 Blue-Penciled Stories”, and were there any new musical directions you wanted to explore on this record? For me, the basis is jazz — it’s my root, and it gives me the freedom to extend the branches into every other thinkable style. 5. The singles “Lions Eat First” and “Trapped in Rap” seem to represent very different moods and ideas. Why did you choose these tracks as the album’s lead singles, and what do they reveal about the broader themes of the record? We all need energy — energy to fight our hidden fears. 6. Looking back on the creation of “10 Blue-Penciled Stories”, what was the most rewarding challenge you faced, and what do you hope listeners will take away after experiencing all ten stories from beginning to end? The most rewarding part was the wholeness of this project. I was genuinely afraid I wouldn’t be able to smoothly blend so many different styles, from avant-garde to broadly accessible film music. https://www.instagram.com/otto_orany