BSP
BSP In this interview, BSP explores how synesthesia, ocean horizons, and collaboration with FREQUENCY33 shaped “Mirror” into an immersive, multisensory experience bridging introspection, sound healing, and visual performance between London and Madeira. 1. As a synesthete who translates sound into color, how did your unique perception shape the creation of MIRROR? When you were composing and performing this track, what colors, textures, or visual landscapes emerged, and how did they influence the emotional intensity of the song? I feel incredibly lucky because I can see the ocean from my house in Madeira. When Noah (FREQUENCY33) and I were composing Mirror, that’s what I was looking at most of the time. The sea, the horizon, that deep, cold blue that changes every hour. That colour stayed with me while we were writing. I kept seeing this dense, almost metallic blue, like water before a storm, calm but carrying something underneath. The production naturally followed that image. We left space because visually it felt open, reflective, and suspended. When I write, I follow what I see. The atmosphere appears first, then the emotional tone grows around it. With Mirror, the colour guided everything. 2. MIRROR feels deeply introspective, almost like standing at the edge of a life-changing decision. What personal experiences or inner reflections inspired this narrative of fear, truth, and vulnerability? It came from that very specific moment when you already know what you need to do, but you’re secretly hoping for a louder sign so you don’t have to take responsibility for it. I grew up near water, and standing on a pier has always felt symbolic to me. You’re stable, but you’re also facing depth. The water starts sounding like your thoughts. The waves repeat things you’ve been avoiding. When I wrote Mirror, I was sitting inside that feeling. The quiet realisation before anything changes on the outside. That space felt powerful enough on its own. 3. Your performances—whether in underground clubs or at institutions like the Tate Modern and the Venice Biennale—are known for their immersive, multisensory nature. How does MIRROR translate into your “canvas orchestra” live format? Live, it becomes physical. When I perform it with my canvases, the tension of the song translates into slower, more deliberate gestures. The colours are darker, more layered. The audience can see the build-up before they hear it fully. My “canvas orchestra” is about making sound visible. With Mirror, the repetition at the end almost feels like carving. Each touch activates sound, and visually, you see the persistence of the thought. It turns the internal dialogue into something shared. Mirror de BSP 4. BSP and FREQUENCY33 merge synesthetic art with sound healing. How did your collaboration evolve creatively, and how did his background in energy work influence the atmosphere of this track? I found Noah at a moment when I knew I needed someone who genuinely wanted to work with me inside Ableton. It’s the software I use live, so it matters that whoever I collaborate with understands how my set is built from the inside. He posted something in a WhatsApp group, I replied, we met once, and it just clicked. From there, things moved quickly. At one point, we were writing almost one track per day, which was slightly mad and very inspiring. We influenced each other constantly. I’d send him songs I love, and he’d bring his favourite atmospheres and textures. There was never a sense of pushing an idea through. We both adjusted, listened, and reshaped things. It felt balanced. Working with FREQUENCY33 feels very calm. There’s no rush in the process. We leave space. His background in energy work shaped the atmosphere of the track quite deeply. We paid attention to how certain frequencies sit in the body, how tones linger after they fade. We were drawn to that suspended feeling. A held breath that stays with you. 5. After spending time in London and now being based in Madeira, Portugal, how have these environments shaped your artistic identity and the emotional tone of your recent releases? London gave me an edge. It’s fast, loud, and slightly chaotic. You have to claim your space there. Madeira changes your rhythm without asking permission. There’s horizon, silence, distance. You slow down. Mirror carries both energies. There’s tension in it, but there’s also openness. Living between places reshapes the way you listen. Borders feel softer when you move between them often. 6. Released via HITMINT MUSIC, MIRROR is your second collaboration together. What does this partnership represent for your artistic journey, and what can audiences expect next from this evolving sonic and visual universe? HITMINT gives me freedom while offering guidance, and that balance is rare. There’s encouragement, trust and respect at the core of the relationship. Pamela Pagano (Music Executive) is constantly moving. Pitching for sync, coordinating promotion, looking ahead. She works relentlessly, and you can feel that she genuinely believes in the artists she works with. For most artists, that level of support feels like a dream. This partnership feels like shared growth. I’m really looking forward to the next phase of our journey together and seeing where building this world side by side will take us. There will be an EP coming out soon, but I can’t reveal too much yet! BSP world: Synesthesia, Immersive Performances, Abstract Art, Art Workshop | BSP world . Feel the colours, Hear the sounds
Exzenya
Exzenya Blending psychology, lived experience, and fearless reinvention, Exzenya opens up about patterns, power, and starting over at 56—crafting emotionally immersive music that proves growth, artistry, and evolution have no expiration date. 1.Your music blends pop, R&B, soul, and behavioral psychology into something deeply narrative and emotionally immersive. How does your academic background in psychology and conflict resolution shape the way you write about love, identity, and emotional cycles? My academic background didn’t teach me how to write songs — it taught me how to observe behavioral patterns. Behavior occurs for a reason. We don’t just “fall” into things randomly. We respond to reinforcement, to attachment styles, to unmet needs, to conditioning. Sometimes we repeat cycles. Sometimes we learn from them. Sometimes it looks like we haven’t learned at all — but repeating something doesn’t necessarily mean there wasn’t growth. Often it just means we didn’t yet understand how to recognize the signs and signals early enough. We repeat things when we don’t fully understand them. Sometimes we’re blind to the pattern until we’re already knee-deep in it. Examining those patterns helps us understand why we do what we do — and how to change it. So when I write about love, I’m not just writing about romance — I’m writing about reinforcement cycles, intermittent reward, power dynamics, identity shifts. That’s why songs like Intermittent Love or Regulator of My Dopamine exist. They’re emotional, but they’re also structured around real psychological frameworks. I’m not writing chaos. I’m writing patterns — and patterns are universal. 2. At 56, you’re redefining what a debut artist looks like — as a grandmother, global entrepreneur, and independent creative force. What mindset shifts were necessary to step fully into music without waiting for permission? At 56, this isn’t some fearless reinvention story. It’s scary. I still need validation. I still question things. When there’s negativity, I have to work to separate personal opinion from the bigger picture — from the people who do connect with the music. That’s growth for me. It’s not the absence of fear. It’s learning how to navigate it. Music isn’t rebellion for me. It’s not a midlife crisis. It’s my soul. It’s what I’ve always longed to do — especially the writing. Writing helps me understand myself. And one thing I’ve realized at this age is that if I feel something deeply, I’m not alone in it. If I think something, dream something, fantasize about something — someone else does too. We’re more universal than we think. The hard part is the risk. I’m closing down a business I’ve run for 20 years. I’m walking away from a lucrative income that I don’t fully know how I’ll replace. That’s not romantic. That’s terrifying. At 56, you’re supposed to be thinking about retirement. Instead, I’m starting over. And starting over at this age isn’t easy. There’s more at stake. More people depending on you. If you fall, it’s harder to rebuild because time isn’t as forgiving as it was when you were younger. So debuting now is both frightening and rewarding. It’s a leap of faith — not blind faith, because there are real conversations happening and real momentum building — but still a leap. I believe in myself. But belief doesn’t remove fear. It just makes you more aware of the risks at stake and provides the motivation to move anyway. 3. Your two album concepts — Story of My Life and Bar Scenes and Rumors — feel emotionally distinct yet thematically connected. What inspired you to explore both vulnerable resilience and sharp nightlife satire at the same time? Story of My Life and Bar Scenes & Rumors are two sides of the same human experience. Story of My Life lives on the inside. It explores love and lust, vulnerability, emotional and even physical captivity, attachment and detachment, psychological entanglement, trauma, stress, fear, resilience, motivation — all of it woven together. It’s about how we get pulled into cycles, how we break out of them, and how messy growth actually is. Bar Scenes & Rumors lives on the outside. It looks at what happens when those internal emotions spill into public behavior — nightlife, ego, satire, spectacle, the humor and the mistakes when too much alcohol is involved, when the party goes wrong, when someone goes wrong. It explores the devastating or embarrassing moments that can happen when things spiral — whether that’s the party, the person, or the pain underneath it all. But it’s not just about partying. It’s also about the afterparty — drinking alone because your heart is broken, trying to drown out something you don’t want to feel. It moves through all those cycles, because that’s real life. Both albums are about the ups, the downs, the ugly parts, the absurdities, the fun, the funny, the painful. They’re reflections of how human beings actually behave. And ultimately, it’s universal. We’ve all made mistakes. We’ve all had moments we wish we could rewrite. The goal isn’t to shame those moments — it’s to understand them, learn from them, and sometimes even laugh at the absurdity of being human. 4. You’ve publicly committed to 100% human-created music, with no AI or Auto-Tune involved. In an era increasingly shaped by digital tools, why was it important for you to take such a definitive stance? I’m not anti-technology. I use technology every day. AI has a place in research, administration, problem-solving — it’s a powerful tool. In music, DAWs, MIDI, loops, and standard studio editing are all normal parts of production. They’re still human-directed. They don’t replace the artist — they support the process. Where I draw the line is at replacing the human voice or the human pen. For me, the lyrics have to come from the human mind. The vocals have to come from a real throat. That matters to me. It honestly boggles my mind how far voice-altering technology can go now. There are also times when vocal effects are used artistically — tone, texture, height,
Calid
Calid Rooted in the vibrant rhythms of Lagos, Calid blends Afrobeats, pop, and soul into a fresh, globally minded sound. In this interview, he opens up about growth, influence, and ambition. 1. You’re known for blending pop, soul, funk, R&B, rap, and Afrobeats into a sound that feels both familiar and fresh. How did growing up in Lagos shape this musical fusion? Absolutely! Each morning I awaken to the rich, vibrant sounds of fuji and religious music filling the air, creating an atmosphere that inspires my creativity and sets the tone for my day. This melodic backdrop has not only enhanced my artistic expression but also instilled a profound sense of purpose in my work. As I sing each note, I feel deeply connected to the voices of the legendary pioneers who came before me like fela, Wizkid and Psquare to mention a few, whose innovative contributions have paved the way for artists like myself. Their spirit resonates in my music, fueling my passion and guiding my journey as I strive to honor their legacy through my own unique artistry. 2. Your music often balances love, heartbreak, and ambition. Do these themes come from personal experience, or are they stories you observe around you? Being at the start of my career, it is only right for everyone to know Calid’s story, sound, identity and motivation. And I believe that every element you find in my song from the words to the language and even the instrumentation is clearly things I observed as a kid, a youth then an individual who loves music. I personally hasn’t experienced heartbreak except from movies and tv shows. 3. New Chapters feels like a very personal project, touching on growth, challenges, and confidence in the music game. What chapter of your life were you in while creating this album? This EP is a powerful reflection of my life experiences and the vibrant places that have shaped me. Moving to the Lagos was a pivotal step away from the neighbourhood I grew up in and it opened my eyes to the incredible sounds of my homeland. Initially, I felt a bit shy and questioned whether my style of music would resonate with the people here. However, the overwhelming love for tracks like ‘Framed’ inspired me to fully embrace my role as a cultural bridge between Nigeria and the world, starting with the US. With trendsetters like Burna Boy, Wizkid who has a huge impact in releasing music for global audiences and recognition, I wanted same recognition for New Chapters, so that fans and listeners can clearly understand my style and the story I tend to pass across. 4. Songs like Calling and No Stressing carry uplifting, motivational energy. How important is it for you to inspire listeners while still keeping the music dance-ready? On 9 August 2024, weeks before I made ‘No Stressing’, I was listening to UK Afro fusion songs by some of the acts in the afrobeats scene like Kojo funds, Mostack, Yxng Bane and I got the idea of making a love song on an amapiano and afrobeats fusion beat. NO STRESSING came through with a very catchy beat that had a hook on it saying “I do” and I literally wrote my lyrics in the next hour. I recorded the song on FL Studio where we finished up the song. All on the same day. It is a vital step in my music to keep the listener engaged with inspiring lyrics while fusing it with solid amapiano afrobeats, which keeps the dance floor opened. 5. You’re very active online and known for using memes and interactive content to connect with fans. How do you see social media shaping the relationship between artists and their audience today? Social media allows artists to connect directly with their fans in real-time, creating a sense of intimacy and personal engagement. Instead of relying solely on traditional media or interviews, artists can now share their day-to-day life, behind-the-scenes moments, and personal stories with their audience. This authenticity helps build a loyal fanbase. For example, an artist could post rehearsal videos, snippets of new music, or casual interactions with fans to make them feel like part of the journey. Fans appreciate knowing the person behind the art, and social media is the perfect platform for that kind of transparency. 6. With singles, an EP, and a full album already out, what can fans expect next from Calid—are you entering a new sound, a new chapter, or something even bigger? There’s lots of exciting features currently in the works right now! What I’ll say is listen to the EP for now, and 2026 will be a great year. Definitely, the release of my studio album will bring me greater attention. Agor Victor (@calidofficial) • Photos et vidéos Instagram
Darrian Gerard
Darrian Gerard In this interview, Darrian Gerard opens up about the vulnerability behind “GOING THROUGH IT,” discussing self-doubt, creative independence, raw iPhone recordings, and transforming emotional chaos into an intimate, cathartic anthem. 1. “GOING THROUGH IT” lives in an emotional in-between—hope, doubt, vulnerability all overlapping. What moment or feeling first sparked this song for you? The feeling of doubt and nit-picking every little thing that was happening during that time in my life is what sparked this song for me. I didn’t even mean to start writing a song, but whenever I start to feel vulnerable or emotional, lyrics just start pouring out of me. So I opened up my notes app and started writing down lines about how I was feeling in that moment, then all of sudden I had my guitar in my hand and an entire song was written in one afternoon. 2. You wrote, recorded, played every instrument, and produced the track yourself. How does total creative control shape the way you tell emotional stories in your music?It’s honestly my favourite thing in the world. Yeah, sometimes it’s difficult and I want a second opinion on things, or for someone to come in and just make it sound amazing, but the results and feeling of accomplishment when you do everything yourself and finish it… it’s unlike any other feeling. Like yeah, I did that!! Just me!! Sometimes I think it probably hinders me a bit, but at the end of the day I get to say it’s MY music and my ideas and my thoughts getting translated into a song. My music is the most important thing to me, and I feel like I get to be the most real and most myself when I do it all. 3. The demo was created with just an acoustic guitar, your phone, and a laptop. How did that stripped-down environment influence the honesty and intimacy of the final song?When I wrote and recorded the initial demo of this song I was actually at my sister’s house without any of my producing gear. I just had my acoustic guitar, my iPhone, and my laptop. I was in an extremely emotionally vulnerable state and sometimes when I get like that I know I just have to create. It kind of all feels like a blur to be honest, I wrote the song so quickly and then knew I needed to translate it into a production so I just got right to it in my sister’s living room. By being alone and without all my production tools, I feel like it allowed me to just spill my guts and write about exactly how I was feeling. 4. You chose to keep the iPhone voice memo vocals in the finished production. What did that raw texture capture that a traditional studio take couldn’t? I just honestly loved how raw my voice sounded on my iPhone voice memo. I knew I had to keep it in there. I tried re-creating it when I actually recorded the song but it just didn’t sound as raw and real as the voice memo clip. By keeping that in there, I feel like it leaves a little piece of me in the song and just exactly how emotionally exhausted and vulnerable I was in that moment. It’s a super special piece of the song for me. 5. Lyrically, the song explores longing for clarity and realizing you might be more invested than the situation allows. Was this song more cathartic or confronting for you as a writer?I’d say a little bit of both. I tend to write about things before they’re over – maybe it’s a coping mechanism for me. When I finished writing it I went straight into the production. I remember dancing around thinking “Wow! What a tune!” and then like, reality sets in about how I’m actually feeling and why I wrote this song. It was like metaphorically the lights dimmed, my smile faded, the world slowed, the dancing stopped and I was like “wow… what a tune…” hahah. 6. With GOING THROUGH IT being highlighted at the Women In Music event in Toronto, how do you hope audiences connect with this song when they hear it live?Soooo many people go through heartbreak and hardships and just difficult times in their life and I feel like GOING THROUGH IT really captures feeling like a fool for thinking something is going to work out when you were so sure it was going to at some point. I hope the people in the crowd who might be hearing it for the first time can relate to it in a way that also helps them push through the emotional fog they may be in just like writing it did for me. Darrian Gerard
Michellar
Michellar In this interview, Michellar opens up about the raw acoustic remix of “LOVE PEACE WAR,” the Ukraine war’s influence, 1960s inspirations, Homegrown, and music’s enduring power to heal and unite. 1. LOVE PEACE WAR – acoustic remix carries a very raw emotional weight. What made you choose an acoustic, stripped-back approach to express such a heavy subject? I wanted to express the message in a deeper way that will resonate with the audience. Stripping back the production lends that expression in a more impactful way. 2. The song was inspired by the early days of the Ukraine War. How did witnessing those events shape your songwriting and emotional mindset during the creation of this track? Witnessing those early days of the Ukraine war made me pause and reflect on humanity’s abilities to cause so much pain just for greed. And that at the same time we have the abilities to make that pain heal through kindness and hope that love can bring.Reflecting on the notion that we have the power to make the world a better place with Love and so many times … we fail because we hate and get greedy . Indifference also plays a big part in the way we show up in times of turmoil and distress. But with Hope within us… we find a way to cope and redeem ourselves. These polarities in humanity make our lives complicated just like in LOVE, PEACE and WAR. 3. You’ve cited Bob Dylan and the spirit of 1960s music as key influences. What draws you to that era, and how do you reinterpret its message for today’s world? The 60’s was a time where changes in society were shaped by war. The resistance and movement then is similar to what we are experiencing in today’s worlds.I wanted to remind people that we can do the same today … to reflect on the lives affected by such wars and learn to hope and heal from the turmoil if only we spread LOVE so that we can create Peace in ourselves and our lives. 4. This release serves as the opening chapter of your upcoming EP Homegrown. How does this song set the tone for the rest of the project? The tone is raw and upfront in this release. The EP Homegrown will also be acoustically driven , raw in tone and will cary different messages about the world we live in. 5. Working closely with producer Robi Bean seems central to this recording. How did that in-studio collaboration influence the final vocal delivery and pacing of the song? We both felt that the message of this song is central to the vocal delivery and pacing of this song. Although it is stripped back… finding the balance to sing the lyrics and melody in a way that the listeners can be engaged in a such a heavy subject , is what Robi expressed to me when I recorded the vocals. There was a lot of collaboration going on in the studio as to The way the song was sung. He had a vision and I followed every step of it . 6. Your music often explores the balance between love, peace, and conflict. As an artist, what role do you believe music can play in preserving hope during turbulent times? As an artist, I hope to be someone who canWrite and express complex emotions and realities we face in today’s world. We have a lot happening that is hard to understand and I hope to bring some clarity to those thoughts and emotions through my songwriting.Music unites people in ways more powerfully than any other art form. Music can heal and make us reflect on the ways we live our lives. I hope to be a conduit that carries those stories that need telling through music .. in hopes that people can remember how love and make peace is so important in our lives. Michellar | michelle bond music
Mogipbob
Mogipbob On High on the Hog, Mogipbob turns Alberta’s everyday routines into humorous stories, blending folk, country, and retro grooves while inviting listeners to slow down and notice life’s quiet details. 1. High on the Hog feels very lived-in, like snapshots of work, routine, and small-town moments. How much of this album comes directly from your own daily life in Alberta, and how do you decide which moments are “song-worthy”? A lot of it comes straight from everyday life in Alberta. I am drawn to ordinary moments that feel real and familiar. A quick conversation, a routine job, or something small that lingers longer than expected. Those are usually the moments that become songs. If something makes me pause and think “that’s a story,” it is probably song worthy. I like capturing life as it is lived, not just the highlight reel. 2. The record blends folk and country storytelling with hints of 70s pop and funk. Were those influences intentional from the start, or did they naturally creep in as the songs took shape? The storytelling side was intentional from the beginning, but the mix of folk, country, and those 70s pop and funk flavors happened pretty naturally. I grew up around a wide range of music, so when I started shaping these songs, different influences just showed up where they fit. Some songs wanted a warm, simple feel. Others needed a bit more groove. I mostly followed what felt right for the story. 3. Humor plays a big role on the album, even when the themes turn reflective. What does humor allow you to say in your songwriting that straight seriousness might not? Humor makes things more human. Life can be reflective and serious, but it is also awkward and funny at the same time. Humor lets you talk about real experiences without sounding heavy handed. It opens the door for people to connect with the message in a more natural way. Sometimes a small smile helps a line land a little deeper. High on the Hog de Mogipbob 4. You wrote all the songs yourself but used AI tools for the music and vocals. How did that process change the way you approached melody, structure, or experimentation compared to working with traditional musicians? Using AI tools changed the process in a good way. It gave me the freedom to experiment with melody and structure without worrying about time, budget, or logistics. More importantly, it is allowing my stories to be heard. The songwriting still starts with the same ideas and emotions, but the tools help bring those ideas to life in a way that might not have been possible otherwise. 5. There’s a strong conversational voice running through the album, almost like you’re talking directly to the listener. Do you picture a specific audience when you write, or are these songs mainly conversations with yourself? The conversational tone is pretty natural for me because that is how the songs begin. It often feels like I am talking something through out loud. I am not picturing a specific audience so much as imagining someone sitting nearby and listening. The songs are personal, but they are meant to feel shared. 6. High on the Hog doesn’t feel rushed or trend-chasing—it invites listeners to slow down. What do you hope people take away from the album after sitting with it from start to finish? I hope people finish the album feeling like they spent time somewhere real. It is meant to be taken in at a steady pace rather than rushed. If someone walks away noticing the small details in their own life a little more, that would mean a lot to me. The album is really about slowing down and appreciating the ordinary moments that make up most of life. Mogipbob
Harlow Reign
Harlow Reign Harlow Reign opens up about “Take Me Away,” discussing mental health struggles, personal storytelling, creative collaboration, mentoring artists, and the hope and light she aims to share through raw, anthemic rock. 1. “Take Me Away” touches on themes of isolation and inner struggles. Can you share what inspired you to write this song and what it means to you personally?Take me Away is a song very close to my heart. It is about my own struggles with mental health issues and the desire to be free from the dark thoughts that can often consume me. I also know many people struggle with the same and hoping this song will bring them hope that there is light on the other side 2. The lyrics evoke vivid imagery of being trapped and seeking light. How do you approach turning such intense emotions into music that resonates with listeners?All my songs are based on my very own personal experiences. I have lived them. I see my songwriting as storytelling. I want people to know whatever life journey they are on, they are not alone. 3. You co-wrote and co-produced the track with Sam Panetta. How did your collaboration shape the sound and emotional depth of the song?Sam and I had an amazing connection from day 1 of meeting. We often find we are musically in sync and the writing and production of the song really just flows naturally. Sam is an amazing producer with an incredible list of music industry knowledge and I have complete trust in him to create something magical with the lyrics. 4. Many describe your music as both raw and anthemic. How do you balance vulnerability with the power needed to create a rock ballad like this? My biggest musical influence is Evanescence. Their words and stories are so powerful and I draw inspiration from this when writing my own songs. I love Amy Lee’s raw emotion and ability to tell a story through song, but also creating a cinematic atmosphere through the music. 5. Beyond your own music, you mentor emerging artists. How has supporting other musicians influenced your own songwriting and perspective?I work with other artists specialising in other genres on music from indie, folk to hard rock and roll. It helps me by expanding my music knowledge. I personally love listening to rock and metal so it is good to experience other genres and see how they could be implemented into the creative process. I also love seeing other artists achieve their goals and succeed. Every artist has their own story to tell and these stories deserve to be heard! 6. Finally, what do you hope listeners take away from “Take Me Away,” especially those who may relate to the feelings of being trapped or lost?No one is alone in their journey, even though it may feel like it. We need to tap into the light within, whatever makes that spark, and follow it. Through the darkness, there is always light. https://www.instagram.com/harlowreignmusic
Riley Finch
Riley Finch In this interview, Riley Finch unpacks the emotional core of “Did You Even Flinch?”, confronting abandonment, silence, and unresolved endings with stark honesty, vulnerability, and the quiet strength of simply enduring. 1. “Did You Even Flinch?” feels very direct and emotionally exposed. What made you decide to confront abandonment so plainly rather than hiding behind metaphor?I didn’t hide behind metaphor because this wasn’t abstract for me. Abandonment like that doesn’t feel poetic, it feels blunt, confusing, and unfinished. When someone disappears instead of speaking, they’re making a choice not to explain, not to close the door, not to acknowledge what you gave. That silence tells you everything without actually saying anything. I’ve spent a lot of my life being the person people lean on when they’re breaking, and then watching them vanish once they feel steady again. No reason. No goodbye. Just absence. At some point, I realized that pretending it didn’t hurt was a kind of self-erasure. I wrote the song the way the experience felt, stripped down, unanswered, and exposed. Saying it plainly was my way of pushing back against the idea that I wasn’t worth the time it would’ve taken to say something. I was worth it. I still am. 2. The song sits in unresolved space instead of offering closure or empowerment. Why was it important for you to let that discomfort remain?A lot of things in life don’t resolve themselves. There isn’t always a conversation, or an apology, or a clean ending that makes sense of everything. Sometimes the truth is just that something ends and you’re left holding it alone. That felt more honest to me than trying to force a moment of closure that never existed. I think there is empowerment in that, even if it doesn’t look like the kind we like to package and celebrate. Life isn’t usually neat or uplifting in the ways we pretend it is. Most people walk around carrying unfinished things, even if they don’t talk about them. Letting the discomfort stay felt closer to how those experiences actually live inside you. The situation that inspired this song was never resolved, so I couldn’t write it any other way. I had to learn how to live with that lack of answers. I still carry it, and I still struggle with it at times, but it doesn’t get to control my life. I’m still here. I’m still moving forward. And sometimes that’s the real form of strength. 3. You’ve described the track as a slow-burn rather than an immediate release. How did that pacing reflect the emotions you were processing while writing it?I was writing it while I was still inside the situation, not after everything had settled. There was a lot of confusion at first, and a lot of anger, and none of it came in a clean, dramatic moment. Abandonment usually feels like it happens out of nowhere, but when you really look back, it’s rarely sudden. It’s something that builds. It starts with small shifts you don’t want to notice. Calls that stop happening. Messages that come later, or not at all. A change in how you’re spoken to. One thing on its own doesn’t mean much, but they stack up quietly over time. You don’t really see it until the moment it finally hits, and then it feels overwhelming. After the initial anger passed, I started replaying everything from the beginning and realizing how long it had been unfolding. The pacing of the song reflects that. It moves slowly because that’s how the understanding came to me, piece by piece, after the fact. It’s actually calmer than I felt at the time, but that calm came from looking back and seeing the pattern instead of just reacting to the impact. 4. This song lived unfinished for a long time before being released. What finally pushed you to let it exist outside of yourself? For a long time, I wasn’t trying to finish it or share it. It existed as something I needed to get through, not something meant to be heard. Leaving it unfinished felt safer because it stayed private and unresolved, just like the situation itself. What changed wasn’t closure. It was realizing that keeping it to myself wasn’t protecting me anymore. The song had already done what it needed to do for me, and holding onto it past that point started to feel like another way of staying stuck. Letting it exist outside of myself wasn’t about moving on or turning a page. It was about acknowledging that the experience was real and that it mattered, even without answers. Once I accepted that it didn’t need to be complete to be honest, I was able to let it go. 5. Vocally, the performance stays restrained before opening up. How intentional was that balance between control and release?It wasn’t intentional in a psychological or strategic way. I wasn’t sitting there thinking about control versus release or how it might land with someone listening. I was just following the flow of the song as it was coming out of me. I knew I wanted the emotion to feel real and balanced, but a lot of the restraint came naturally from where I was emotionally at the time. I was still holding a lot in. I was trying to stay composed, even while everything underneath was unsettled. I was also lucky to have friends in the room who knew what they were doing. They helped guide where things should stay pulled back and where the song could open up more for the sake of the music. So in that sense, it became intentional through collaboration, not because I was aiming for a specific effect. I’d probably have to ask them how intentional it felt on their end. 6. For listeners who may relate to loyalty, silence, and unanswered questions, what do you hope they take with them after hearing the song?I hope they leave knowing that what they’re feeling is real, and
Changxiao
Changxiao In this interview, Changxiao opens up about grief, silence, and irreversible loss, revealing the emotional core of “If I Could Turn Back Time” and the vulnerability behind its haunting sound. 1. “If I Could Turn Back Time” feels incredibly intimate and heavy. What was the emotional starting point for you when approaching this song, both vocally and mentally? The starting point was the silence after a goodbye. Usually, when we record pop music, we are trying to fill the room with energy. But for this track, I had to empty myself first. Mentally, I went back to a specific memory of sitting in a room that used to be loud with laughter, but was now completely quiet. That specific heaviness where the air itself feels thick with absence was where I needed to live. Vocally, I wasn’t trying to ‘sing’ the notes; I was trying to whisper them into that empty space. I wanted the listener to hear the fatigue in my voice, the exhaustion of someone who has spent too many nights bargaining with a memory that won’t answer back. 2. The music video transforms what many fans first heard as a breakup song into a story about mortality and irreversible loss. When did that narrative click for you, and how did it change the way you performed the song on camera? It clicked when I realized the difference between ‘missing someone’ and ‘mourning someone.’ In a breakup, there is still anger, there is still a possibility of seeing them again. But in mortality, there is only a terrifying stillness. That changed everything on camera. If it were just a breakup, I would have acted with passion or frustration. But because it was about irreversible loss, I had to perform with fragility. I stopped trying to look ‘heartbroken’ and started trying to look ‘haunted.’ I imagined that if I sang loud enough, I could reach across the divide… but knowing, deep down, that the wall between us is permanent. That realization took the anger out of my eyes and left only the grief. 3. You’re known for your mastery of traditional instruments like the Guqin and Guzheng, yet this track is built around a solitary piano. What did stripping the arrangement down to its bare bones allow you to express that a fuller production might not have? I have always felt that the piano is the truest vessel for tragedy. It is percussive yet melodic; it sounds like a heartbeat that is slowing down. For me, the piano represents my own hopelessness; it is the naked sound of the tragedy living inside my chest, cold and isolated. But I couldn’t stay in that coldness forever. I needed the orchestra to be the counterpoint. If the piano is me standing alone in the dark, crying out… then the orchestra is the comforting embrace that finally wraps around me. It is the warm arms of a memory, holding me up when my own legs are too weak to stand. The song is a conversation between my solitude and the comfort I am desperate to feel again. 4. Your vocal performance moves from fragile restraint to a powerful emotional release. How conscious were you of shaping your voice to mirror the stages of grief portrayed in the video? The restraint in the beginning… that is the sound of holding your breath. It is the ‘Denial.’ You are tiptoeing around the memories because you are afraid that if you make a sound, the reality will crash down on top of you. I sang those verses like I was trying to keep a candle from blowing out in a storm, careful, terrified, and quiet. But the release at the end… that is the ‘Bargaining.’ It is the moment you stop whispering and start begging. I wanted that climax to feel violent, not beautiful. It had to sound like something tearing inside the chest. It wasn’t about hitting the high note; it was about throwing my entire soul against a door that I knew would never open again. It is the sound of a heart finally accepting that no matter how loud it screams, the past is not coming back. 5. This release marks a very different chapter in the Year Of Constell8tion campaign. How does stepping into a solo, cinematic spotlight reshape your identity within Constell8tion as a whole? In the group, I am usually the ‘Anchor’ the steady hand that keeps everyone else grounded. I am the one who smiles and tells the members, ‘Everything will be okay. But this solo peels back that smile. It reveals that my calmness is not just a personality trait it is a survival mechanism. I am calm because I have learned how to carry heavy things without shaking. Stepping into this spotlight changes how people see me; I am no longer just the ‘peaceful’ member. I am admitting that the quietest person in the room is often the one screaming the loudest on the inside. For the first time, I am putting down the weight I usually carry for the team and saying, ‘Look, I am broken too.’ It shifts my identity from being the ‘Protector’ to being the ‘Survivor. 6. The song asks an impossible question—what would you give to change the past. What do you hope listeners sit with after the final piano note fades and the screen goes black? I hope they sit in silence. Because that silence is the only answer we get. No matter how beautifully we sing, or how loud the orchestra swells to comfort us… eventually, the music stops. The screen goes black. We cannot go back. I want that silence to be a wake-up call. I want listeners to look at the ‘boring’ moments in their lives: a quiet breakfast, a walk home, a sleepy conversation and realize that these are miracles. We spend so much time chasing the big moments that we forget the small ones are the first to fade. If this song makes
Prience (Prince) Moore
Prience (Prince) Moore Seattle-based artist Prience (Prince) Moore opens up about vulnerability, lyric-first creation, and real-life inspiration behind “What Would You Do,” a song born from raw conversation, emotional conflict, and transformative storytelling truthfully. 1. “What Would You Do” was inspired by a deeply personal conversation with a lifelong friend. Can you take us back to that moment and explain how it transformed into a song?As the conversation proceeded, the emotions in her mannerisms made my imagination peak. I thought this could be a song. I acquired her permission and it can out naturally. 2. The track explores relationships and the idea that love doesn’t always unfold the way we hope. Why do you think this theme resonates so strongly with people today?It’s a thin line between ones on self-interest and the interest of someone extremely close to you. I believe no matter what decision is made, the decision maker will be hurt emotionally. 3. You’ve said you fell in love with this song purely through the lyrics, even before any beat or melody existed. How did focusing on words first change your creative process?This was the quickest song I ever wrote. The words flowed as if the conversation was never-ending. Depending on my knowledge of the subject, I can write a song anywhere from 30 minutes to a day. I wrote this in less than 5. I put myself in her shoes and imagined how I’d feel in that situation…and it began. 4. Recording at Michael Miller Productions at Unlimitedtalents, how did the studio environment help shape the emotional honesty of the final track? The lyrics are complete when I go see Mike. His contribution is far greater than words on a page. He takes my lyrics and matches them perfectly to music. Others have tried but none have mastered it to my complete satisfaction. I’ve written emotional songs (Hard to Write, I Should’ve Let You Go etc.) but “What Would You Do” has a level of frustration because a decision that seems so simple to make is actually the most complicated decision you may ever make. 5. When the friend who inspired the song heard the lyrics and was moved to tears, what did that moment mean to you as a songwriter and storyteller?It meant that I captured her pain to the point of revelation. She told me that after listening to the song she knew what she had to do. It became a simple decision to make. The simplicity of it all hahahaha. 6. You’ve described a shift in your philosophy—from beat-driven music to lyric-centered creation. How does this approach define who Prience Moore is as an artist moving forward?I think if you’re creating a Rap or Hip-Hop song for people to groove too then the beat is what draws me in first. But I’ve always been lyric dominant in my Genre. My songs are emotional and meant to create a reaction and an understanding. One of my favorite songs is “What If”. I wrote it just from listening to my kids ask that never ended question “What If”. My next song will probably be called “Are We There yet” , hahaha. https://www.instagram.com/breeze0968/