Giuseppe Cucè
Giuseppe Cucè In this interview, Giuseppe Cucè explores translating his music into Spanish, blending cinematic indie pop with Italian and Latin roots, and creating intimate, timeless songs that prioritize emotion and authenticity over trends. 1. El mundo es verdadero adapts your Italian song È tutto così vero into Spanish. What drew you to this new language and how did it reshape the song emotionally? The song already carried a strong physical and emotional pulse, and at some point, Spanish felt like a natural extension of that energy. I wasn’t interested in a literal translation, but in allowing the song to breathe in a new emotional landscape. Spanish reshaped the song by making it more instinctive, more exposed. Certain emotions—desire, truth, vulnerability—seem to move differently in that language, and the song followed that movement organically. 2. Your music blends cinematic indie pop with Latin influences and Italian songwriting roots. How do these elements come together in your creative process? They come together through emotion rather than calculation. Italian songwriting gives me a strong narrative and poetic foundation, cinema influences the way I build atmosphere and dynamics, while Latin elements bring rhythm and physicality. I don’t layer these elements consciously—they merge naturally as long as I stay connected to the emotional core of the song. When the emotion is honest, the languages speak to each other without conflict. 3. The single explores invisible emotional weight—memory, loss, and transformation. How personal was this story, and was it challenging to make it universal? The story is very personal, but I believe intimacy is what allows universality to exist. The challenge wasn’t protecting myself—it was trusting that by being specific and sincere, others would recognize their own experiences in it. Memory, loss, and transformation are silent weights we all carry. I didn’t want to explain them, only to let them exist inside the song. 4. You emphasize authenticity over trends in this release. Why was that especially important for you at this stage of your artistic journey? At this point in my journey, I’m more interested in permanence than immediacy. Trends pass quickly, but truth remains. I feel a responsibility toward my own voice and toward listeners who seek something real rather than something efficient. This song needed time, space, and imperfection—qualities that can’t be rushed or formatted. 5. The track invites slow, reflective listening rather than instant impact. How do you hope listeners emotionally connect with it? I hope listeners allow the song to accompany them rather than impress them. It’s meant to be listened to in quiet moments, when defenses are lower. If the song manages to slow someone down, to make them feel less alone with their thoughts, then the connection has already happened. 6. Presenting this song live and on radio showcases adds another dimension. How does performing El mundo es verdadero change or deepen its meaning for you? Performing the song transforms it from a private confession into a shared space. On stage or on radio, I feel the song no longer belongs to me—it becomes a meeting point between different lives and stories. Each performance adds new layers of meaning, reminding me that a song is never finished; it continues to evolve through the people who listen to it. Giuseppe Cucè | Instagram, Facebook, TikTok | Linktree
Eyrin
Eyrin With Wings Out Loud, Eyrin opens a magical art-pop universe, blending dreamy psychedelia, fantasy language, and personal transformation while exploring identity, freedom, and self-discovery beyond borders. 1. “Wings Out Loud” blends pop grooves with dreamy psychedelic textures and metaphorical lyrics. What was the emotional starting point of this song, and how did the fantasy language help you express it? I wanted magic, for myself, for others. A little fairy tale with a magic spell that unlocks our superpowers. I don’t do (so far) complex structures and it usually comes out light and catchy. But I also tend to think and talk in metaphors, I love all sorts of symbolism, spiritual and metaphysical concepts, fantasy, and it shapes my inner world. So when it comes to music – it is transmitted into those magical textures, distortions, reverbs and strange stories. Eyrish (the fantasy language) came out naturally, I am so used to new languages, I am fluent in 3 and pick up others wherever I live, so I tend to blend them in my speech and create new words. New words that unite us, we all should speak eyrish! 2. The track speaks about identity, rules, and finding your own truth. How much of this story comes from your personal experiences of living between cultures and borders? When you belong nowhere and everywhere at the same time it hits you even stronger: how easy it is to lose your own identity under all the layers of rules, traditions and patterns that you may absorb and project. But when you belong to yourself, you live your best self and your best outcomes in any place with any people. If you feel like an alien – listen inwards, create your true self piece by piece and show it. l’ve been there too, it is a hard transformation from a larva into a butterfly, but it is vital. Once you have you, you will fall in love with you, I promise. 3. You often use intuitive, almost playful songwriting—sometimes writing on trams or motorcycle rides. How does movement and spontaneity influence your creativity? I guess it bores me first, takes me inwards and then it flows – the melody appears in my head, the lyrics come along, I write down and record voice memos, laugh with myself of all sorts of wordplay that I come up with, and cant wait to get to my piano for the chords and a demo. So my songs are born in my head first. I often hear all the instruments that I imagine, even though I don’t play them. 4. Your music avoids rigid genre boundaries, mixing art pop, psychedelic rock, and orchestral elements. How do you decide when a song feels “complete” without genre rules guiding you? I am driven by telling a story, like a mini-movie. And all I imagine – from a distortion to a sound effect – all in, I don’t care what genre it is. I just started and I am learning on the go about the best ways to execute it, but I definitely stick to this approach as this is how it naturally flows for me. Then it hard to find my audience because people tend to tag and classify. But if I exist there will be others like me, who look for the vibe, the story, the meaning, and not just a genre in a playlist. 5. You design your own artwork and visuals, and Wings Out Loud features butterflies and bright colors. How important is the visual side in completing the message of your music? I love all sorts of art that transmit concepts and ideas, and this project embraces all of my passions and skills in music, poetry, dancing, multimedia design, as well as all sides of spirituality, metaphysics, fantasy and even comedy that make me who I am. That is why I love doing it all myself as an extension of my storytelling process and self-expression, though it makes it slower to release and promote. “Wings Out Loud” is all about transformation, thus butterfly wings as a symbol were always on my mind. The song’s joyful mood infects with positivity, lightness and spark, and I had no choice but soak the cover artwork in some juicy colors and launch a butterfly swarm in video snippets. Full music video will be released as well and it will follow the same look and feel. 6. With no commercial pressure guiding your work, what do you hope listeners take away from “Wings Out Loud” and the upcoming LP on a deeper, personal level? It is crazy exciting to do literally whatever I want in my music project. But I realized I was so unused to this freedom after all the years of parents, teachers, jobs, governments telling me what to do. I had to take my time to grasp to my inner intuitive reference for every decision I had to make instead of looking for approvals or a “common sense”. All I want is to have my soul going orgasmic frequencies every time I write or compose or perform or illustrate, and all I know that it will not happen driven commercially or conditioned by others. I want to nurture my creativity power, protect my wings and spread them out loud, and I truly wish this for everybody else. Obviously, I will expose my music and I would love to make living of it, but I don’t look for fame. I look for being heard, felt and comprehended to the point of healing each other. That would be my wildest dream come true, connecting with my tribe on a soul level. Eyrin | singer-songwriter | Linktree
Richard Green
Richard Green Blending blues, jazz, and classical sensibilities, this interview with Richard Green explores the creative journey behind “Just Different,” reflecting on genre fusion, personal growth, and the artistic vision shaping his evolving musical path. 1. “Just Different” mixes blues, jazz, and classical textures in a bold way. When shaping this track, did you consciously challenge traditional genre boundaries, or did the fusion happen organically during composition? Sincerely speaking, I had in mind something blues…i mean, before begin to compose it I wanted something classical combines with bluesy stuff already, this is why the intro has some blues vibes. But, on the other hand, adding some jazz vibes as well in some specific section happened organically, and it’s something that happen in all my tracks…. most of them begin with an idea in my mind but during the composition process I add something transforming or improving the starting idea. 2. The song touches on adolescence, insecurity, and the realization that being different isn’t something negative. What part of your personal journey allowed you to tell this story with both honesty and optimism? Well, I wanted to talk about that cause it’s connected to periods of my life during my personal growth and I believe it’s happened to many, not only me…it’s a part of the process to became adult, maybe others live different situations, but we are all humans at the end, not the same but not totally different too and I believe that stuff like love, sadness, insecurity, feeling different to the others, some more and some less, all of us face kind of situations during as we grow up. This is why i wanted to talk about insecurity and feeling different but, talking about this 15 years later, like if i m talking to the young me, I would say that it could be tuff sometimes but it’s natural and part of the process to became adult….and above all, once adult, we will look back to those periods from very different point of view… 3. You began this trilogy project during the pandemic, collaborating with Irene Veneziano and the Archimia Strings Quartet. How did working with musicians from such strong classical backgrounds influence the emotional depth and experimental direction of this release? Sincerely, it influences but mainly in the performance, i like to remind again the talent of them, especially Irene, one of the best pianist I’ve never see in my life so far, so I’m grateful cause their performances from both, Irene and Archimia, have been seriously good, the music was not easy at all…but in term of music, all was composed by me, every single notes, in my home studio….they did not influences the music, but this project was impossible to make real without their incredible music talents. 4. You composed the music in London but recorded in Italy at Studio Elfo in Piacenza. Did the contrast between those two environments shape the final atmosphere of the track in any unexpected way? Honestly, I do not think so…but it’s even true that concluding the work to Studio Elfo permit me to mix all the music with the owner of the place, that he is seriously a super talented sound engineer that worked as engineer for some national and very important music talent show, indeed international and national musicians have been to studio Elfo to record their music.as Greg Lake (King Crimson) did many time,(sadly he passed away few years ago) indeed he was a very good friends of that sound engineer. I’m grateful and very lucky to have completed the work in that music studio with the help of a very talented and important sound engineer that surely did an amazing job during the record and the mix/master. 5. Although “Just Different” was released in 2022, you chose to promote it again after completing the full trilogy in 2025. Looking back now, how do you feel your artistic identity has evolved since writing this song 4 years ago? This is could be a bit strange but it was my plan from the begin. The initial idea was composing only music The initial idea was to spend 1-2 years solely composing music, creating as much music as possible as practice and also as a way to improve myself…. In 2021, I had created 200 musical ideas, a pre-established plan to push my creativity to the max and improve myself as a composer. Then, of all the ideas, I would have mastered and sold only the best ones, 15-20… I don’t mind not releasing all my compositions, this is very important to me, one of the reasons why I compose, besides wanting to connect with other people like me… I also compose and create music for myself, it makes my soul feel good…Anyway, I released this project in 2022, with everything already planned for the whole year… Honestly, the trilogy should have ended in December 2023, but I had serious personal problems that put me on hold for a whole year… so that’s another reason why the project ended after three years. Three years in which I continued to compose, since, as I said, it makes me feel good, especially in difficult times. I can say that, four years on, I feel I have improved a lot as a musician and I am much more aware of my musical abilities. 6. You’ve mentioned having 3 new releases planned for 2026 across different musical worlds. Without revealing too much, can you share what listeners might discover about you next—emotionally, sonically, or conceptually? I can tell already that this year will be pretty different and not into classical music…. One of my main characteristics is be able to manage and compose in different music styles…. this year is going to be more about electronic music and a project where I play guitar too, a collection of beats fusion/funky/electro-hip-hop….in term of concept, there is always a short story behind a song but this time each project is separate….by the way,
Stevie Lee Woods
Stevie Lee Woods Stevie Lee Woods opens up about the heartfelt single “Don’t Let Heartache Turn to Heartbreak,” discussing personal storytelling, legendary collaborations, and how this song sets the tone for an ambitious, genre-spanning new chapter. 1. “Don’t Let Heartache Turn to Heartbreak” is the first taste of your upcoming album. Why was this song the right choice to introduce this new chapter of your music? I think this was the right track because it shows the depth in the arrangement, the songwriting and life experience. It shows how the music has matured and is a true to life record. 2. The single explores the fragile space between conflict and reconciliation in a relationship. What drew you to this story, and how personal is it for you? is true to life. we all have experienced loss, heartache and what if moments. and so this record both in writing and recording draws from personal places for me and for all. 3. You worked alongside your Nashville Roadhouse Live Band and legendary producers Stuart Epps and Chris Omartian. How did their influence shape the sound and emotional depth of this track? Stuart Epps and Chris Omartian, are amazing. Their insight and direction were so generously received. Very humbled they are on the project. My Band, the NRL Band are just well-rounded talented guys that give all they can to make every performance memorable and lasting. 4. The song hints at the stylistic range of the upcoming album, spanning Contemporary Country, Country Gospel, and Country Rock. How do you balance such diversity while keeping your artistic identity intact? I think it is my identity. I have been performing in all of the mentioned genres throughout my career and wanted to share them with everyone. I think this record comes from a place of sharing. 5. Recording at Mansion Studios in Branson, a space tied to so many iconic artists, is no small feat. How did that environment impact the recording process and the final result? The mansion is iconic and brings a lot to the table. It allows you to move your visions forward and to draw from the nostalgia and felt presence of the persons who have recorded before me. 6. With the single being considered for a major motion picture and more releases on the way, what can fans expect next from Stevie Lee Woods in 2026—both musically and on stage? Well, I want the fans to enjoy the range of music styles, depths and paths we are bringing in 2026. Both on the recorded records and the live High Energy shows. Get ready for a Great 2026 and we hope to see and meet everyone that comes to the shows. The Nashville Roadhouse Theater
Frank Walden
Frank Walden Frank Walden reflects on legacy and rediscovery with his debut solo album Objets Trouvés, shaped by years alongside iconic artists, personal growth, and a desire to leave something lasting for his children. 1. After years of touring with iconic artists, what finally made this the right moment to release your debut solo album Objets Trouvés? A couple of months before the birth of my son in 2018, it suddenly struck me that if I wanted to make a record of my own, I’d better crack on and do it before life changed for ever, and the time and energy to do it would be radically curtailed! I pushed hard to make it happen, but couldn’t quite find a date to get the musicians I wanted into the studio in the time available. Seven years later, my two kids were starting to explore my record collection one afternoon, pulling vinyl out of sleeves and putting it on the turntable, and it hit me that after all these years in music, it’d be nice if there were a record cover with my name and face on for my kids to listen to! 2. Just Friends reimagines an Amy Winehouse song as an instrumental jazz piece. What drew you to this particular track as your first single? I always liked the chord sequence of ‘Just Friends’ when we used to play it with Amy, and the special quality of rapturous delirium of the song, the tender resignation of the lyric. It kept coming to mind when I thought of material for the album. 3. You worked closely with Amy from Back to Black until the end of her life. How did that experience shape you musically and emotionally as an artist? I remember first getting the call to join her band. I went out and bought myself a copy of Back to Black, which had just come out. I put it on the CD player when I got home and within the first eight bars I thought, ’This is something special.’ Amy was younger than me, but I learnt a lot from her about musical integrity – and personal integrity. If anything it was personal integrity that brought her down. She was just never going to accommodate the bullshit that the industry swamped her with, and the only alternative she found was self-sabotage. I also made some very close friends in the band, and it’s been very special to tour again with those guys these past couple of years (as ’The Amy Winehouse Band’) and see audiences of teenage kids who were barely born when she died, and who know every lyric, every vocal inflection. Amy’s music continues to communicate to new generations. 4. In translating a vocal song so closely tied to Amy’s voice into a sax-led instrumental, how did you approach preserving its soul while making it your own? Good question! It took me a while to find a way of keeping the song’s essence (I hope) while getting away from the psychedelic reggae of the original. It was listening closely to Amy’s vocal that offered me a way out – it’s so sinuous, so push-and-pull. She actually phrases consistently in triplets – which gave me the idea to go for the loose, swinging 12/8 feel characteristic of Elvin Jones, John Coltrane’s drummer. 5. The album title Objets Trouvés suggests found objects and rediscovered meaning. How does this concept reflect your journey and the music on the record? Another great question! Making a debut album – ahem – a little later in life led to me conceiving of it as a kind of reflection on my musical journey so far. There is only one original on the record; the rest of the song choices consist of music that’s been a part of my career or my life somehow. It’s an eclectic bunch of songs, many of which were not ‘jazz’ originally. ‘Objets Trouvés’ is an art world term (besides its literal meaning of lost-and-found) referring to real-world objects incorporated into a work of art. It seemed an apt – if just possibly a little pretentious – title! The album cover is a collage of my face made up of hundreds of photos I’ve taken over the years on the road. 6. Having spent years supporting other artists on stage, how does stepping into the spotlight as a solo artist change your perspective on performance and storytelling? One thing I would say is that over the years of being a sideman you absorb a lot – consciously and unconsciously – from bandleaders and artists you have worked for. And one benefit of age is that you feel that much less self-conscious. You have half an idea of where you stand, and what you have to give – in a way that earlier in your career, with the insecurities of youth, you perhaps wouldn’t. Frank Walden
Minnie
Minnie With bold honesty and sharp ambition, Minnie introduces her world—balancing hustle, self-belief, and money-driven reality—marking the start of a confident new journey. 1. Your cover single “Money” tackles financial pressure in a very direct, relatable way. What made you choose this song as your debut statement to the world? I picked this song for my debut because at this point in my life I was starting to buckle down on what I wanted to do with my life. It was either be a RN or Rap.So I’m doing both. I’m like at this point I need money to the left and money to the right. Lol. 2. You write all your own lyrics. Can you walk us through your creative process when you’re turning personal experiences into rap verses? I write my own lyrics. I write about what Im about, what I see and how I feel about it,and inform people how to get through it. It’s always something or a situation you can relate to. You will be able to say I feel like that, or I want to do that, I have been there, or that’s something I would have said. 3. You’ve mentioned being self-inspired while also drawing motivation from Nicki Minaj. What specific lessons or moments from her career shaped the way you approach your own journey? She has made a nice impact on my journey. I feel like it’s her enduring spirit, like I’m still here,taking care of business being a Barbie -doing what I love to do. That makes me feel empowered like yea I’m still here too doing what I have to do.Im also reassured that I have what it takes to do what I put my mind to. It was also great to play the instrument again after many years without doing so. 4. You recorded 10 tracks in one booth session at Zoom Studios. What was the atmosphere like, and how did working with your engineer influence your confidence as a new artist? The atmosphere was fierceness and revolution,thrill of competition.Lol my blood was warming up with excitement that this could be a big break. Cross my T’s and dot my I’s. Having an engineer made me feel like this is serious,like it was the real deal. No more doubting and guessing that I had a gift that could get me far. 5. You described your upcoming album as a fall/winter takeover that starts mellow before your full energy hits. How do you want listeners to feel when they hear your music for the first time? When people hear my music for the first time I want to hear the point I’m making and the picture I paint. I also want rap along,like a lyrical jam, like oh snap that’s jam. I hope my listeners enjoy the song, just hearing it makes me happy, and like yea money to the left money to the right,I need a lot of that right now. Lol 6. Breaking into the industry can be tough without live shows yet. What kind of stage or moment are you manifesting for yourself in 2026 that would truly mark “a Minnie takeover”? I feel like I’m ready to perform my single and just be a breath of fresh air, and a new face with a new voice. In 2026 I would love to perform my single and really set the tone for my journey,and keep a high energy type of vibe.A bossy, classic one of a kind type of vibe.
The Red Lite District
The Red Lite District After eight EPs, Life Won’t Wait reignites The Red Lite District’s punk-grunge spark, fueled by new drummer Vitali’s explosive energy and a raw, instinctive return to the band’s rebellious roots. 1. After eight EPs, Life Won’t Wait marks a clear return to your punk and grunge roots. Was this a conscious decision to reconnect with your origins, or did the songs naturally pull you back to that raw sound?the songs naturally came to that raw sound. We all love punk music and we were intuitively missing the energy. Our other songs and last few EP’s are quite melodic. They are almost post-punk and we love them. But with our new drummer Vitali arriving, a lot more energy was injected into the music as a consequence of how he plays the drums so in one way it was thanks to Vitali joining and in another way it was because we were all intuitively seeking more energy from each other. 2. With Vitali Siliuk joining as your new drummer, the energy feels revitalized and sharper. How did Vitali’s arrival influence the writing and recording process of this EP, and what did he bring to the band creatively?Yeah, Vitali arriving added a lot of energy into our own music. Vitali is ann excellent drummer. He’s also an excellent musician and has great ideas and contributes those ideas to our songs, so he added a new perspective and gave everyone a new view on things. He also brought an extremely large amount of energy through his playing. That energy is evident in all the tracks on our new EP, none more so than the tracks Brute and We Are All Working Class Now. You should give those tracks a lesson if you like punk music they are the epitome of punk music. Even our slower track, Living In Slow Motion is brimming with energy. 3. “You Were Never in Love” is described as the unfiltered offspring of Nirvana and The Stooges, carrying a relentless nihilistic punch. What emotions or moments inspired this track, and how do you approach writing lyrics that balance chaos, melody, and meaning?There are a lot of emotions in this song some are positive and some are negative. The chorus reflects this through the black and white imitate. Although the loss of something or the change in a life can seem miserable, sad or depressing it isn’t always the case. Sometimes things change because they naturally have to, and the song really was dealing with that philosophy. I wanted a driving rocking song, with some abstract images forming the lyrics. But I wanted a simple message: You Were Never In Love does exactly that. It’s full of energy and despite itself it never gets emotional or miserable, instead it’s kick arse from start to end! 4. “Brute” blends high-speed punk with historical poetic tragedy, referencing the notes of a murdered Polish poet from WWII. What draws you to merging personal or political storytelling with abstract artistic influences like this? It’s actually a poet from Belarus, not Poland. The lyrics are reinterpretation of the poem. The lyrics also contain the abstract style we tend to apply to our songs abstract lyrics. I like abstract lyrics because it creates a wider meaning in my opinion. Being explicit – although sometimes useful – provides a far narrower accessibility to tracks. I love a song that I can interpret anyway I like. And that’s how our lyrics take the abstract approach. 5. Andy Miller’s production at Gargleblast Studios gives the EP both thunder and atmosphere. How important is the producer’s role in shaping The Red Lite District sound, and how did Andy help translate your vision for Life Won’t Wait?Andy’s role is extremely important. He is an excellent producer and has worked with us for just under 10 years so he knows exactly what we want and how we want things to sound. He understands our personality’s. He understands the band dynamics and he also understands the music we are influenced by. Having said all that, Andy isn’t afraid to bring his own opinions to the recording process. He can offer a different view to ours. He can often bring a post-punk style that we quite like. He’s also very happy to explore sounds and options. We love working with Andy. 6. Your final single “We Are All Working Class Now” plays with political satire and oi-punk spirit. Do you see humor as a weapon in punk music today? And what message do you want listeners to take from this EP as a whole?Yes, punk music in our opinion is the only type of music that isn’t afraid to tell it like it is. Punk music has always been about challenging convention, challenging thoughts, challenging politics, challenging society. That’s what it is and it should never stop, whether it’s used in a humorous way or whether it’s used in a serious way or any other way for that matter, punk music and punk lyrics are vital. The message we’d like people to take away from the EP as a whole is one of opportunity and chance to change either their own life or positively change the lives of others. As the title suggests: life won’t wait. TheRedLiteDistrict (@theredlitedistrict) • Photos et vidéos Instagram
Gianfranco GFN
Gianfranco GFN Gianfranco GFN is a genre-bending artist merging soul, funk, blues, pop and acid jazz. His album GIOMANÈ is a global, organic musical exchange built on groove, instinct and real human chemistry. 1. GIOMANÈ was recorded in Switzerland and Côte d’Ivoire with 15 musicians using 100% organic instruments. How did this international and live approach shape the soul of the album? GIOMANÈ was born above all from a true exchange between musicians from different countries. These connections grew through shared experiences, both in the studio and on stage, where a genuine human and musical bond developed. I chose these musicians precisely because of the natural chemistry that emerged between us. Each session became a dialogue — a back and forth of ideas, cultures and sensitivities. This amalgamation shaped the soul of the album: a living, sincere music driven by listening, respect and the joy of playing together, without artifice, using only organic instruments and a lot of shared experience. 2. The GIAZZ! universe blends soul, funk, pop, blues and acid jazz. When you compose, do you start with the groove, the emotion, or a story you want to tell? Most of the time, everything starts with the groove. The groove is the heartbeat — the movement that connects to the body before reaching the emotion. From there, the atmosphere and the emotion naturally follow, and sometimes a story reveals itself along the way. But nothing is fixed: some compositions are born from a feeling, a color, or even a single chord. GIAZZ! is exactly this balance between instinct, emotion and freedom. 3. “Sing The Song” launched the journey in 2022. Looking back, did that single already contain the DNA of what GIOMANÈ would become? Yes, absolutely. Sing The Song already carried the idea of sharing, freedom and musical celebration that defines GIOMANÈ. It was an invitation to sing, to play, and to come together around the groove. Looking back, I see it as a gateway into this universe — positive, organic music with no stylistic boundaries, deeply human at its core. 4. With several collaborators writing the lyrics for the album, how do you maintain a coherent voice while welcoming so many creative colors? The coherence comes from the music and the intention behind it. Even if the words come from different writers, the sonic universe, the grooves and the emotional direction remain the same. I always work closely with the lyricists to ensure that each text resonates with the GIAZZ! DNA: sincerity, warmth and groove. The differences then become a strength rather than a dispersion. 5. The album title was born spontaneously, without a specific meaning. How important are instinct and improvisation in your creative process? Instinct is central to my creative process. GIOMANÈ was born without intellectual reflection — it simply felt right. I like to let things happen naturally, without over-controlling them. Improvisation — whether in notes, words or even titles — helps preserve a sense of truth and freshness. Very often, it’s in these spontaneous moments that the music becomes the most honest. 6. GIOMANÈ will soon be performed live on a new tour. What can audiences expect from the live energy of GFN & The Mystery Band? They can expect a very vibrant, generous and groove-driven experience. On stage, the songs take on another dimension — more space, more improvisation, and more interaction between the musicians and with the audience. GFN & The Mystery Band is a collective energy, a real musical communion where groove, soul and the joy of playing are at the center. Every concert is unique. 96gfn
Sadistic Impalement
Sadistic Impalement Formed in 2022, Sadistic Impalement blends 90s death metal roots with modern brutality. From Nuremberg’s underground to global stages, they craft relentless, unique music while maintaining creative control through self-production. 1. The band formed in late 2022 and solidified its full line-up in 2023. What was the moment you realized the chemistry was right and Sadistic Impalement had truly become a band, not just a project?At first, when it was just Theo and Ezekiel in the band, there was still that feeling of a garage project, since we did everything digitally for the most part. When the second guitarist and Leon joined the band as bassist, we already felt like a band, since Ezekiel, our vocalist and producer, played drums in our rehearsals, allowing us to experience what it was like to be a band in the rehearsal room from the very beginning. 2. Your sound blends old-school death metal foundations with new-school brutality. Which era influences each of you the most, and how do you balance nostalgia with innovation when writing?Well, in terms of influences, you could say that we have certain points of reference, which are, of course, the great death metal bands of the 90s, such as Suffocation, Dying Fetus, Deicide, Six Feet Under, Cannibal Corpse, Napalm Death, Death, among others.But in addition to that, each of the members has different influences and adds a different touch due to their experience and musical knowledge, which gives the composition a more flavorful dynamic. 3. Screams Of The Abyss is described as 8 tracks of uncompromising brutality with no clean vocals or filler. How do you keep songs distinct while maintaining such a cohesive, relentless atmosphere?A large part of keeping the songs distinct from one another is the drums, because the drums are super important for changing up the feel of a song. We try not to rely on just blasting our way through the whole song, instead we think about how we can keep the drums interesting and creative without sacrificing any of the aggression. Another important thing is our songwriting process. We write our best music when it’s the whole band sitting in a room together, all contributing ideas and suggestions. And because we all listen to a wide variety of music, it just happens naturally that our songs all sound unique while still sounding like “us”. 4. Ezekiel handles vocals and music production. How does producing your own material shape the band’s identity, and what challenges come with staying objective when it’s your own art? Well, this is a huge challenge for me, because as you say, maintaining objectivity while also being part of the project being produced is very exhausting.But my situation may be even worse, because in addition to being the vocalist, former drummer, and producer of Sadistic Impalement, I am also the reason the band is part of the Sounds From Hell Records family, since I am the founder.I think I have a slightly greater influence on the band, perhaps because of what I said earlier and because I am the oldest in the band and therefore the one with the most musical experience.I think the most difficult task in this regard has been to direct everyone’s efforts towards achieving our common goal without leaving anyone behind or making anyone feel excluded. That is the most difficult task, I think, and the biggest challenge.In terms of production, it’s clear that my musical influence has a huge impact when it comes to composing, recording, and mixing our music. So far, the results have been as expected, and we will continue working to surprise our audience every time they see us perform. 5. You’re signed to Sounds From Hell Records and operating under Sounds From Hell Records. What has been the biggest advantage of working within a metal-focused label, especially in terms of creative freedom?The biggest advantage is definitely that we’ve been able to focus most of our energy into crafting the best music we can without worrying too much about the business side of things. The label takes care of our digital releases, our practice space, and most of the other aspects of being in a band that don’t involve playing our instruments. So we’re pretty lucky to have that kind of support helping us along right from the beginning of the band. 6. The metal scene in Nuremberg has its own underground energy. How has your local scene influenced Sadistic Impalement, and what do you hope your music brings to death metal fans worldwide?It’s been really helpful that most of the metal bands in Nuremberg know each other, or at least know of each other, and for the most part everyone is super stoked to play shows and just build connections with the other bands in the scene. We’ve been lucky enough to play lots of shows in the relatively short time we’ve been together as a band so far, and also to play with lots of different bands. The main thing we hope to bring to death metal fans all over the world is our unique style of death metal. It’s pretty clear where our influences lie, but since we try to incorporate so many different elements, there isn’t a band out there that sounds exactly like us, and we’re pretty proud of that fact. Sadistic Impalement (@sadistic.impalement) • Photos et vidéos Instagram
TiLT 360
TiLT 360 TiLT 360 returns after 15 years with renewed purpose, blending remastered classics and reimagined alt-metal/grunge grit. In 2025, their EP It Grows and new single Point Blank prove that real lyrics and raw energy never fade. 1. TiLT 360 had a strong run from 1999 to 2010 and built a loyal following. What motivated the band to reactivate the project after all these years and release new material in 2025? Actually what did that was me saying these distributors and all this internet activity, I linked up with distro kid and I saw that our songs can be spun and made royalties out of them so I just uploaded our catalog that we had over all those years these songs are old but they’re still hitting hard I did a little remastering of them some of them are just mix it as is 20 years ago and these tracks are getting a lot of reviews and reactions that I never thought was going to happen. We were torn and planned or in different era we didn’t have this luxury of a tool so I figured what the hell it’s just sitting around mines will distribute it. And from that point on started talking to the band again I always kept in touch with him in fact me and my bass player from tilt started another kind of act acoustic alternative rap Blues type project that we played around for 5 years with called ‘Dempsey’. We’ve talked about a reunion show and writing new material though since 2. Your new EP It Grows revisits and reworks tracks from the Day 11 era. What made you want to return to those songs, and how do the new versions reflect who you are today as musicians and as people? Well like I said we had the album out in 2008 but with this new distributing platforms and all these distributors out there it’s easy to link up and get your songs put on every major streaming platform and to get noticed and downloaded and you can make royalties easier than ever now if I just sitting at home and uploading your songs. Granted you’re not making much you still got to get out there and hustle so if you can have the hustle of when we was coming up and what we had to do and combine it with the technology today there’s no reason independent artist can’t hold It Down get noticed have leverage when they get a record deal to come to them and pretty much make their own brand themselves. The day 11 songs the album was just really really good I just didn’t get as much exposure as it should have. So that’s what I’ve tested by sending it out there I’ve had it reviewed on submit hub and I’ve sent it you know the curators and sites like this one and people want to write about it they want to interview US, they want to hear the boxing song Point Blank they see that we were featured in the former middleweight champion of the world Kelly Pavlik knockout real on YouTube that’s because I boxed with them he’s from Youngstown like we are and I box with them when I was growing up and then I went to the military and he kept going and he became middleweight champ so we had talked he loves our band and we did a little cross market thing and it’s great to hear our song always knocking people out!! 3. Billy, your lyrics often draw from deeply personal battles, including addiction. How do you approach turning those experiences into art, and how does the band support the emotional process behind that writing? It was always an outlet for me sort of like therapy I was not always in addiction when I was writing but when I did get sucked deeper and deeper in it it was my cry for help it was what I had to scream about and the darkness, into right about music is kind of kept me going but it also kept me going the other way too already having shows booked and you know you’re cotton addiction and you just can’t stop, my band is always been writing music but we always clicked it’s been many years so Ellen Jay came in the band he just had songs written that just fit exactly where we were at we started playing and then you know my addiction took over years down the road you know that’s one of the reasons why we kept breaking up or we took time off and then after that about 2010 we had that run with the album and then I had a child and people kind of just went through separate ways we had to go do some life things I mean after 11 years of playing you think you had your shot and kind of burned out so we all kept in touch though cuz we’ve been together so long. Especially Me, Drew and Heather. Since 1999 and going…. 4. Each member brings a distinct energy, from Heather’s commanding drumming to Jason’s haunting riffs and Drew’s pulsing bass lines. How has the band’s chemistry evolved since the early 2000s? Well we evolved by just getting better, when we started you know we’ve had three different guitar players over the years which changes your sound as they write songs most of the time the music I would write some things but I didn’t plan sing, Drew wrote many songs but every time we had a change of guitarist it would change the sound a little bit. When we started we were around the new metal rap rock era late 99 and that’s what we were sounded like cuz I really never sang I just wrapped scream start a band had a yell about it and then as we got better and tighter and practice we started to find our