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Interview

Elevating the Night: An Exclusive Conversation with Mew Kardo

Posted on 6 January 2024

Dive into the nocturnal soundscape with Mew Kardo as we explore the essence of his latest album, GAMK VOL2:ALLNIGHTLONG. In this exclusive interview, we unravel the artistic journey behind the project, the aspirations that fuel his creative fire, and the profound impact of his upbringing on the musical tapestry he weaves.

Can you take us through the creative process and inspiration that fueled the release GAMK VOL2:ALLNIGHTLONG, and how it stands apart from your previous works?

The creative process for this project was a lengthy one. After Volume 1 dropped in 2020, i was at a standstill creatively. I was still recording music but not having a plan for it. Dropped a few songs here and there but no project was in my mind. Then In 2022, I remember coming across a video on YouTube about Michael Jackson’s album “Thriller” and how it was created. In the video, they talked about recording over 50 songs for Thriller and then cutting it down to 9 songs. I took that mindset and ran with it. Recording over 70 songs for volume 2. My favorite thing about Thriller is how there is a song on there for every target audience, and I wanted volume 2 give that same feel. No songs sounding the same or being repetitive. What else helped with this project is that I started to produce more beats on my own and I also started working with a local band in Philly and they helped me develop my song writing, coming up with song structures, and finding my voice more. The difference in Volume 1 and Volume 2 is that volume 2 has more depth and personality to it. It also has more character to it. The songs show that I’m having fun with my craft.

You’ve mentioned that your upbringing has played a significant role in shaping your music. Could you elaborate on how your roots and personal experiences influence the themes and emotions embedded in your tracks?

My upbringing has such an impact on my music because philly is home of some of the best rappers.

So growing up here and doing music, I had to have that skill in my arsenal. Outside of music, Philly is a unique place because it’s not really mentioned with major cities like New York l, Atlanta, or LA, but has the same things those cities have to offer. Nightlife, street life, and everything in between. Being in this type of environment gives me the duality to write songs about partying and enjoying life but also the struggles of being from the inner city.

Beyond the music scene, you’ve expressed a passion for sports and fashion. How do these interests seep into your creative world, and do they influence your artistic decisions or aesthetic choices?

Music, sports, and fashion. That’s all I’ve been my biggest interest. The sports aspect of it is because I grew up playing sports and having that competitive spirit. I look at music the same way. It’s all about being competitive in order to put out your best product. And if sport’s represents the gritty, competitive nature of my music, then fashion represents the beauty and luxury of my music. My older brother would always tell me that I have to look the part of a rapper just as much as I sound like the part. Getting a compliment on your outfit from a random person and then telling them you do music and their response is “I can see that” is important just like somebody telling you they like the hook on one of your songs. Songs like “InTheField” showcase my love for sports and songs like “NEVERMETVIRGIL” showcase my love for fashion.

Dreams of touring and winning a Grammy are on your radar. Can you share some insights into your vision for live performances and what winning a Grammy would mean to you as an artist?

Touring is something I’ve always dreamed about doing. For live performances I think great stage design and great stage presence will have you on tour for the rest of your career. I always pictured a huge Mew (the Pokémon) on stage while performing. More than just being a rapper, I have always seen myself as an entertainer. As far as winning a Grammy, that’s like winning MVP. It reminds you that you’re doing the right things and putting in the work. Also my great grandmother before she passed, would ask me if she was going to see me on tv one day at the award shows, so winning one would have some more meaning to it.

Community holds a special place in your heart. How do you plan to utilize your success and resources to give back to your community, and are there specific initiatives or causes you’re particularly passionate about supporting?

Community is one of the most important things to me. My community kept me out of trouble and presented me with opportunities and so I want to do the same for the younger generation coming after me. On a small scale, I want to donate and provide resources to local schools and community organizations. Helping as much as I can. On a bigger scale, I want to open a school.

Find out more about Mew Kardo here

 

Harmonies and Healing: A Musical Conversation with Alison Wahl

Posted on 22 December 2023

In the rich tapestry of musical expression, Alison Wahl stands as a versatile artist whose compositions traverse genres and instruments, aiming to foster genuine human connection. Her latest collaborative venture, “Christmas is the Right Time for Us,” alongside fellow songwriter Brian Berggoetz, encapsulates her ethos of bridging emotional gaps. In this exclusive interview, we delve into the creative minds behind the song and explore the diverse musical worlds Alison Wahl has inhabited.

Your music is known for its diverse range of styles and instruments. How did this eclectic approach shape the creation of ‘Christmas is the Right Time for Us’ with Brian Berggoetz?

We had so much fun recording this in the studio together, and I drew on lots of different types of vocal production techniques and colors as we worked towards the right sound. Between takes I’ll sometimes run scales all the way up and down my range and at full volume, so I can make sure I’m always really connected to my breath even when I’m singing in a more intimate or quiet style. I always lean on my training as an opera singer that way. We recorded three different versions of my vocals at different levels of volume and intimacy, and we ended up using the middle version that wasn’t full-voiced but wasn’t completely hushed, either. Our engineer Duncan Stitt played around with different types of microphones to capture my fuller sound better. My experience singing in lots of different unamplified and amplified styles helped me find just the right sound for our song.

The song aims to bring a sense of connection and healing. How do you see music playing a role in addressing feelings of loneliness and isolation, particularly during the holiday season?

Music has a central and powerful role in healing feelings of loneliness and isolation. Leonard Cohen said, “Songs don’t dignify human activity. Human activities dignify the song.” There’s a good reason we associate certain types of music and specific songs with the holiday season — they make us feel connected to our traditions and to the things and people we love. I like to think about all the holiday playlists that exist online, and think about people lovingly choosing the songs that make them feel cozy, joyful, warm, loved, and happy. Whether we’re attending a performance of Handel’s Messiah or the Nutcracker, listening to Ella’s famous Sleigh Ride, singing familiar carols, going to see young family members perform in their school holiday shows, or listening to new songs about the holidays, music remains a central part of our celebrations because it gives us a space to feel and be together. The way we engage with the music makes the music meaningful. I absolutely love sharing the immediate vibrancy and intimate joy of music as a performer and as a listener. If you’re listening to my recording, please know, I am so happy to be singing for you!!

Having been praised for your “bright, vibrant soprano,” you’ve performed with esteemed orchestras and ensembles. How do these experiences influence your songwriting, and did they play a role in the collaborative process of this festive tune?

What a great question, I don’t think I’ve ever been asked this before! Being onstage under bright lights, in a ball gown and shining jewelry, with the music of a beloved composer in my voice and body, is a thrilling and reverent experience for me. In those moments I feel myself to be the mouthpiece of the storytelling, even if I didn’t write the story myself. Songwriting is so much more intimate and private. I write songs like some people knit scarves — I make little things that I use to keep warm when I’m cold, based on what I’m feeling and needing in the moment. As a songwriter I accompany myself on the guitar, and that gives me a kind of cover I don’t have as a solo singer. When I’m a soloist under a spotlight, out in front of an orchestra, I am very aware that I’m the first point of emotional contact between the audience and the music, with numerous colleagues surrounding and supporting me. Performing as a songwriter I am the composer, orchestra, conductor, and singer all at once, and it’s on a much smaller scale. It’s a different kind of pressure — I don’t feel I need to represent anything other than my own human self, but at the same time I’m the only thing on display. The music I love to sing in the concert hall has absolutely influenced my writing. I like to use large leaps and melismas, which I learned to love in the music of my favorite composers, Handel, Schubert, Saariaho, etc. The way I think about form has been influenced by the classical music that I sing, too, and I think that has come through in this tune I wrote with Brian. We have a moment towards the end with some unconventional vocal harmony. There’s a dissonance between the voice parts but it has a formal role of expanding the spirit of the music at that point, so it sounds consonant and resolving even though we’re singing a 9th apart from each other. I do something similar with my ornamentation at the end of a Handel aria I often sing, and my songwriting ear has for sure been honed and influenced by my training improvising in the style of 18th-century composers.

Brian Berggoetz, as a collaborator, brings his own unique perspective to the song. How did the synergy between your musical backgrounds contribute to the overall sound and message of ‘Christmas is the Right Time for Us’?

Our collaboration was so wholly supportive and creative. Brian started with the chord progression and began by sending me some lyrics that he described as “just an architecture,” sort of place-holder as we workshopped the words. I took some of his ideas and added my own, focusing more on specific images of moments that I love about being with my family and friends during the holidays. I thought about some of the holiday songs that haven’t aged well, or that have problematic elements, and what I’d like to hear about instead. Brian has an amazing ear for style and color, and that comes from his experience and expertise as a singer-songwriter and bandleader. When I first heard his ideas, I immediately thought the melody and hooks that he came up with were absolutely lovely. From my perspective, my role was to fill out the song like a metalworker creating filagree to set a stone — Brian had already provided the gem, and I helped shape the lyrical form around it.

The song’s title, ‘Christmas is the Right Time for Us,’ suggests a special significance. Can you share the inspiration behind the song and how the holiday season influenced its creation?

When I first pitched the idea of a holiday song, Brian came back with a re-working of an unfinished tune that he had in progress. The chorus was all his creation. But to me, the holidays can often come with so much pressure and pain, especially if we’ve lost a loved one, if we’re struggling or lonely. I wanted to get behind the message that whoever you are and however you are, you deserve to feel warmed and welcomed fully by the spirit of the season however that works best for you. You deserve to enjoy the simple, good things in a meaningful way. There’s no wrong way to express and cherish the love in your heart if it’s genuine and tender. I hope and wish for a right time for all of us this season, and to trust that we are more connected than we know.

Navigating Adulthood: A Journey Through ‘It’s A Party, Isn’t It?’ with The KB

Posted on 22 December 2023

Get ready to dive into the minds of the dynamic duo from small-town Ohio, THE KB. As they gear up for the release of their latest album, “It’s A Party, Isn’t It?” on January 5, 2024, we caught up with the twin brothers to unravel the thematic depth behind their music and explore the influences that have shaped their unique sound.

Your new album, “It’s A Party, Isn’t It?” is set to release on January 5, 2024. Can you give us a glimpse into the inspiration and journey behind the album title, and what listeners can expect from this musical party?

As we began writing the music for this album, each song kind of felt like it bottled a deep feeling that we’ve felt since early 2020. Since then, we’ve been through the ups and downs of growing up, dealing with evolving relationships with people, and continuing the grind of spending time playing shows in different places, hoping our music will inspire anyone listening. We wanted this album to be a sort of time capsule of someone’s late 20s as they weave through similar feelings, as well as a project that people who have been through similar experiences before can listen to and connect with

Over the past year and a half, you’ve been releasing music consistently. How has this release structure influenced the thematic throughline of the album, particularly in exploring the complexities of ‘growing up’ and wondering if the good days are gone?

This all started with the release of the song Cliché. That song is basically about trying to live in the moment and be grateful for it, because soon, it’ll be a memory. After we decided we were going to release that one, we began sifting through songs we’d written to try and find some others that shared a similar vision. After we got a few released, we kind of looked at each other, both of us already knowing that we thought we could make a really cool and unique cohesive album out of these songs.

Your music has been described as “pop music for depressed people.” How do you approach blending pop elements with heartfelt themes, and how has the feedback from fans influenced your creative process?

Someone who had listened to our song “New Shoes” coined that term, and we’re now forever grateful for it! It’s somewhat of a funny phrase, but it kind of sums up how we like to do things. We love pop music and the way it can make someone feel when they listen, but we literally can’t help but add our life experiences and deep feelings into the lyrical aspect of each song. We think the mix of the two things usually ends up being a good one-two punch to someone listening. We may have less of a chance of it connecting with a mass amount of listeners instantly, but we think that the small extra specificity can connect 10x more impactfully to the right person.

A random concert goer once described your music as “like a mix between Hall & Oates and Daft Punk.” That’s quite a unique comparison! How do you feel about such descriptions, and do you actively seek to blend different genres to create your distinctive sound?

That quote was actually the first time we really felt like we were doing something cool. We liked it so much, we made it our Instagram bio. We never approach songwriting and performing with the goal of ‘creating a new sound’ or ‘blending genres’, so when that happens is all subjective to the listener. We just try to make things sound and look cool, interesting and entertaining.

You mentioned that this album is the best thing you’ve ever made, offering a cohesive, heartfelt trip through the late 20s of life. Can you share a specific track or moment from the album that you feel encapsulates the essence of “It’s A Party, Isn’t It?” and why it holds special meaning for you both?

In terms of encapsulating the essence of the album as a whole, I think the song “A Part of Me” does a good job. The reason we added it as the final song on the album is because it represents where we are now in life. It represents the belief that even if some things don’t go your way, and sometimes life can get stressful, it’s okay. This album means a lot to us both because, as twin brothers, we are kind of going through the same waves of getting a bit older, seeing life change around us, and trying to not rush through it all or get too bent out of shape about the little things. This album really is us trying to cope with how crazy life can be, and we hope it can help a ton of listeners cope too.

Find out more here.

Interview | Adamic Unveiled: A Journey into Sound and Friendship

Posted on 9 December 2023

Adamic, the dynamic duo whose musical journey traces back to their early days of friendship, released their latest record on September 29, 2023. With hit singles like “Sounds Like a Voice,” “Heather,” and “Solid as Solid Gets,” followed by the impactful “All of a Sudden” accompanied by a compelling music video, the band is riding the waves of success. Their latest creation delves into the essence of their enduring friendship and collaborations with musical heroes, making Adamic a force to be reckoned with in the music scene.

Your latest record, has been out for a few months now. How has the reception been, and what has been the most surprising or gratifying response from your fans?

 Ian: We’ve had a great reception from everyone that’s heard the record. This record’s been a rebirth for us and it’s been so fulfilling to hear everyone’s warm response. I think the most gratifying/surprising response has been hearing what everyone’s favorite songs are. Everyone says something different and that is beyond cool to me because it tells me we’ve created an album that is consistent throughout.
The singles “Sounds Like a Voice,” “Heather,” and “Solid as Solid Gets” paved the way for the release of Adamic. Can you share some insights into the creative process behind these singles and how they set the tone for the overall album?

Ian: “Sounds Like A Voice” was the first song we finished and taught us what this new recording process was going to look like for us. We’d been doing things our “very indie” way for a long time, so it was like entering a new world working with Andrew and learning his process. We were used to doing drums first, then tracking everything on top of that. With “Sounds…” we did that in reverse, with drums coming last.

“Heather” and “Solid…” got us fully acclimated to this new world and assured us that we could work on this level and make a record that we’d been dreaming of. We had demoed each song on our own before taking them to Andrew to start tracking. His attention to detail and style of producing challenged us and enhanced each song on the album. He never pushed for major changes to what we’d written, but would question certain lines or parts. Which ultimately proved if the parts held water or not.

These 3 singles do a good job of capturing all the different facets of the record. They act as an introduction to what Adamic is and set you up for the rest of the record while leaving room for surprises.

Collaborating with musical heroes is a dream for many artists. How did these collaborations come about, and in what ways did working with your musical idols influence the direction of the new record?

Josiah: So for this record we worked with Andrew Stanton as our producer. He’s also a guitar player in the band Disciple, which were a huge musical influence for us growing up. The first real rock/metal concert I ever went to as a kid was Disciple, and I’d say they were one of initial reasons I wanted to play this style of music. A few years ago I was taking online guitar lessons from Andrew, and I noticed on his Instagram he had different bands recording at his studio every so often. I asked him about recording at his place, showed him some of our music, and the rest is history.

We recorded the drums at Off the Wall Studio and Lester Estelle engineered the sessions. Lester is Kelly Clarkson’s drummer, and he also plays in another one of our favorite bands, Pillar. Ian and I used to play so many Pillar (and Disciple) covers when we were teenagers, so it was a special moment to have Ian perform his parts with Lester overseeing everything.

Andrew obviously had an influence on the direction of the record, being our producer. He pushed us to dig a little deeper in our songwriting and performing. At the same time he was always looking for us to find the idea/part that was most authentic to who we are. And I’d also say knowing that Lester and Andrew would be hearing our songs/watching us perform kind of lit a fire under us to be at our best. Just having them there put the right kind of pressure on us.

The latest single, “All of a Sudden,” seems to hold a special significance for Adamic. Can you delve into the inspiration behind the song, both lyrically and musically, and how it fits into the larger narrative of the album?

Josiah: So this song was originally the opener for our previous record Sayings. I remember messing around with a delay pedal and coming up with the intro. Then the rest of the music just seemed to fall together. It was like the song was telling us what part should come next. Ian ended up writing the lyrics very much on the fly. He knew what feeling he was trying to capture, but left the lines open to interpretation. The song talks about a sudden life change, and the idea of things never being the same.

When we were deciding on songs to include on this record, we knew we had to re-record this one. It’s become a staple of our live show, and its meaning to us has been profound over the last 5 years. Placing it right after Gloom felt right in context. It comes in with optimism, intensity, and a sense of moving forward. And the new version that’s on the record elevated all the emotions we felt surrounding this song. We’re also really happy with the music video we released for it back in September. You can watch it on our YouTube channel (@AdamicOfficial).

Adamic has a history rooted in a long-lasting friendship. How does this enduring connection contribute to your creative process, and do you find that it brings a unique dynamic to the music you create together?

Josiah: Absolutely! Ian and I have been friends since we were 3-4 years old. We’ve played music together in some form since we were 10 years old. The way I play guitar to his drumming, and the way he plays drums to my guitar is a huge element of our sound and songwriting. There’s such a mutual understanding of each other that we can quickly create and get to what we’re looking for in a song idea.

We’ve also spent so much time playing together, I really think we’ve developed our own sound. When we started Adamic, a big part of the basis for this band was to play the kind of music we loved whether it was “in fashion” or not. Having that freedom to not be boxed-in to a certain genre allows us to blend our different musical influences into something that’s uniquely us. That combined with years of fine-tuning has made for something I think is special. And this new record is our best demonstration of that.

Find out more on Adamic here

Resonance and Resilience: Navigating the Independent Music Odyssey An Interview with Sean MacLeod

Posted on 7 December 2023

In the dynamic realm of music, Sean MacLeod stands as both an architect of melodies and a sage of musical wisdom. With a rich repertoire of albums and singles like “Let the Light In” and “That’s When the Earth Becomes a Star,” MacLeod’s sonic journey transcends boundaries. In this exclusive interview, we delve into the inspiration behind his current single, “The Sweetness,” explore the narratives of his past releases, and gain insights from his latest book, “Behind the Wall of Illusion: The Religious, Esoteric, and Occult World of The Beatles.” Furthermore, MacLeod shares invaluable advice for aspiring artists.

Your current single, “The Sweetness,” carries a unique resonance. Can you share the story behind this track and how it fits into the broader narrative of your musical journey?

‘The Sweetness’ is a song I wrote many years ago. Originally, I tried to record it with a band I had some years ago, called Cisco. The song funnily enough was written when I was going through a Brian Wilson ( of the Beach Boys) stage and the lyric – ‘don’t let that worry you’ – is borrowed from Brian’s song  ‘Don’t Worry Baby.’ I was also listening to a lot of Britpop bands at the time too, so it has that pop guitar feel to it. I have always been influenced by good melodies and electric guitars so the song is pretty much what Brian Wilson might have done had he been in Oasis rather than the Beach Boys :).

Lyrically, it deals with a theme that often crops up in my songs which is the kind of bitter sweet symphony that is life. I mean it is such a mad, sad, crazy, exciting, paranoid, happy, tragic, soulful, beautiful inexplicable thing we all have to go through . I mean its like we are all characters in some Shakespeare  play and I think Shakespeare is ultimately right we are all just actors on a stage and if we can remember that it kind of allows us to relax a bit and not get so caught up in everything we are doing. I think the song kind of explores that idea a bit. There is a line in the song which I should really have accredited to the Romantic poet Shelley – We fall upon the Thors of life- because it is his line. I’m far from being a poet like the Romantics or Shakespeare but I like the idea of pop songs being poetry at the same time. I guess Lennon and Dylan did that really well.

Production wise I was very happy with the final result because I had decided to go into the best studio I could afford- which was Westland in Dublin. It’s a rather old study which had its main successes back in the seventies when it was recording groups like Thin Lizzy and Van Morrison. Because now a days you can get pretty good recording quality on home studios I always feel there is a kind of polish missing from the end result and that can often make the difference between an ok record and a great one.

Unless you have a big record company behind you you have to try and get it right first time round if you are going to use a studio like Westland because you can’t really afford to go back in and do it again. So, I’m really pleased I did that and I got the song sounding as good as it should

With albums like “That’s When the Earth Becomes a Star” and singles like “Let the Light In,” you’ve demonstrated a diverse musical palette. How does the upcoming album continue this exploration of different styles, and what themes can listeners expect to encounter?

Apart from the albums and singles I released with Cisco, quite sometime ago now I have released now five solo album and quite a lot of singles- which sadly very few people have heard. I don’t know really how much things have changed so much from the first solo album Cool Charisma I just try and write three-minute pop songs essentially and hope that they mean something to people. They are very much in the songwriter tradition of the Beatles, Bowie, Dylan, right through to the Stone Roses and Blur and that kind of thing. I often have lots of different types of styles and songs but mostly in the pop/rock/singer-songwriter genre. I kind of think if its a good melody and good arrangement and well produced that’s good enough and hopefully it makes people feel something, something positive about themselves or their life because that what music has done for me ever since I heard the Beatles’ ‘Penny Lane’ when I was 11 🙂

I like the idea of music progressing and I think as an artist one should always be exploring but at the same time things cannot be forced and there is no point in just trying new things for the sake of it or to be different, because that’s not really being truthful to myself and what I do, which is write simple songs.  But I do play and listen to lots of different music lots of classical music which I like playing on the piano and things like minimalist composers and microtonal music which I have been exploring a lot over the last few years. Actually, the last album ‘We Don’t See that We Don’t See’ was purposefully applying different tuning systems and microtonal music to the 3 minute pop song. I was very happy with it but I haven’t actually released the album yet just some track from it because it was a bit underground and experimental and I got caught up doing the last album. But I think I’ll release it in the new year.

The new album When the Earth Becomes a Star is still in the traditional songwriting tradition, but I have elements of microtonal tunings on it to just give it that flavour. The single ‘Let the Light In’ is the first song from the album. It’s a great song and a good recording but it’s kind of a blend of Oasis meets Cream meets Gospel music 🙂 It just could do with a gospel choir at the end of the song.

In addition to your musical pursuits, you’ve authored books, your latest work, “Behind the Wall of Illusion: The Religious, Esoteric, and Occult World of The Beatles,” is intriguing. Can you give us a glimpse into the inspiration behind this book and others that you have written and their connection to your musical endeavours.

When I was 11 I had quite a profound experience with hearing the Beatles’ song ‘Penny Lane.’ It wasn’t even the Beatles’ version but Jimmy Osmond singing the song on the tv show Fame. If anyone is interested, you can find it on YouTube. The song just struck me right in the solar plexus and the next day I was coming home from school and saw in a record shop that I used to pass by everyday a copy of the Beatle’s Rock n Roll Album vol 2 for 2 pounds. I got the money of my mum and rush back and bought the album. When I put it on the record player- we had an old bush record player with only one speaker, but all the songs were just amazing. I mean they were better than anything that I was hearing on radio or tv at the time and I just became a fan. I was hooked. Luckily all my friends’ mums and dads still had all their old Beatles records and so I was able to borrow them all and within about two years I think I had heard most of the albums. I was reading about them all the time and that got me into other bands like the Kinks and the Who and not some much the Stones but some of their stuff and then Motown and then that got me into Mod groups and for a while I played drums in a Mod group covering lots of Jam and Who and Motown covers and then I just got into the history of pop music two-tone and punk and new wave etc. I knew quite a lot about 60s 70s 80s 90s music and one day someone gave me a Shangrilas CD. I don’t know why or why they were listening to them we didn’t talk about music. Actually, the guy just worked in my local shop and one day I went in to buy a pint of milk and came out with a Shangrilas’ CD it was quite surreal now that I think of it. I put the CD on and again I was really impressed with a lot of the songs and the productions. There were a lot of Greenwich and Barry songs on it who were a big deal songwriting couple in the 60s but I didn’t know much about them. SO I realised that there were all these girl groups out there that I had never heard, apart from the Supremes and the Vandellas and so I started to find groups like the Ronettes and the Shirelles and the Marvellettes and I thought that these groups had more or less been forgotten by history so I began to write about them and soon I had a book called Girl Groups of the 1960s and I found a publisher. I wrote another book on Phil Spector for that publisher, and I wanted to write something on the Beatles and particular from the perspective of spiritual science. That’s a kind of research developed by the Austrian philosopher and seer, Rudolf Steiner. His philosophy is essentially that man is a spiritual being and that there is a kind of spiritual cause behind or involved in everything we do here in this world. I am very interested in that, and I think music is something that very much relates to that because it’s not quite physical or tangible in a sense. I think the Beatles were very interested in that and the whole 1960s culture was tapping into and exploring these ideas. The experimentations in music and drugs and even social changes I think can be seen from this perspective. I don’t think Steiner would necessarily have seen every aspect of the 1960s culture or music as positive but certainly we can try to understand the spiritual impulses behind the events of that period which, as I said the groups and the people of the time were dimly aware of and trying to penetrate deeper into what we might call the invisible realm or the super-sensible realm.

Today, I think this is kind of difficult because we are so much more immersed in technology and in the material world- living in the material world as George Harrison might say- that we are becoming or have become more disconnected from what I think is our spiritual nature. Although it’s quite clear, due to a lot of stuff that has happened over the last three years that people are beginning to what to know more about these things. So that’s kind of what the book is about, and I guess what my songs try to be about.

Looking back at your previous releases and forward to your upcoming projects, how do you see your artistic evolution? Are there specific moments or experiences that have significantly influenced your musical journey, and if so, how do they manifest in your work?

Yes, as I said my experiences with the Beatles ‘ music was a major point in my life which began me wanting to know more about musical and to be a songwriter. Apart from that specifically my interests are more related to philosophy and that has influenced a lot of how I think about music maybe. I think my whole life has been connected to music, so it was kind of like for me a destiny moment meeting the Beatles because they opened up something in me that was able to enter into the world of music and my journey through life has been inextricably linked to my musical journey. I think there for example is a spiritual science moment. Of seeing something happen in your life that comes to meet you and moves you in a certain direction. It has nothing to do with me its something outside me but it has a tremendous impact on my life and my life, like everyone’s, has a tremendous impact on so many other people, in fact on the entire world. So, trying to understand that event and other similar events in our lives is a way of bringing us into contact with these impulses that are kind of invisible. I guess some people might call it chance or coincidence and that all things are chance, but one thing is that it has a profound meaning for me and that as I said influences everything and everyone around me. If it is just a chain of chance events then there is no real meaning, which of course some people might say, but if there is no real meaning then why do we feel the need to give it meaning, why is meaning inherent in our lives? Anyway, the point here is to think about these things and be open to them rather than having to prove they are right or wrong. Because ultimately, we cannot really prove anything only know something is as it is or experience it as so.

Embarking on a career as an independent artist often involves navigating uphill battles and overcoming challenges. Can you share some of the significant hurdles you’ve faced in your journey and the strategies you’ve employed to surmount them, providing insights for emerging artists grappling with similar obstacles?

There are so many uphill struggles and failures and disappointments and challenges.
Playing live on national radio and putting your capo on the wrong fret on the guitar and then singing the song in one key and playing the guitar in another is a pretty embarrassing moment – though I did manage to get my voice intone after a few seconds 🙂

Playing gigs to nobody is hard. Making records that no one hears is not very satisfying trying to get gigs and find other outlets for your music is hard. Feeling at times you aren’t any good is a struggle at times. But strangely I find as I said at the start if you see it as a space to learn and grow and see yourself as an actor on the stage it suddenly doesn’t seem as bad as you thought. You can actually enjoy it all. That’s what I have learned and every day you get better as a performer, a writer, a recording artist. You get to the point where you can say I am a musician. I am a songwriter. I am a recording artist. And it’s a bit like being able to do something around the house like cut the grass or something. You just do it and enjoy doing what you do and try and get better at it. That bit requires concentration. I mean to concentrate on what you cannot yet do and keep at it focusing even for ten minutes a day until you crack it. Mostly likely if you keep at it, you’ll do it. But of course, you need to know what you can do and what is the most realistic step to take next. That I think is important. So, I know that I am a songwriter. I have been honing that craft for many years I know I can play various instruments and that I can sing to a certain degree. So I stay within that comfort zone but I know that If I spend ten minutes a day playing a certain thing on the piano that I cannot quite do so well yet I will be able to do it in a few weeks and I keep doing that until in a years’ time I can do all the things I could do a year ago and now I am on a higher level and can do more things as a musician and feel confident do that. But I need to give a few minutes every day to it. Steiner would say that it is not so much spending hours every day doing something that helps us master something but doing something even only 5 minutes is what is important because this activity we absorb into our being and after a time because who we are. I think this is true. So, you just keep doing the thing you want to do every day.

Unfortunately, if you want to be successful in a materialistic sense like be famous or rich from it then you might be forever disappointed because these things are often nothing to do with our own inner capacities. Fortune is just that something that is gifted to us from the gods but if we focus on our capacities that will give us joy and others joy too and then who knows the gods might smile on us.

 

Lucy Kitchen Unveils Heartfelt Journey in ‘The Stabal Sessions’ Live EP

Posted on 4 December 2023
The Stabal Sessions by Lucy Kitchen

In her latest musical endeavor, singer-songwriter Lucy Kitchen bares her soul in the upcoming live EP, ‘The Stabal Sessions.’ Recorded  in May ’23 and funded by a grant from the Ivors Academy, this deeply personal project marks Kitchen’s poignant return music following the loss of her husband to cancer last year.

Congratulations on the upcoming release of ‘The Stabal Sessions’ EP! Can you share with us the inspiration behind choosing a live recording, and how the atmosphere there contributed to the essence of the project?
Thank you! I wasn’t planning on putting an EP together originally, it purely came about because I got the grant from the Ivors Academy, which was specifically for the session at Stabal Music. Once I knew I had the grant and I was going to be recording 4 songs, I started thinking about the idea of releasing a live EP if the recordings captured the songs how I wanted. I think there is a lovely immediacy to live recordings that encapsulates the energy of the song and the performers differently to a normal studio recording session and I was really pleased with how all the songs came out and knew I had something I wanted to release.
The EP includes three new songs and one from your previous album, ‘Sun to My Moon.’ How did the selection process for these tracks unfold, and what significance do they hold for you, especially considering the personal nature of this project?
 
The new songs all just felt right to record. They came out of the past few years looking after my husband while he was sick and sometimes it’s good to put a marker of what you’ve been through and come out of. All of them I knew, as soon as I started going through my options, were the ones I wanted to do. The Boatman I’d had for a little while and had been thinking I would love to do a live recording of it as it’s such a great one to play live. Blue Light I’d just finished writing and Chemo Song-Sleeping Song I’d finished and knew what I wanted arrangement-wise. Sun to My Moon is one that people have asked for a live version of and it just felt like it fitted really well with the band set up and the other songs.
 
We understand that ‘The Stabal Sessions’ was funded by a grant from the Ivors Academy. Can you tell us about the role of the grant in bringing this project to life and how it impacted your creative process?
 
Without the grant it’s unlikely that I would have done this project at all, but definitely not in the way it has come about. I wasn’t aware of Stabal Music before the email came out to apply for the grant. For me, I felt that getting the grant gave me a push back into doing my music at a time when otherwise I might not have. Grief does a lot of strange things to your brain and I was feeling pretty scattered but pulling this project together, getting the arrangements together, the band, rehearsing and then the recording day, it felt like it started pulling my brain back together and it got me creating again.
 
In what ways has the experience of creating this live EP been cathartic for you personally, and how do you see this project fitting into the broader trajectory of your musical journey?
 
I feel like creating this has been a catalyst in helping me find myself again this year. I have re-discovered the joy of making music and sharing it and now have plans for next year that I may not have had if I hadn’t made this EP. I feel like it is a stepping stone to creating more and playing live more and seeing where that takes me.
 
Can you take us behind the scenes of the recording session in May ’23? Were there any memorable moments or challenges that stood out during the process of capturing the live essence of your performance? 
 
It was a pretty intense session as you only get two takes for each song at Stabal so you have to nail it! We hadn’t rehearsed with the whole band at the same time so I wasn’t sure how it would all come together…I’d done a rehearsal over zoom with Morgan on guitar and a rehearsal with Frazer (bass) and Kitty (backing vocals) so on the day was the first time we’d all been in the same room playing together. I think there is an added excitement to a video’d session so having all the cameras there and the lights made it all quite buzzy and the Stabal team were all lovely!
As an artist, how do you navigate the emotional terrain of sharing such deeply personal stories through your music? What message or feeling do you hope listeners will take away from ‘The Stabal Sessions’?
 
I’ve always written from a very personal perspective but like to feel that my songs are universally accessible so to some degree this isn’t that different. However, these songs do feel more even more personal because of where they came from in my life. I am a great believer in making something beautiful out of something hard, looking for the little moments of magic, the jewels in the rubble and making this very much felt like that to me. I am by no means the only person who has lost someone, it is something we will all experience in our lives. I’m hoping that this will connect with people on that level but also as far as showing them there is a way forward when you are in the midst of it, when you can’t see a way out, you can re-find your connection to the things you love and the beauty in life.

Find out more about Lucy Kitchen here.

Harmonizing Life and Melodies: An Exclusive Interview with Musician Roman Gastelum

Posted on 4 December 2023

Embark on a journey with Roman Gastelum, a Los Angeles-based artist breaking barriers in the realms of jazz and hip-hop fusion. With his recent debut record, “EQuilibrium,” Roman has crafted a ground breaking blend of genres that pushes artistic boundaries. Join us in this exclusive interview as we explore the depths of Roman’s musical influences, the creative process behind “EQuilibrium,” and the unique perspective he brings to the intersection of jazz and hip-hop.

“EQuilibrium” is a genre-defying masterpiece, seamlessly blending hip-hop and jazz. What inspired you to create such a unique fusion, and how did you approach the challenge of balancing these diverse musical elements?

I have been heavily into both jazz and hip hop since I was a younger teen and have always seen similarities between the two styles to the point where they are pretty much interchangeable. They are both very cerebral styles of music that both seem to activate the same part of my brain. I remember always being fascinated by the intersection between the two styles and always wanting to explain to others how modern hip hop that followed in the path of Eric B & Rakim is essentially an offshoot of Charlie Parker bebop. This led to years of me going down the rabbit hole between both genres, which eventually culminated into me wanting to create a balance between the two that I’ve always wanted to hear that I felt I had never quite heard before. I had noticed that a lot of jazz infused hip hop or hip hop infused jazz tends to be lopsided in the sense that it leans more in one direction than the other: hip hop that samples jazz, soul etc., or jazz that is performed over hip hop grooves and has a slow harmonic rhythm. My goal was to create as close to a perfect balance between boom bap and bop that I possibly could by balancing elements from the best of both worlds that, for some reason, never seem to be combined (see question #3). Overall, I wanted the superficial listener to have the impression that they are (mostly) listening to Jazz sampled instrumental boom bap beats; but for the more discerning listener, I wanted a much more intricate, fresh and engaging composition to unfold before their ears.

As the bassist, vocalist, and lyricist for Jigsaw Falling, how does your role in this eclectic progressive rock project differ from your solo work on “EQuilibrium”?

My role differed between “EQuilibrium” and “Jigsaw Falling” with the way that the music was composed. “Jigsaw Falling” was more geared toward collaboration, where all three of us were composing and arranging the instrumental aspect of music in the studio at the same time, and we would all have to come to agreement on the final outcome for every song. This was very time consuming and difficult at times, but this process definitely created some interesting music. The vocals and lyrics are probably the only similarity between the creative processes of “EQuilibrium” and “Jigsaw Falling”. I pretty much had free reign over creating the vocal melodies and lyrics with “Jigsaw Falling”, which would typically all be ironed out during the recording sessions. The major difference with “EQuilibrium” is that as leader, I had full creative control over the entire project, whether it be composition, arrangement, production or any decision-making regarding the band.

Your musical influences span a wide range of genres. How do you navigate the diverse landscape of jazz, hip-hop, funk, soul, and more to create a cohesive and innovative sound in your compositions?

Taking many diverse influences and fusing them into a cohesive sound is definitely a challenge, especially because I wanted to approach it differently. Hip hop is already comprised of jazz, funk and soul, so composing music like this is naturally going to have inflections of funk and soul, both in the melodies, harmonies and rhythms. Because these styles are prerequisite for classic hip hop, the music tended to write itself depending on the feelings I wanted to express. The main challenge for me was that I wanted to combine certain elements from different genres that aren’t typically combined in order to strive for something fresh, yet still familiar. The first step in striving for the sound I wanted to achieve was to take the soundscapes of hip hop – most of which are sampled (in the classic sense) – and reproduce them with live instruments. This meant that I had to create melodies that gave the same avant-garde, disjointed, almost atonal sense of counterpoint that hip hop sampling conveys, and put them over boom bap grooves. The second step was that I wanted to put rich post-bop harmonies and jazz forms to these hip hop soundscapes. This way, the composition becomes a vehicle for the soloist to create an interesting lyrical solo as if they were the rapper soloing over the track. The compositions ultimately become reversible in the sense that they can either be performed as boom bap beats, or as jazz standards.

“EQuilibrium” features a talented lineup of musicians from the Los Angeles scene. Can you share how collaboration played a role in shaping the album, and what each musician brought to the table?

Collaboration played a huge role in putting this record together. I chose every musician based on knowing that they would fulfill my vision of the project – each one of them has a unique voice that I knew would bring it all to life. Drums are probably the most important part of the overall sound on a record for something that is boom bap oriented, so I had none other than Jason Pruhko play drums. He is a highly versatile drummer that has an in-depth knowledge of hip hop grooves and gets the overall aesthetic, so I knew I would be secure with getting a solid balance between hip hop and jazz in the end. I went with Andy Waddell on guitar because he has strong modern sensibilities and works with a lot of great sounds. He also has a certain intensity to his playing that took the record to another level. We had a blast getting creative and recording in the studio together. Scott Tibbs was on keys and synths throughout the entire record. He was the oldest on the project so the experience and insight he brought to the table was key. His approach added great depth and balance to the compositions. Brandon Wilkins played tenor saxophone and Aaron Janik played trumpet. They make a great duo, are incredibly efficient, and they both played some killer solos throughout. “EQuilibrium” would not have been a reality of course, without Brandon Wilkins, who was my right hand man throughout the entire record. If he didn’t offer to take on the project and my vision wasn’t mutually accepted, it might have been much longer before I would have gotten it off the ground. He recorded, mixed, and mastered the entire thing and worked closely with me co-producing throughout the entire process to make sure that everything was getting the attention that it deserved.

As a musician actively involved in the Los Angeles music scene, how has the city influenced your sound and creativity, especially in the context of the vibrant and diverse music community that exists there?

Given the massive metropolis that is Los Angeles, I don’t think I would have the opportunity and potential to perform the wide array of styles that I have performed, or will be able to perform in the future if I didn’t live here. I have played anything from rock, pop, alternative, r&b, jazz and country. There is something here for everyone musically and you don’t need to live in the middle of LA to get it. It all depends on what kind of scene you’re looking for. For example, if you live in LA City and don’t like what’s going on there at the moment, you have the rest of LA County. If that’s not enough, you can always head to Orange County, Ventura, or even San Bernardino Counties, which each have something completely different to offer. There are probably only a few other locations in America that offer such a wide and frequent selection of musical styles, so it made sense for me to move to a place where I knew I would have a lot of room to expand musically because I have always enjoyed playing a wide number of styles since a younger age. The longer I have the ability to be surrounded by an eclectic musical environment, it only encourages me to grow as an artist by taking on new experiences and challenges.

Your debut album marks a significant milestone in your musical journey. How do you see yourself evolving as an artist, and what aspirations do you have for the future of your music career?

Now that I have released my debut full length solo record, I feel like a massive weight has been lifted off of me and I can now pursue other things that I’ve been wanting to pursue. It’s hard to say at this point if I will be creating more records in this specific style of jazz and hip hop, or if I will move onto something else in terms of composing new material. I do feel that I have expressed most of what I wanted to express on EQuilibrium, so if this is the only one, I am content with that, but that doesn’t necessarily mean that I don’t have more to express within the same idiom in the future; a lot of it depends on demand. What I do know is that at this point in my life I am definitely ready to expand as both a bassist and a composer. I have mostly been playing within the jazz realm over the past 4 or 5 years while neglecting the live performance of other styles, and am craving performing within many genres of music on a regular basis, although of course I will continue playing jazz. Different musical genres fulfill different sides of me artistically, and being active in as many as possible makes life more interesting and usually creates more opportunities for me. One style of music that I haven’t gotten to play enough of in LA and am just as passionate about as any other, is real country music – honky tonk, outlaw and bluegrass – and I would like to expand in that realm. I would also like to play in more various rock and pop settings. All of the aforementioned typically lend to playing in front of larger audiences. Lets just say that if I don’t stay in Los Angeles, somewhere like Nashville could be written in my future.

Find out more about Roman here

 

Interview | Lizzie Esau – From Self-Doubt to Sonic Triumph with ‘Deepest Blue

Posted on 27 November 2023

In the midst of a bustling summer, singer-songwriter Lizzie Esau, hailing from Newcastle, unveild her debut EP, “Deepest Blue,” on July 21st via LAB Records. The EP comes alongside the release of her single, “Lazy Brain,” a compelling exploration of self-doubt and the quest for emotional liberation. With festival slots, support tours, and headline shows filling her calendar, Lizzie’s journey of self-discovery and musical resilience takes center stage. As she confronts her inner demons through ethereal choruses and impassioned crescendos, Lizzie Esau invites listeners into a world where authenticity reigns supreme.

Can you share the inspiration behind your upcoming EP, “Deepest Blue,” and how it reflects your journey as an artist?

The inspiration behind the EP was that it’s a collection of songs speaking on some of the darkest moments of my life. I think naturally for me writing is like a therapy (as cheesy as it sounds) so unfortunately they’re not the most cheerful songs you’ll hear lyrically haha! I think it’s important to be transparent and honest about my feelings in my music as a way of showing other people in similar situations they’re not alone. I know that’s a big reason I go back to so many of my favourite songs, for that feeling of comfort. As I grow as an artist and looking back at how far the project as a whole has come along I think the ability to be so open with the audience and translate painful experiences into music were really proud of is something that has developed a lot.

“Lazy Brain” delves into the theme of self-doubt. How did you approach capturing such a personal struggle in your music, and what do you hope listeners take away from the track?

As I mentioned before I feel like it’s really great for me to be able to understand how I’m feeling through making these songs. I think as soon as I’m honest with myself it will encourage others to do the same hopefully. I think it’s such a natural and common thing to doubt yourself so it’s good we can talk (sing) about it all together. I think I just wanted to reach out to others that we’re feeling the same frustration with themselves with this song definitely.

Collaborating with industry veterans like Steve Grainger and Iain Berryman must have been incredible. How did their involvement shape the sound and narrative of “Lazy Brain” and the overall EP?

Lazy Brain was first a demo I wrote maybe coming up to a year ago on logic in my room. I was just experimenting and having fun really and didn’t think too seriously about what it would turn into. I then sent it over to the band and my manager who were all keen to take it further so we started to work on new parts for the track. I feel like anytime I take a demo to the band they really enhance the whole energy of it. This collective side of things definitely helped build the emotion and sway of the track. We worked on it in the studio with Steve Grainger a producer who we’ve worked with for a long time now and had the track mixed by Ian Berryman. Both absolute masters of their craft and completely translated all of our wishes for the track into reality.

Your tracks are gaining traction on popular playlists. How does it feel to see your music resonating with audiences, and what role do these platforms play in connecting artists with listeners?

It feels amazing! I think Spotify have allowed us to reach so many new audiences via their playlisting which has been so incredible for us. We still get people coming up to us at shows saying that’s how they discovered the music!

The EP encapsulates both the energy of your live performances and your darkest moments. How do you balance these elements in your songwriting, and what message do you aim to convey through this dual perspective?

I think it allows people to enjoy the music in different ways at different times. Like if you’re wanting something to cry in the bath to listen into the lyrics and if you’re wanting something to dance around to you can just block out the words and listen to the music haha. If you’re wanting to have a dance and a cry feel free to tune into both haha.

What excites you the most about sharing your music with new crowds, and what can fans expect from your live performances?

Playing live is my favourite thing ever. It’s so special when you can see people singing along, relating with the topics you’re writing on and sharing those feelings. Equally it’s always fun playing support shows where you feel like you’re winning people over and you can see the moment right in front of you when people are discovering something new they’re into.

Our live performances are very high energy and emotional and I basically throw myself around the stage a lot. But don’t take my word for it, come and see for yourself!!!

Find out more about Lizzie Esau here.

Harmonies and Reflections: An Interview with Angel Quintas

Posted on 26 November 2023

Meet Angel Quintas, the self-taught musical virtuoso hailing from Orlando, Florida, whose sound is a fusion of classic and contemporary influences ranging from iconic groups like The Beatles to modern artists like Harry Styles. Angel’s debut album, “Self-Portrait,” released in 2021. As Angel prepares for the unveiling of the sophomore album, “In The Clouds,” in late 2023, Angel has recently released his latest single, “Up To You.” In this interview, we delve into Angel’s musical journey, diverse influences, and the inspiration behind his newest release.

“Self-Portrait” was a solo project where you handled every aspect of the music creation process. How has this DIY approach influenced your musical style, and what themes can listeners expect from your debut album?

Well, the musical style of “Self-Portrait” has, for the most part, a sort of un-polished/unfinished quality about it. Compared to some of my more recent releases, you can tell it was very made up as I went along. But it was my first time ever producing music, recording music, and generally getting serious about writing music. I didn’t have access to a studio, and I couldn’t afford a producer at the time; all I had was a few guitars, GarageBand on my old MacBook, and a microphone. At the time, I had no idea what mastering was. So the fact that it’s got some rawer elements shows the growing pains I went through when working on it. There’s a recurring theme of reflection, heartbreak, and love on the album, which are themes and topics that I often write about.

Your influences span decades and genres. How do you weave together the sounds of legendary acts like The Beatles with the contemporary vibes of artists like Harry Styles, and what do you believe distinguishes your music in today’s diverse music landscape?

Simple, I’m a huge fan of both! And now that my ear is a little better trained to pick up certain writing, recording and production techniques, I implement those elements into my own work. Sometimes I lean a little heavier into the influence, but it’s good sounding music, so I don’t see why not! I see a lot of artists using musical elements from the 70’s and 80’s, but there’s hardly, if any, artists using elements from the 60’s with contemporary production. Not since the Britpop movement in the 90’s. And I feel like that’s what sets me apart from my contemporaries.

“Up To You” is your latest release. What inspired the song, and how does it fit into the broader narrative of your upcoming sophomore album, “In The Clouds”?

“Up To You” is about the fact that, although sometimes we feel like we have no say in the choices we’re given in life, the choices we make are truly up to us. It’s also about change, and how difficult it can be to adjust to. We can either choose to stay in our comfort zone, or make ourselves uncomfortable, and step out of it to see what lies beyond. Some verses were partly inspired by some people who were once integral to my life, who aren’t as integral anymore. A lot of the songs on “In The Clouds” delve into introspection and reflection, more so than on “Self-Portrait”. I’ve done some growing up since the last album was made and released, and I feel like the songs I’m writing now reflect that. Not to say that “In The Clouds” is an entirely serious album! There’s also plenty of levity, excitement and fun on this record.

Being a self-taught musician and producer, what challenges have you encountered in the music creation process, and what advice do you offer to emerging artists looking to take a similar hands-on approach to their music?

Like I mentioned when talking about the process of making “Self-Portrait,” there were lots of growing pains. Most of it was due to the technological limits I had at the time. I didn’t have the home studio I have now, I didn’t have a lot of the tools I have now, such as a MIDI keyboard, monitors, a good pair of studio headphones, etc. My entire first album was written, recorded and mixed, in GarageBand, on a 2014 MacBook Air. And while I still have the belief that limitations allow creativity to flourish, I think that having some of those tools at hand make for a more streamlined process. As for advice, it might sound a bit counter-intuitive since it’s reducing the “Y” in “DIY”–but don’t be afraid to ask for help. Being a DIY music artist is about so much more than just writing and recording music. If you want to mix and master your own work, that’s fine, but there’s a lot that goes into music production. And while I do most of my own production work, I still seek help from time to time from a producer friend of mine named Angeliz Bula. There’s the whole business side of it, which I also handle myself, and can be stressful at times. There’s promotion, creating content, photoshoots, music videos (which I do get help with from a great photographer/videographer named Emma Popkin). And most importantly, as a DIY music artist, securing your Composition and Recording rights!

Your debut album explored themes of love and reflection. How does the lyrical narrative of your upcoming album, “In The Clouds,” differ, and what can fans anticipate in terms of musical evolution in this next chapter of your career?

Lyrically, I’d say “In The Clouds” goes deeper into those themes than “Self-Portrait” did. And musically, I’ve found more of my own voice, and what works for me as an artist, and that is definitely reflected on the album.

Find out more about Angel on IG

Unveiling the Harmony: An Exclusive Interview with Gospel Duo Folarin and Keziah

Posted on 8 November 2023
The A&R Factory Team recently had an enlightening chat with the much-loved Gospel duo Folarin and Keziah. They tell us more about what it’s like to work as a couple and take us deep into the creative glue of their wonderful music project which has inspired so much during these dark times.
How would you describe your brand of music to a new listener?

After much thought through the years, we simply define our sound as worship music. There is so much opinion about what constitutes gospel or Christian music genre and we’ve struggled to understand the key differences. For example, we observed that many artists that identify as black are automatically grouped into the gospel category even if their sound says otherwise. Similarly, very few artists that identify as white describe their music as gospel. This creates a type of artificial divide that has left us with more questions than answers in terms of defining a genre. We’ve decided to  focus on writing songs that reflect our Christian faith and express them sonically however we see fit. We have been privileged to minister in multicultural spaces and we have learnt that people just want good music and the genre stereotypes can sometimes hinder our ability to connect. We love and listen to several Christian and gospel artists but find that our music blend is genre-defying which gives us the opportunity to connect with listeners regardless of their color, creed and culture.

How did you both start performing together and what is the writing/production process like?

We both started our music journey on different trajectories. Folarin started leading worship in a local church in Nigeria in 1997 and has been doing so ever since. Keziah also started singing in the choir as a teenager in Nigeria but took some time off in her early twenties to focus on other ministry gifts in the church. After we got married in 2011, we both started singing at Talbot Christian Center, Nottingham, England where Folarin was a worship band leader. About a year later, we moved to Canada and continued singing in church as worship leaders in St Catharines and Hamilton, Ontario. We started writing songs and sharing them with members of our Christian faith community and this received an overwhelming response. It soon became obvious to us that we wanted to be more involved with music outside formal church settings. We started the band, Folarin & Keziah in 2018 and released our first album in 2019. Our song writing process is atypical as it tends to focus on inspiration and tapping into the moment. For example, I (Folarin) was having a conversation with a patient who was recovering from Stroke when the inspiration for Relentless (first album title track) was received. We were listening to a heated conversation about who the greatest basketball player is and we concluded it was basically impossible to pour the accolade of ‘greatest’ on any human being. We got to work and the song greatest (title track of sophomore EP) was born. Relentless was written in less than an hour to write while Greatest took over a year to complete. Once we create a song, we reach out to our team to arrange a recording with a live band off the floor. That typically results in a demo that needs additional productions for the final track. The next step involves background vocals jumping on the track before we finally work our way around the track to add our voices as lead singer.

As a couple, how do you find performing together and has it made your bond even stronger?

We really enjoy performing together and we continue to evolve as a duo as we push each other towards excellence. Performing together gives us the chance to spend more time together and travel together. However, contrary to what most people may believe, working as a couple is also fraught with the challenges you face when working with a family member. Performing together also helps us see each other in a different light and exposes to what we both act like when at work. With that knowledge comes more patience to learn how to complement each other and create great music without sacrificing our uniqueness.

Please provide more details about your label and how everything began?

We started God Colors Media Inc in 2019 as a creative start-up focused on producing, performing and publishing worship worship music that is undignified and genre-defying.  Like many independent artists, we invested a lot in music production and audio-visual gear during the pandemic when all studios were closed. Although we always wanted to have our own label, that period quickened the process. We decided to self-release all our music and control the production, distribution and promotion of our music. Having a label also allows us to retain ownership of our intellectual property since we write most of music ourselves. Our vision for the future is to support newer artists by offering more flexibility, creativity and control. As we grow in the music business, God Colors Media will help us maintain a larger share of any profits we make from music sales. God Colors Media is currently registered with the Society of Composers, Authors and Music Publishers of Canada (SOCAN).

Your 2nd album was just released. Please explain to us how the project came together and what is next?

Our sophomore project, Greatest was released on November 1, 2023. The EP contains 6 tracks and is a collection from some of the songs we started writing during the pandemic. Everything to Me, the first single from the EP, was released at the end of 2022. This was followed with four singles Greatest, Long to Worship, Audience of One and King of Glory in 2023. We decided to feature our friend and one of the most dynamic worship leaders we know, Melina Dulluku-Fisico on the project. Melina is a singer songwriter, musician and worship leader in Ontario, Canada and listeners will get to hear her beautiful voice on Audience of One and King of Glory. Like our first album, all songs were written by Folarin & Keziah with Sam Williams (Toronto) receiving co-production credits. We have an album release and worship concert scheduled for November 12, 2023.

Last, what advice would you give a new musician who is just starting out in this game?

To anyone, thinking about creating music especially with a spiritual essence. Know your listeners, create music you love and look for people that you can work with that will offer great advice but not try to change your vision into theirs. Ultimately, time is the greatest revealer. So, learn to be patient while waiting for your music to be heard around the world. That itself is not a guarantee!

Hear their music on Spotify. See their creative journey on IG.

Interview by Llewelyn Screen