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Interview

An Exclusive Interview with SVLEM on Crowdfunding and the Dark Melodies Ahead

Posted on 3 November 2023

In a time when the independent creative spirit is often stifled by soaring costs, SVLEM, the Australian Alternative Goth Metal quintet, is harnessing the power of community and crowdfunding to manifest their debut album. Their unique approach to fundraising, featuring tantalizing perks and a sense of camaraderie among supporters, promises to breathe life into their haunting, dark melodies.

SVLEM, your crowdfunding campaign has introduced some fascinating perks, from ‘Satan’s Spit’ hot sauce to Metal Burlesque classes. Can you tell us more about the inspiration behind these unconventional rewards and how they connect to your music and artistic vision?

“Cheers and thanks for having us! Creativity fuels SVLEM and this goes far beyond music creation: From our own merchandise, to our stage decor we conceptualise and create everything we can ourselves.

When it came to brainstorming ideas for perks in this campaign, on top of the traditional band merch and of what we could offer ourselves, we thought it would be just sick to collaborate with our friends Claire from TIME+BRINE and performer Betty Bandit to expand our universe in a more sensory and sensual direction. They were both fully on board, which was thrilling, and this collaboration resulted in the two unique perks you mentioned: “Potions” and “Seductive Spells” have always been integral to the witchcraft universe, and we’ve added our own unique twist based on what we, as fans ourselves, would love to receive through an album crowdfunding campaign and what our Coven might find exciting!”

Your music is often described as dark and haunting. How does this theme manifest in your upcoming debut album, and what can fans expect from tracks like “The Witching Hour,” “Nevermore,” and “Let it Burn”?

“Well, it’s going to be all about capturing that raw live energy and infusing it with a nerve-wracking abundance of details, such as vocal harmonies, haunting keys, and mesmerizing effects onto the record haha! We’re also gonna intensify the heaviness and the eerie atmosphere. It’s still early to say for sure, but that’s the goal.”

Crowdfunding can be a challenging journey. Can you share some of the highs and lows you’ve encountered throughout this campaign, and what keeps you motivated to press forward despite the obstacles?

“Insecurities, such as the fear of rejection or the fear of failing, are one of these challenges. It’s a matter of silencing those negative voices, believing in your art, and pushing through. In life, nothing happens if you don’t move forward or if you adopt a defeatist attitude.

The second challenge, which might be the biggest one, is communication. Since there’s no minimum donation requirement, the key is reaching your audience and ensuring your message cuts through the noise so they are actually aware that there’s a campaign going on, even before getting them on board. To achieve this, you must be fully committed and create engaging content that conveys your passion, allows your community to connect and feel invested in your project. While we create music for ourselves, it’s ultimately the ears and souls of our audience that give it meaning.

For our first crowdfunding campaign, we didn’t even have a single song released with SVLEM’s new lineup. Cecile had just joined as the vocalist, which is always a significant change for a band, and Shah had come on board as the rhythm guitarist and keys player. This was quite a leap of faith as we essentially asked people to follow us blindly into creating our live session. The pressure was intense, and it marked a turning point for the band.

The current campaign does have its challenges, particularly given the current financial climate and the difficulties many have faced, including us, in the past year or so. However, we are confident that we will reach our goal since everyone can contribute whatever they want or can afford.”

The debut album is predicted to drop in 2024. How will the funds raised through this campaign be utilized in the production and promotion of the album, and what do you hope to achieve with this highly anticipated release?

“In conjunction with the band’s investment in this debut album project, the funds raised will contribute to various aspects, including recording, mixing, mastering, creating music videos, and conducting some PR work to promote the result to new audiences, thereby helping our Coven to expand.

During our last crowdfunding campaign, we exceeded our goal by reaching 157%, which was simply incredible. This not only enabled us to record our Live Session but also invest in an in-ear monitor system that has significantly enhanced our live performances. Any additional funds we raise, should we surpass our goal once again this time, will give us the breathing room we need to go a little more in-depth during the recording process and produce music videos with fewer compromises, among other improvements.”

As the crowdfunding campaign is set to conclude on 15/11/23, what message would you like to share with your supporters, both old and new, who have contributed to SVLEM’s journey and made your music dreams a reality?

“We do not take their support, investment and involvement in SVLEM lightly or for granted: We’re fully aware that they don’t owe us anything, and we’re just thankful. We will continue pushing and challenging ourselves to create music that moves both their bodies and souls and to deliver live performances that take their mind away from whatever bullsh**t they could be going through in this sick world when they take the time to come and see us live.

We’d like to express our deepest gratitude to those who have contributed in the past and are supporting us through both crowdfunding campaigns or this one. You may not realize how much this means to us and the tremendous impact it has for a band of our size.

Lastly for those of you hesitating, no matter what you can contribute, join us “We have such sights to show you”!

Love,

SVLEM”

To grab an exclusive pack or make a donation click here

An Exclusive Interview with Deadbeat Superheroes on the Edmonton EP Remix

Posted on 29 October 2023

In the ever-evolving world of music, the Canadian musical outfit, Deadbeat Superheroes, is making waves with their Edmonton EP, now remixed as “Edmonton (Redux)” by the enigmatic artist HORNETS! This exclusive interview delves into their collaboration and the journey of Deadbeat Superheroes as they mark their 13th year in the industry.

Could you tell us more about the origins of the collaboration between Deadbeat Superheroes and HORNETS! on the “Edmonton (Redux)” remix? What inspired this partnership?

DBS and HORNETS! became acquainted in the early 2010’s in the Toronto music scene. They’ve been following each other’s work for the past 10 years or so, and after HORNETS! heard the Edmonton EP, they really wanted to put a stamp on it. So, the mutual appreciation of each other’s work came into play here.

Deadbeat Superheroes is about to celebrate its 13th year in the music scene. How has the band evolved and adapted over the years, and what does this milestone mean to you?

The band has gone through a lot of iterations – from acoustic trio to full-on rock band – to being infiltrated by the blips and bleeps of HORNETS! What does that mean? When HORNETS! mixes your s**t, you’ve arrived; somewhere.

“Edmonton (Redux)” carries its own distinct identity while staying true to the original tracks. Could you share some insights into the creative process behind this remix and the key elements that set it apart?

As a pop/rock record, the Edmonton EP is about the melodic elements … Julie’s voice, Marek’s keyboards, MT’s guitars … but the voice stands out. The remixes utilizes those melodic sensibilities to build on and recreate, electronically. Just fuck them up a bit. Parts that were highlighted in analog on the original EP, have been adopted, morphed, and recreated.

Can you shed light on the role of Marek David, the veteran engineer, in the production of the original Edmonton EP? How did his work influence the project, and how does it connect to the remix by HORNETS?

His role, aside from instilling fear, was to arrange the songs in a way that had more pop sensibilities – that made them more cohesive as a four-song package – he played a large role in defining the sound, as we all sent in our performances by email – and then he created the final arrangement and production from those.

Regarding HORNETS!, they took the original stems and worked with those – essentially devoid of any influence by Marek.

The EP was mastered by Peter Letros at Wreckhouse Mastering in Toronto. How did this final touch affect the overall sound and quality of “Edmonton (Redux)” and Deadbeat Superheroes’ music in general?

From HORNETS!’s perspective – Peter added a clarity to the top end. These tracks would have been really hard to master because of the amount of low-end (sub) that’s not as common in a typical pop record. There’s so much going on – that it must have been a challenge to master; no pun intended.

One piece to consider is that our previous EP had too much high-end on it – and when Marek recommended Peter to master the original Edmonton EP, we loved how it sat in just about any output (car stereo, studio monitors, earbuds, you name it).

Peter has also mastered a massive amount of music in Canada over the years, as he is the former Chief Mastering Engineer at Sony Music Canada, so it’s a proud thing for us to be part of that pedigree.

Find Out more about the Deadbeat Superheroes here.

Find Out more about the Deadbeat Superheroes here.

Transforming Pain into Music: An Interview with No Named

Posted on 25 October 2023

No Named isn’t just your typical Anglo-rock band; they are a group that has harnessed the power of music to transform pain and suffering into joy and inner peace. This interview delves into their unique journey, from early struggles to professional success, and their commitment to authenticity in the music industry.

Can you tell us more about the origin of your band name, “No Named,” and how it represents your musical journey and identity?

The name originated for two reasons.

At first because in the beginning the professional commitment and stable permanence of the rest of the band members were not achieved, except for Nice Light, so the musicians changed constantly and a permanent identity was not achieved for them, so not having a name was something simply real, since that was what happened.

The second reason is that in his musical conception, the founder was not interested in being recognized or remembered for something tangible or visual, much less for any name in particular, but for something that belonged to the world of feelings and hopefully those deep ones that experience people. So, having a name was something insignificant in relation to the above. Furthermore, pain and suffering had taught him that simplicity and prudence were the correct path for almost everything, so having no name was the best.

Your music is deeply rooted in authenticity and emotions. Could you elaborate on your creative process and how it contributes to the unique sound and atmosphere of your songs?

The songs are based on relevant and true emotions that are felt in the soul at some point and that are translated into melodies and rhythmic sequences on the fly, in those same moments. And all of this creates an atmosphere and a feeling that also adds up. Thus, the Verse or Chorus of a song is born, associated with something real that was experienced or felt, which also gives rise to the concept and/or message of the song.

Several songs have even started in the middle of a dream, where intense things are being felt, with all the atmosphere and deep sensations of a dream, which is accompanied by a melody and rhythmic sequence. So when you wake up in the middle of the night, that melody and that rhythmic sequence remains playing, with something of that atmosphere and then, so that it doesn’t fade away… He records himself on a small recorder several times, re-feeling what he felt in the dream and thus remains his indelible record of what he felt in it. The sensation remains. And when it remains… the subsequent challenge is to ensure that that feeling and that atmosphere are captured in the musical arrangements, through the instruments and the way in which they are played, or rather, in the way in which they feel inside of the soul when touching them.

“Feelings” and “Looking From The Rainbow Game” are two of your notable albums. Could you share the inspiration behind these albums and how they reflect your personal experiences and growth as a band?

In the case of “Feelings”, the late motive was to make the memoirs of a civil engineer, as part of a person’s journey.  But they did not want to make a book or a conventional text about it, as many engineers or professionals from other sciences do; since in the other part of that person, there was an artist, the one who was born alongside the engineer and who wanted to transmit the emotions experienced through his journey through life, through feelings.

Thus, “Feelings” relates real events and experiences of the engineer and the artist at the same time, through each of its songs, with musical arrangements, atmospheres and rhythmic sequences that reflect the emotions experienced in each of those moments.

In the case of “Looking From The Rainbow Game”, the late motive was to leave a memory and/or capture relevant events and/or situations of people in their lives, making it clear that life is full of surprises, unpredictable moments and relevant changes. that even appear and disappear on their own, like the colours of the rainbow.

The experience was also fascinating since there were very special moments when making that album, especially in songs like “Any Song to Dance”, which talks about accepting with dignity and joy whatever has to come, whatever it may be…. Like “Touch the Stars With Your Hands” which talks about being grateful and blessing the sublime moments of life… and “How it Feels to Forgive” which talks about forgiveness.  And so each song on that album leaves a testimony of each relevant moment in people’s lives.

Your journey led you to India, where you received the name “Nice Light” from a spiritual guide. How did this experience influence your music and your perspective on life and art?

It was something magical and transformative. Initially, I was looking for answers to my internal pain and questions about life, since I felt that despite having done things well, in the end, things had gone wrong, which had caused me great suffering.

However, through that magical experience, I discovered that my path was not to wonder about what had happened, nor to look forward thinking about engineering, but rather it opened my horizon to find the greatest gift I received from life, which was found in music. the door to the path to plenitude.

Then I discovered that my destiny was to bring energy to those who were in bad times, to those who wanted to feel passion or deep emotions, or to re-enchant themselves with life, through music. Then I remembered JK Rowling’s experience when she started writing Harry Potter’s Sorcerer’s Stone and I began the magical path of professional rock music.

My perspective on life now is totally different. I have learned that by giving with a lot of energy and passion, with a lot of dedication, creativity and effort, in the end, you feed yourself. It is a virtuous path of peace, harmony and inner happiness.

There is nothing better than singing and playing for the audience when they sing the songs with you.

Your recording process is quite unconventional, with different elements recorded in various locations worldwide. How do these diverse recording environments contribute to the overall vibe and character of your music?

In the process, Nice Light is the Musical Director, so he works many hours designing the first drum arrangements, which are then worked on together with the drummer of No Named, who is a very talented man on the drums, and a great musician… and percussionist. Thus, the final drum arrangement of a song is reached, from which the records (recordings) are made by sound engineers who are experts in drums, who use 26 microphones to record the acoustic drums, which are isolated from the production process of the rest, so as not to contaminate it.

The process follows with the lead vocals and lead guitar, as they also define a song. In this case, Nice Light does both at the same time, which took many years and a lot of work to achieve. So that also contaminates the process and causes objectivity to be lost with the rest of the instruments, so it is also finished and left isolated so as not to contaminate the rest.

And finally, in order not to lose musical objectivity, between the worlds of drums (percussion), lead vocals and lead guitar, with the rest of the instruments and arrangements of the songs; everything comes together, that is, the mix is ​​done in another environment and with other sound engineers decontaminated from everything before.

Finally, with this, greater speed is achieved in the multiple iterations that must be done on each song to reach the final mix and mastering, greater objectivity and musical independence is achieved when mixing a song… and ultimately, Much better things are achieved, given the way of production that No Named has.

Many of your songs, such as “Stand Up!” and “Father is a Big Man,” tell personal and heartfelt stories. Can you share some of the most powerful experiences or emotions that have shaped your song writing and performances?

Of course. When I started working on “Stand Up!” I was in a very sad moment in my life and I felt great pain, the truth is that I just wanted life to end so I could stop feeling that terrible suffering. I had lost everything, I even felt like I had lost my dignity.

It was then that one day I remembered the indelible example of my father who never gave up on anything and I decided to put an end to that situation. Then I remember hearing the song “Don’t Stop” by The Rolling Stones on the radio and I said to myself, this is the way…. music and Rock since I was born with that.   And so, I felt like I would use it to get up myself, once again.

And then I started writing and working on “Stand Up!” which was magical.  It was like a Phoenix to me.

The story of “Father is a Big Man” is more poignant, as the first part of that song was made when Nice Light was a teenager and questioned some things about his father, whom he loved and respected. Then 10 years passed and his father died, and a few years later he was able to realize what his father had been to him and that was when he decided to make and write the second part of this song that starts after the second lead guitar solo.

And there begins a posthumous recognition and tribute to his father.  Over time, Nice Light discovered that the same thing happens to many people, as they manage to value their father, missing him deeply when he is no longer around.

That is why “Father is a Big Man” is the first song on No Named’s first album, since his father has been the most important and transcendent person in Nice Light’s life.

Find out more about No Named here.

Unveiling ‘Blind Woman’: An Interview with Zarah on Her Upcoming Release and Artistic Journey

Posted on 21 October 2023

In the realm of music and artistry, Zarah stands as a captivating figure, capturing hearts with her soulful melodies and thought-provoking lyrics. Her tracks, especially “What Have We Become?” and the highly anticipated “Blind Woman,” have been setting the industry abuzz. With her debut album of the same name on the horizon, we had the privilege of sitting down with Zarah to explore her creative process, inspirations, and her ever-expanding journey as an artist and writer.

Your track “What Have We Become?” received widespread acclaim. Can you tell us about the inspiration behind this song and how it has influenced your upcoming album, “Blind Woman”?

Yes, it did. That was unexpected and I’m very much humbled by it. You can’t help but think that your message is resonating and that your artistic vision and hard work is starting to pay off. “What Have We Become?” was heavily influenced by U2 as they were very much present in my mind when I wrote it, combined with today’s pop. Bono, who I’ve met as we have common friends and acquaintances, have worked on a couple of projects for youth including The GRAMMY Foundation; I think he is one of the best lyricists in today’s generation. Although the original concept was supposed to be a complex relationship, I ended up writing about societal issues and humanitarian awareness. I wanted to create something more positive with raw energy while rocking it out and “What Have We Become?” became the fastest track I wrote practically writing itself, which in many ways dictated the tone and direction of the album that carries fully produced sounds with layered guitars, dramatic bassline, live-sounding drums and pronounced vocals. And more times than not, rock music is all about the attitude and having fun and that’s exactly what we did in the studio though I’m still scratching my head on how fast that song was written!

“Blind Woman” is described as “gripping, haunting, and poignant” in the press release. Could you delve into the creative process behind this single and how you managed to convey such depth and emotion in the song?

The entire ‘Blind Woman album’ has incredibly rich and full sounds. I tend to like faster tracks and nine out of ten, I will create just that. But every now and then, I like to show vulnerability as an artist because for one, it makes you real and human particularly when listeners do not expect it. I thought the album needed to breathe and so, along came the “Blind Woman” ballad when I began to shed light on what I was going through as I bared my soul in the midst of a heartbreak. The song takes you to a dream-like soulful journey where you’ll experience the deepest level of emotions like peeling an onion so to speak being revealed in due course in the boldest, purest and most honest form, which made this ballad ‘haunting’. This is where you become the story yourself in the song as supposed to singing just another track. Gripping because it holds your attention. Haunting because it stays within you. And poignant because you will feel the pain in every note since we’ve all gone through a painful heartbreak at one point or another in our lives. You say what you say, do what you do, and not worry about whether or not somebody will like it; I was completely and unequivocally unapologetic.

Collaborating with musicians like Chris Chaney of Jane’s Addiction and the Los Angeles Philharmonic orchestra is no small feat. How did these collaborations come about, and what unique elements did they bring to the songwriting process?

First-class musicians are always demanded in this business. Actually, I was lucky enough to work with a group of extremely talented studio professionals who worked as well as toured with top tier bands and singers even during the time when I was opening for Johnny and Robby of the Goo Goo Dolls. And session players like Chris Chaney who has worked with Jane’s Addiction and Alanis Morrisette and the Los Angeles Philharmonic orchestra came highly recommended as we went through the planning and pre-production stage of the album and most were simply introduced to me. When you get to the professional level, the music business very much becomes a word-of-mouth. And although I had already written, arranged, and pre-produced all my songs in the album before we even got started inside the Henson Recording Studios in Los Angeles and that all other players have eventually enhanced my artistic vision including the remastering at the McCartney Studios, Chris has brought so much to this album with his freestyle bass recordings while the LA Phil orchestra specifically took the “Blind Woman” track to the next level to a point that they’ve completed my artistic vision. That’s always a good thing.

Apart from your music career, you’re also an author, with the intriguing novel “Diamonds are For Cocktails.” Could you share the concept behind the book and what led you to venture into the world of murder mystery novels?

Truth be told, I was always a fan of a good murder mystery my whole life especially with legendary authors like Sydney Sheldon and Agatha Christie It was and still is my favorite genre when it comes to books and movies. However, I dreaded writing growing up, believe it or not. It wasn’t my thing and I never wanted to get involve in a profession that required writing in my future. Yet, for the better part of my life, I became a lyricist as a songwriter that led to becoming a contributing writer for the nationally syndicated music-based teen series “B InTune TV” I was hosting in over a hundred million homes in the US, to becoming a full-blown novelist, which I must say, is a bold move. The book concept came about when I visited the French Riviera and fell in love with the place, its beauty and elegance. I was in the great company of Prince Albert II and the late Sir Roger Moore and I had an epiphany of a movie concept to write a screenplay incorporating my favorite genre, but decided to do the book first. I like writing stories that I would want to read and “Diamonds are For Cocktails” has the unique perspective of the billionaire’s lifestyle and the unfolding man haunt between the killer and the FBI from the crimes that’s been plaguing the French Riviera town with an overall human interest and moral life lessons written into the story. Besides, rock music and murder mystery go together, don’t they?

Your charity work in the media edutainment space has been commendable. How do you plan to further your efforts in advancing music and arts for youth, and what motivates you to be involved in such initiatives?

Thank you. I am very proud of my philanthropic work that I started with my late husband, which has gone on for many years now. Outside of accomplishing a multi-career in the entertainment industry, my other passion is to help advance music and arts education for youth in the media edutainment space through the power of music. Which is why there’s been talks of bringing back the “B InTune TV” as well as other media initiatives and youth programs that’s being put forth for this re-emergence only this time at the global stage in support of our partners like the United Nations. I think more so than ever, these are the type of causes that are much needed in these increasingly challenging times and yet, they’re the first ones being cut back in terms of funding despite the obvious fact that ‘music’ truly helps heal and educate not only within our youth but adults in general in more ways than one can fathom. They are the one tool that has proven time and again that heals emotional pain, inspires dreams, breaks barriers in languages, transcends time, and even stimulates the minds and gives hope to the lost, abused, disadvantaged, and displaced children around the world. Think about it, how much does it cost you to listen to your favorite song and feel good about it afterwards? I think we all know the answer to that Not only it changes your mood and mind set like the latest therapy, it also brings out positive results. Not to mention, the educational aspect that you can learn from. And as a musician, I think these are enough reasons that motivate me to give back and continue not only my late husband and I’s work but also, build a rich legacy. To me, that is totally worth the effort.

As Zarah prepares to unveil her much-anticipated single “Blind Woman” on October 27th, this interview provides a unique insight into the mind of an artist who is not only making waves in the music industry but is also contributing positively to society through her charity work

Hazel Ray’s Musical Alchemy: Unveiling ‘My Demon’ – A Journey of Empowerment

Posted on 19 October 2023

Hazel Ray, the remarkable pop-soul sensation hailing from Melbourne, Australia, has recently graced the music world with her latest masterpiece, “My Demon,” released in July 2023. Produced by the legendary Steve James, whose illustrious career spans iconic bands like The Jam, Sex Pistols, and The Screaming Jets, this track is a testament to Hazel Ray’s artistry and vision. Accompanied by a visually captivating music video crafted by the talented videographer Jarrod from Ourfolklore, “My Demon” is more than just a song; it’s an introspective voyage of self-discovery, resilience, and empowerment.

Hazel, ‘My Demon’ is a powerful and introspective song. Could you share the inspiration behind the lyrics and what message you hope your listeners take away from it?”

My Demon’ is just as much about a personal journey as it is about the journey of all. Everyone at some point in their life faces the little voice in their heads that tells them that they aren’t good enough or that they won’t amount to anything. For some people these voices become so strong that it can lead them to paths in life that can be destructive to their health emotionally, physically, spiritually and financially. This unfortunately/fortunately was also the case for myself. I say fortunately because it was through facing these inner Demons that has pushed me to live a more fulfilled and inspired life, aligned with my Truth. My Demon is a song of hope and strength, that no matter how dark things become, the light will always prevail. Fear is what cages souls from living their dreams. Face the fears, face the Demon, live your Dreams.

Your collaboration with renowned producer Steve James has garnered attention. What was it like working with him, and how did his expertise influence the creative process for this song?

Steve is an amazing human. Super kind and encouraging. He has one of those minds that must be running with about 50 tabs open at a time. When he is working on your track he gives you all of his attention and is already planning legendary session musos to add flare to different parts of your song from the moment you step into the recording studio. So professional and always willing to explore creative routes.

The music video for ‘My Demon’ is visually stunning. Can you tell us about the concept behind it and your collaboration with Jarrod from Ourfolklore to bring your vision to life?

I came up with the concept for the music video, upon reflecting on what it felt like to have a voice that controlled my every thought and every move. The chess game symbolised the inner fight between the moves that I wanted to make in my life and the way in which the Demon was able to override every decision to make my life a living hell. There is a scene in the film clip where I realise that there are no rules to the game if I don’t want there to be, so I pick up the Queen and place it back in the game. This is the first sign of transformation of control, which puts the Demon on edge. I chose to show the cleansing of the Demon by diving into the ocean, cleaning myself of all those negative thoughts and lack of control. Jarrod did an amazing job capturing the changes between the mental struggle and how the Demon manifests into our reality. He has such a flair for abstract concepts and bringing them to life. I was so grateful for his input and the overall outcome.

Your music has been described as a refuge and a source of healing for listeners. Can you elaborate on how you aim to connect with your audience on a deeper level through your music?

Music that offers healing, answers questions in people that they didn’t even realise they had. It offers empathy in a way that just words can’t. From there the audience feels closer to the artist as for the first time for whatever reason in that particular moment they feel seen and understood. My music can offer this to those who need it. Many of the songs that I write and many of the songs that are yet to be released, discuss the questions of ‘who am I’, ‘why am I here’, ‘what is my purpose’. These very questions are asked by every single human at some point in their life and I hope that my music will be there to guide the future generations as they look inwards to find those answers.

Your sound has been compared to the likes of Adele, Eva Cassidy, and Lady Gaga. How do you feel about these comparisons, and how would you describe your unique musical style and approach?

I am absolutely flattered that people find similarities between my music and sound with these artists. They are definitely inspirations of mine. My uniqueness comes in my very own story and the knowledge that I endeavour to share with the world. For me it’s not just about the music. I have created a unique show called ‘Asleep to Awake’ where I put 10 years of Science teaching, a neuroscience degree, song writing and storytelling together, to invite my audience to explore their true nature and the relationship between Science and Spirituality.

Can you share some insights into your musical upbringing and how it has shaped your career as an artist? Are there any specific influences or experiences from your childhood that have had a lasting impact on your music?

My Grandfather (Ray) was a musician, he played the drums. Sadly, he passed away when I was 10. I really struggled with his passing, which led me down a path of trying to understand death, afterlife. energy, spirit and ultimately how it is possible that I am a soul. I have also had some mental health battles in my life that have taught me so much about who I am and my true nature. These topics of mental health and the spiritual world , for me, overlap and I love exploring their intertwined nature in my songs.

Find out more about Hazel Ray by visiting her website

Unleashing the Musical Fire: An Exclusive Interview with Sabres, Touring with Hot Juice

Posted on 11 October 2023

Welcome to our exclusive interview with Sabres, an incredibly talented band currently on tour with the sensational Hot Juice. With a rich history of touring and a strong support system from Mayfield Records, Sabres are making waves in the music industry. Today, we dive deep into their journey, their upcoming releases, and what sets their live performances apart. Join us as we uncover their musical influences, their strategies for staying relevant, and their aspirations for making a lasting impact on their audience.

How did the opportunity to tour with Hot Juice come about, and what can you tell us about the upcoming tour dates and venues?

 Quite simply, we’re two bands keen to get out there and make a name for ourselves, we started a conversation and got booking. We’ve looked at some of our favourite venues across England plus ones we’ve never been to, breaking new ground for ourselves. It’s tough on new soil but this tour sees us hit Bristol, Brighton, Birmingham, Reading, London, Southampton and Bournemouth. We’ve been extra motivated after some great supports for other touring bands like Mondo Generator, Melt-Banana, the Virginmarys and Blind River.

 

What can fans expect from Sabres’ upcoming tour?

 Expect noise. Lots of noise. We pride ourselves on people frequently hearing us and being surprised that we’re only a two-piece band generating the sound that we do. We’d like to think this was captured perfectly in our EP.

Our touring support, Hot Juice, are a four-piece from Brighton who you can’t miss. Between the two of us bands, there’ll be a veritable cocktail of sounds and energies. We’re excited to kick off the tour in Bristol with German stoner rockers, Beehoover, at the famous Gryphon pub. We’re also joined by some pals of ours like Yur Mum from London, and Dead Lettuce from Bournemouth. Great people, and fantastic bands.

After tour, we’re back in our hometown for Icebreaker Festival in February, which is easily Portsmouth’s best weekend of live music.

What can we anticipate from your upcoming releases?

Our newly released EP, courtesy of Mayfield Records, features all three of our singles to date, plus three more tracks: In My Day, Paint By Numbers, and Pollution. Altogether, the EP explores themes such as depression, generational trauma, bigotry, right-wing press and toxic masculinity. We’re not the most cheerful band in the world, but we’re fine with that. Art should disturb the comfortable and comfort the disturbed. Musically we’ve drawn from a melting pot of stoner rock, grunge, punk, alt… our biggest influences are the likes of Melvins, Queens of the Stone Age, Nirvana and Foo Fighters. We recently recorded a new batch of tracks with Samhain for a future release, and we’re ambitious that they’ll sound even better than this EP.

 The music industry is constantly evolving. How do you stay creative and relevant in an ever-changing landscape? Are there any specific strategies or approaches you employ to keep your music fresh and engaging for your fans?

Trial and error. We’re not marketing gurus and we’ve no interest to be. To some extent, you’ve got to play the game, but not lose sight of what’s important to you. We landed a few editorial playlists on Apple and Spotify too, including Spotify’s Shockwave playlist; that massively boosts your listeners. Give them the best pitch you can and hope for the best. We had a blast making music videos for our first two singles, they’re definitely not a bad way to both sell your ‘product’. Ours were shot by Samhain Carter-Brazier, who also recorded and mixed all our songs to date at Mayfield.

 Touring can be physically and mentally demanding. How do you prepare yourselves for the challenges that come with being on the road? Are there any rituals or routines that help you stay focused and energized throughout the tour?

A pint tends to help in most situations.

Music has the power to connect people and evoke emotions. How do you hope your music resonates with your audience? What kind of impact do you strive to make through your songs and performances?

We can only draw on our own experiences to write lyrical content, and if people relate to it, that’s always a good thing. The music itself is as important, a song is equal to the sum of its parts; the music tends to come first when we write. We diversify in our sound because it comes naturally to us, and perhaps that versatility is an appeal.

It’s not easy to talk about connection when the music and performance often comes across quite miserable and angry, but there’s as much to talk about in disconnect and transgression than anything. Themes of loss, for example, have come up a few times in our writing; it’s nothing new or groundbreaking, it’s just honest.

 Where can fans find Sabres online to stay updated on your music, tour updates, and other exciting content?

 Our EP is out now on all major streaming platforms: https://ditto.fm/sabres

FB: facebook.com/SabresBand

Instagram: @sabres.band

Twitter: @SabresBand

YouTube: @SabresBand

Behind the Music: Unraveling the Fascinating Tale of Sketches of Carol

Posted on 3 October 2023

Step into a world where music and storytelling intertwine, where ‘Sketches of Carol’ stands as a magnetic project with a name that’s more than meets the eye. In this intriguing conversation, we’re about to uncover the origins of this enigmatic title and the deep-rooted inspirations that fuel it. ‘Sketches of Carol’ invites us on a thrilling adventure across the cinematic realms of love and sci-fi, weaving a musical narrative that defies the boundaries of time and space. So, come along as we unravel the cosmic connections, embrace the cultural tapestry, and witness the collaborative enchantment that brings ‘Messengers’ to life—a promising start to a visionary musical journey

‘Sketches of Carol’ is an interesting name. Can you explain the thinking behind it?

The name Carol stuck with me after I watched a hauntingly beautiful film of the same title featuring Cate Blanchett and Rooney Mara in the leading roles. It portrays a love story between two women and the struggles they face in 1950s America. This inspired a remote collaboration with pianist, composer and producer Maria Chiara Argirò where we kept exchanging sketches of music that the other person would develop and transform. Both, the relationship of the characters in the film who are so supportive and loving with each other in the face of great suppression and the relationships I share with a group of super talented giving women in my UK artist network have inspired me to adopt this name for my project. Carol became a symbol of womxn support networks and sisterhood, of womxn and men who elevate each other knowing that we as a society can achieve so much more and live more fulfilled lives when we stand together.

The EP ‘Messengers’ draws from your affinity for science fiction and pays tribute to iconic films like ‘Blade Runner’ and Star Wars. How did you infuse these cinematic influences into the music?

My Dad is a big sci-fi fan, so I grew up spellbound by the stunning sound worlds and effects of those cinematic masterpieces. Think of that distinct melody that is used in ‘Close encounters of the third kind’ to communicate with a foreign species or the epic electronic soundscape Vangelis created for the opening of Bladerunner (1984). I wanted to capture this ‘otherworldly’ sound in Messengers.

Central to the track is a lulling loop of close harmony, which to me evokes the sense of endlessness in both time and space. The soaring melody shared by voice and violin that runs over the top has a searching quality that never repeats or arrives. All of this is bathed in a deep low-frequency noise aimed to subtly create the sense of a large space, vast and incomprehensible, just like the universe itself.

The theme of interplanetary communication and the Golden Record’s portrayal of Earth’s diversity are central to ‘Messengers’. How did you translate this concept into musical elements that convey a sense of connection and cultural richness?

Yes indeed – NASA’s Golden Record was sent into space on their Voyager spacecrafts in 1977. The record holds a selection of natural sounds (including some made by animals), music from various cultures and eras, human sounds like footsteps and laughter, and spoken greetings in 59 languages.

I was totally fascinated by this – how amazing it is to have a record floating around space which exists to introduce both planet Earth and humans to any spacefarers passing by. I started imagining my own small capsules of ‘natural life on earth’ – like fast-skipping through a load of documentary channels.  It was such a  rich source of material, I ended up writing the entire lyrics to Messengers in one complete flow.

The diversity across the spoken greetings, that the golden record transports, was my second point of interest. Despite all carrying the same sentiment of greeting a stranger for the first time, there was such a colourful variety of expression. It is a fantastic reflection of the luscious tapestry of human culture.

Could you share a particular moment during the creation of this EP when your improvisation led to a surprising and impactful musical direction?

I have been a vocal improviser for many years and the excitement of constantly  reaching into the unexpected and shaping it as one goes along, is pure joy to me. In the EP, both the lead melody of Messengers and the ‘space trumpet’ effect that I created using my voice for the intro and outro, were improvised in single takes. There was no editing or rewriting. So, I would not exactly say that improvisation led to a surprising direction, but rather, that it is my default way of creating.

Collaboration seems integral to the EP’s success, with Gonçalo Abrantes’ production and William Newell’s layered strings. How did these collaborations contribute to refining your vision for ‘Messengers’.

The value and pursuit of connection is at the heart of all my performances, writing and projects. I cherish working with other artists, trying to understand their process, aesthetic desires and the language in which they express themselves. Will and Gonçalo both have a beautiful artistic sensibility. I chose to work with them because they have the ability to truly listen and distil what a piece needs to be elevated. Will does so masterfully in his work with Solem Quartet and Ensemble 26, and having worked closely with him in the minimalist trio White Flower, I did not feel the need to give more instruction than to trace my solo. I let him improvise the further parts, and boy did he put the cherry on the cake.

Working with Gonçalo was slightly more directed since his role as mixing engineer and producer was to breathe life into my space travel vision. A sci fi appreciator himself, he knew exactly what I meant by ‘that noise that you hear when the spaceship moves in above you in Star Wars, where you hear it before you see it’. But jokes aside, Gonçalo is a brilliant producer who has helped shape my ideas in a very distinct yet non intrusive way. We have already finished a second work that will be released in 2024. I very much look forward to continuing our collaboration. Btw, Gon is a wonderful songwriter and singer himself. Do check out his releases under the artist name Agon Branza.

As the first of four planned releases, how does ‘Messengers’ set the stage for the upcoming releases in the ‘Sketches of Carol’ project? What can listeners expect in the future releases?

For now, I have three more releases to come. Continuing with the theme of collaboration, each release features one instrument to accompany my a capella vocals.

There will be guest appearances of cellist Steph Tress, (also Solem Quartet), pianist and producer Maria Chiara Argirò (These New Puritans) and drummer Gaspar Sena (Valia Calda).

In terms of style, you can expect quite a variety across the upcoming releases – from the vocals and production elements. In points of theme, there is a piece on migration, one about communal grief and of course, there’ll be ‘Carol’, the piece that started off the whole project. I’m very excited to share all this with you!

Your upbringing in the Silesia region has left a significant mark on your creative journey. Could you share a specific memory or influence from your childhood that you’ve translated into your music?

Absolutely – I was born and raised in the three-country corner of Saxony, where East German, Czech and Polish traditions meet to form what is a very distinctive heritage of Lower Silesia. On top of that, I’m a GDR kid and while I was only 6 when the wall fell, the influences of russian and slavic aesthetics in film, music and local culture ran strong. For example, I grew up captivated by German and Russian fairy tales and I loved exploring folkloristic traditions, like the spring fires that are supposed to clear out winter and make way for spring. In my teens, it became an annual tradition in my family to visit mediaeval markets in self-made costumes and to pay our way at the food stalls by singing old ballads and folk tunes. All of this sparked imagination and playful creativity in me.

I also really loved singing from an early age and took any opportunity to use my voice – whether belting out 90s power ballads or singing German folk songs with my mom, sister and grandma.

In terms of artists I grew up listening to, my dad’s record collection (which he proudly played on his AWAY hifi system) had a real impact on me. I listened to a ton of amazing Stevie Wonder, Prince and Quincy Jones records, Pink Floyd, Peter Gabriel and Tower of Power as well as early electronic music like Yellow and Art of Noise. My mom loved great singer-songwriters like Carly Simon, Fleetwood Mac and Rio Raiser, and through my grandpa who sang in church choir and played a bit of organ I got introduced to choral and classical music like Händel and Bach.

Head over to https://www.sketchesofcarol.com to learn more!

Harmonizing Emotions and Lyrics: An Exclusive Interview with NINIVE on ‘Solo en Ti’ and Her Artistic Odyssey

Posted on 1 October 2023

Join us as we sit down with NINIVE, the rising star of Alternative Pop, to delve into the inspiration behind her hit single, “Solo en Ti,” her partnership with producer Enrique Gonzalez Müller, the influence of her academic journey on her songwriting, the emotional depth of her music, and a sneak peek into her upcoming album. NINIVE’s artistry is a captivating blend of emotion and melody, and this interview offers a glimpse into the heart of her musical evolution.

Can you tell us about the inspiration behind “Solo En Ti” and how it reflects your growth as an artist?                                                           

“Solo en ti” was a particular song starting from the moment it was written. Usually for me composing a song comes as a flood, the music, melody and lyrics come together, rarely separate. “Solo en ti” was an exception and it wore a different disguise. I started with the just words and the thought of not wanting to write a “nice song, with nice lyrics, that talks about nice things”. I wanted to talk about the ugly, the uncomfortable and the unpleasant, but this song ended up being much more than that, revealing potent feelings and emotions I had hidden inside.

Solo En Ti focuses on my emotional labyrinth with music. The resentment I thought I felt while being in love with it at the same time. As an artist breaking this seal of what I thought was expected of me and being able to actually express myself and share, not only the nice parts but also the angry, the dissatisfied and confused part too, opened a whole new chapter for me.

Collaborating with Enrique Gonzalez Müller is a significant step in your career. How did this partnership come about, and how did it shape the song’s production?

As this project started to take shape, my team and I (Adrian Sanchez and Andres Vargas) decided we needed to take it to a new level. We wanted someone that could give it power and potent expressiveness while keeping its essence and DNA. We remembered of an unusual and impressive producer, Enrique Gonzalez Müller, which we had the pleasure to meet at a talk he gave a few years back at COM (College of Music de la Universidad San Francisco de Quito, Berklee Global Partner) With this in mind we began our hunt to find him and catch his attention, and luckily we got it. Enrique’s sharp ear for translating human emotion to physical sound is so unique and precise, it fulfilled the artistic vision I had for this project.

Your academic journey includes a Master of Music in Songwriting. How has your formal education contributed to your songwriting process and the depth of your lyrics?

Dedicating a large amount of time exclusively to songwriting allowed me to explore my ideas in- depth and experiment with various tools I learned along the way. A big part of the program was dedicated to research, learning about the work of other artists and collaborating with other musicians opened my mind. This exploration made me really think about what I wanted to do and how I wanted to express myself within my music.

The emotional journey in “Solo En Ti” is palpable ranging from frustration to reconciliation. Can you share more about the story or message you aim to convey through this song?

“Solo En Ti” talks about how resentful I thought I was with music at a point in my life when a lot of changes were happening. My experience throughout this project is described as an entering  an emotional labyrinth, where the only way to heal and clarify these clouding feelings was by reliving the pain, admitting mistakes, and recognizing the beauty of a tough journey as well as acknowledging that life is an adventure.
As time passes, I have learned that the process of going through and feeling what is painful, harsh, and uncomfortable is a crucial part of learning and finding a better understanding of myself. A practice that is definitely out of my comfort zone, but has helped me process different events in my life.

What can we expect from your upcoming album, and how does “Solo En Ti” set the tone for this musical venture?

“Solo en ti” was the perfect opening track because it shows the heart of this project with its Andean roots, especially in its percussion and its Latin American narrative heritage. It is a time machine with the romance of yesteryear but using modern tools (the magic of technology with its Sonic filter and effects which allow us to modify sounds in almost supernatural ways!). Although the other songs of the project have the explosiveness of “Solo en ti”, they also bring different shadow-and-light nuances of equal depth and honesty.

From Tunisia to LA: Ines Belayouni Talks To Us About Her Journey to International Stardom

Posted on 22 September 2023

Ines Belayouni, the talented Tunisian singer, embarked on an extraordinary journey from Tunisia to Los Angeles to fulfil her musical dreams. With a deep love for Jazz and Arabic music, impressive collaborations, and a versatile language repertoire, Ines’s story showcases her unwavering determination to achieve international acclaim in the music industry. In this interview, we dive into her unique journey, exploring her musical influences and the pivotal moments that have shaped her career.

Can you tell us about your early musical influences and how your family instilled a love for Jazz and Arabic music in you?

My parents instilled the love of music since I was a toddler. My mother grew up in France, she used to play a lot of classical music and popular French songs from various artists such as Edith Piaf, Charles Aznavour, Jaques Brel and many more. My father on the other hand, loved Arabic Music specifically Egyptian, soon I found myself singing with him the songs he would play in the car and he noticed that I was learning fast and sang in tune. When it comes to Jazz music, both of my parents introduced me to it with artists such as  Armstrong, Miles Davis, Sinatra.

“Ijik el Khir” was a significant milestone in your career. How did the opportunity to collaborate with Sabry Mosbah on this track come about, and what impact did it have on your musical journey?

Following the Tunisian revolution that occurred in 2011, our country and us as citizens, experienced violent and scary events for a few months, that changed the course of history. Ijik El khir is the soundtrack of a documentary produced by Coca Cola. This Anthem is an invitation to all Tunisians to express the solidarity found in each of us, which was much needed following the state of turmoil the country was in, and to be reminded that we should remain United. The song was a success, touched many hearts, brought some joy amid the chaos, and for us as artists brought fame, and exposed us to a larger audience through radio and tv appearances.

You were part of the project “Imraa Wahida,” the Arabic version of the song “One Woman,” which was produced for UN Women. Can you share your experience working on this project and performing at the Cairo Opera House on International Women’s Day in 2014?

It was an incredible experience and a memory dear to my heart. I met wonderful and talented artists, singers, writers, producers and musicians. It was my first trip to Lebanon as well. A year later we had the opportunity to get together again and perform at Cairo Opera house. I remember vividly the night we performed, how proud we were to be part of such an amazing and powerful project that aimed to spread a message of unity and solidarity.

You’ve had the opportunity to perform at prestigious events and on various TV and radio shows in Tunisia. Can you share a memorable experience from one of these performances or interviews that had a significant impact on your career?

One of the most memorable experiences was performing at the American Embassy for Independence Day in July 2016. It was such an honor, especially having met The Ambassador of the United States appointed at that time, who gave me great advice, encouraged me to move to the US and aim for an international career. Another memorable event was when I sang the Tunisian National Anthem A cappella for Europe day, I was contacted by the ambassador of European Union appointed in Tunisia back then, who also gave me amazing opportunities and never seizes to encourage me throughout my career till this day. I remain deeply grateful for both of these honorable men, who trusted me as an artist and believed in my potential.

Moving to Los Angeles is a major step in your journey to become an internationally recognised artist. What prompted your decision to relocate, and how has this move influenced your musical career and style?

Tunisia provided a great underground scene for me to evolve as an artist and reinforced my will to pursue a career in singing, but I always wanted more. As being an artist in Tunisia is not easy, I felt stuck, especially when you prefer singing in English. I have always wanted to move to the United States, since my first trip ever, back in 2004. I never lost hope, I have always believed in myself and my potential and wanted to make this dream come true. I was aware of the hardship ahead of me but that did not scare me. I had to get out of this comfort zone I was in, to embrace this adventure. I don’t think there is a better place to do it than the United States, it is the land of opportunities, I feel respected as an artist. I simply feel in my element.

You’ve mentioned your versatility in singing in multiple languages. How do you approach adapting your musical style and expression when singing in different languages, and do you have a favourite language to perform in?

I grew up speaking Arabic and French, I learned how to sing Arabic music from a very young age. Later on when I heard Whitney Houston, I fell in love with her voice and knew at that moment that I wanted to mostly sing in English. I have always been extremely curious of other cultures and languages. When I hear a song that I like, I will be wanting to sing it, thus adding Spanish and Italian to my repertoire. When singing in different languages, I make sure I understand the song even though I don’t speak the language to be able to convey emotions. Understanding the words you are singing is very important.

Could you share some insights into your current and upcoming projects? What can your fans expect from you in the near future as you continue to pursue your musical dreams in Los Angeles?

Last April, I released the first single of an upcoming Ep. The song is entitled “Attention” it is a pop rnb anthem that my producer Jamelle Adisa and I have worked on and co-wrote. We released a music video on YouTube and the song is available on all platforms. We recorded a few other songs and will be ready to release the EP by December hopefully. As I speak fluent Arabic and French I believe in music fusion, I am proud of where I come from and I consider myself lucky to be diverse and to be able to add a taste of my culture in the music I work on. Stay tuned!

For more information on Ines Belayouni visit her website.

 

Exploring Raw Emotion and Heartbreak: An Interview with Indie Singer-Songwriter Kayla Friend

Posted on 29 August 2023

Indie music enthusiasts and fans of emotive storytelling are in for a treat as singer-songwriter Kayla Friend gears up for the release of her second single, ‘Over,’ scheduled for release on September 22nd, 2023. Following the success of her debut single, ‘Valentine’s Day,’ Kayla continues to captivate audiences with her poignant lyrics and soul-stirring vocals. In this upcoming release, she delves deep into the themes of love, heartbreak, and the tumultuous journey of moving on.

Can you share the inspiration behind your upcoming single ‘Over’? How did the creative process unfold?

The song was inspired by an old iPhone note I had from years ago… a few quick thoughts I had jotted down when I realized that, after so many years, a prior relationship had reached a point of closure I’d been wanting for years. What sparked the note itself was when I received a “who is this?” text reply back to the number I had in my contacts for this person – we would still correspond here and there to share big life updates, send song recommendations, etc. The first words of the song are a direct lift from that original note – “you changed your number…I guess I understand, ’cause I always fall through any crack you leave open.” The words came with the vocal melody as I sat for an hour between errands in midtown, NYC, trying to get in a little piano time at a local studio. My fingers sat on F5/C until the rest came. Most of the lyrics and melody were written in that hour at Spectra Music Studios.

‘Over’ explores the aftermath of a passionate yet uncertain romance. How did you manage to infuse such personal emotions into the song’s lyrics and vocals?

I like to pull from real experiences that I had as a young adult adjusting to a new life in New York City – I wasn’t writing music at that time, I thought I couldn’t, so I’d just scribble these big feelings into little notebooks and iPhone notes whenever I got the chance, mostly just to get it out of my head and stop ruminating on it so much… It’s been such an experience years later revisiting these notes through the lens of music and putting melodies and words and a sort of “end” to these stories that felt incomplete. I’m able to do it so much more efficiently now with music and honestly, having the gift of time and distance from the events that sparked these thoughts has made it so much easier to be really honest with myself and create the songs from an authentic place without worrying if it’s going to tear me apart. I’m in a different place now, which makes revisiting these sad, vulnerable moments through music so much sweeter – it allows me to give myself some grace and be kind to my younger self in a way.

The verses in ‘Over’ are particularly evocative, painting a vivid picture of vulnerability and yearning. Could you tell us about your song writing approach when crafting these raw and relatable lyrics?

When revisiting old wounds, I like to be as honest as possible while still infusing the lyric with hope – however misguided that hope may be. The song is about not being able to ‘get over’ a relationship, yes, but in the verses I wanted to address that false sense of hope that made it drag on for so long: “I’ve kept my distance, and you’ve kept your secrets / we’re so good, insisting we’re strong at our weakest / just doing what’s right, never thinking we might be the fools.” This is about two people who are stubborn to a fault – even about doing the ‘right thing’ (whatever that means)… to the point of possibly missing out on great love because keeping the distance is the right thing to do. And even though they were both stubborn, they kept a sliver of opportunity open to keep that communication going – that’s where the hope is. There wouldn’t be that yearning without the sliver of hope, which is ultimately what makes it so tragic – the song is about the death of hope in that relationship.

The chorus of ‘Over’ carries a sense of self-reflection and introspection. How do you channel your own experiences into your music to create such a strong emotional connection with your listeners?

The more personal it is, the more relatable to others it becomes. I don’t know what it is about that concept that makes sense, but it works – I think anyone can relate to the feeling of wondering if ‘the one that got away’ misses you, even if you have both since moved on. Most of us are just afraid to be honest about it.

The upcoming music video for ‘Over’ draws inspiration from the indie film ‘500 Days of Summer.’ Can you share how this visual representation complements the song’s narrative?

500 Days of Summer was such a cultural moment for me as a young adult – the film came out in 2009, and I think that so many young people – myself included – immediately gravitated toward it because of the incredible storytelling, cinematography, and of course, the iconic performances. The story is told through the lens of Tom Hansen – a flawed, but relatable hetero cis male protagonist – and not long after the film reached critical success as an indie “sleeper hit,” grossing nearly 8 times it’s production budget in box office sales worldwide, some pretty harsh reviews began to come out from the public about the lead characters, Tom and Summer… Summer was thought to be purposely villainized by the film, which sat uncomfortably with some audiences and seemed to lean more into the ‘manic pixie dream girl’ problem. Nearly 15 years later, I think folks are coming around to the realization that Summer is not a villain – she operates like an unattached hetero cis man. She clearly states that she is not interested in a relationship with Tom, but leaves the door open to explore the grey areas between friendship and commitment. Summer is fiercely independent and acts out of her own self interest, not with the purpose of hurting other people, but with the conviction that she needs to do what is best for her – full stop. I find myself now having a lot of sympathy for Summer’s character and relate much more to her than I do to Tom these days. However, I think Tom’s narrative connects best to the ethos of this song for me – ultimately, Tom spends the majority of the film not being able to get over Summer, no matter how many times and how many ways she tells him ‘this won’t work.’ There is a kind of delusional hope that drives Tom to continuously leave that door open, always seeing the best in her, refusing to open his eyes to all the moments that were clear indicators of the relationship ending – I thought to myself, “what would it be like for my listeners to see this song through Tom’s eyes? Except Tom isn’t a hetero cis man – he’s me.” In a way I think the gender-swapped element of it peels back the filter we might have assigned to these characters as “hero” or “villain” – it forces us to admit that we each have our moments of willingly delusional hope when it comes to love.

As an indie artist, how do you hope ‘over’ will resonate with your audience, and what message do you aim to convey.

It’s always challenging to predict how new music will land with an audience for any musician, but especially challenging for an emerging indie musician – my hope always is for my audience to find a connection point, to feel somehow seen and understood by seeing themselves in my songs, and to help people feel less alone. Heartbreak, yearning, grieving – it’s something that is so universal and yet something we have all learned to skillfully hide or frame in a way that is ‘palatable’ to society. I want my songs to let people know that they don’t have to sugarcoat pain and they don’t have to be embarrassed by feeling big things. ‘Over‘ is something I think we can all relate to, as long as we are all being honest.

For the latest updates on Kayla Friend’s music and more, make sure to follow her on her official website, social media channels and get a sneak peak of the ‘Over’ video trailer here.