Dynamic Data: Chartmetric’s New Weekly TikTok Chart Captures Lightning-Fast Trends
Music data and analytics company Chartmetric has announced the launch of a new Weekly TikTok chart that helps identify those “overnight success” artists and pinpoints fascinating cultural moments as they trend on the influential platform.
In recent months, many popular artists have struck like bolts from the blue, popping up suddenly on platforms like TikTok. Chartmetric, the music data and analytics company committed to inspiring creativity, wants to show the whole backstory.
To find these trending artists’ tracks right as they take off, the company has created a new weekly TikTok Chart. Among other key features, the chart lets users search by velocity (how fast a track is gaining traction) and by rankings that extend deep into the leaderboard (down to the 1000th-ranked track). That allows the chart to reveal not just the same big names for weeks, but the substrate of fast breaking new artists who are winning over TikTok influencers and active users alike.
“So many up-and-coming artists who become super popular seem to appear quite suddenly to outsiders, but in many cases, they were not overnight successes,” explains Chartmetric founder and CEO Sung Cho. “You can see that there’s a story, a buildup to their success. The artists on this chart didn’t come out of nowhere. All biggest stars may dominate the top of other charts, but you’ll find many artists right below, millions more. We wanted to show what’s happening for those millions more dynamically.”
TikTok is characterized by viral pick-up on new trends and tracks that fit the spirit of the moment, regardless of their release date, language, or popularity on radio or big playlists. A song with the right lyrics or feel can zip from obscurity to millions of TikToks with remarkable speed. “On TikTok, the artists benefit, but it’s all about the users and what suits their goals, whether it’s getting laughs or nailing the dance they want to do,” say Jason Joven, Chartmetric’s Content and Insights Manager. “Old music is as popular as new music.”
Other platforms and services, like most labels, highlight new releases from top artists as their first priority. But not TikTok, Joven points out, which surfaces tracks of all kinds, including a Kane Brown ballad that couples began using as a soundtrack to aerial gymnastics routines and a vintage Harry Belafonte track that’s become popular among joke-telling TikTokers, both of which popped up on Chartmetric’s radar as they put together their bi-annual report late last year.
In catching these unexpected meteoric rises right as they happen, Chartmetric’s chart reflects the company’s overall commitment to presenting data dynamically and creatively, finding the signal in the noise generated by music consumption, social media, and UGC video. Cho, Joven, and team are as scrappy as many of the influencers and artists they monitor, drawing on Silicon Valley’s rigorous experimentation and using data in ways that both harness and unleash creativity. Bringing a fresh tech approach to the industry’s chaotic data, Chartmetric has worked to let the data speak in ways meaningful to artists and other stakeholders.
“We like to say we’re taming data to keep artists from having to deal with a dozen open browser tabs and dashboards, a nightmare of spreadsheets and notes and other distractions from core tasks,” states Joven. “We want to unearth actionable insights by connecting numbers to narratives.”
The numbers are shifting rapidly on the platforms that matter most, and as artists double down on TikTok, the trends and insights will be all the more important. “TikTok is a dynamic platform, and we wanted to capture that side of the platform more accurately. We wanted it to be easy to learn and to explore the energy and trends,” explains Cho. “We’ve always cared about the dynamic nature of data.”
About Chartmetric
Chartmetric was founded in 2016 and emerged from beta in 2017. Its professional product clients include all three major record companies, thousands of independent labels, publishers and distributors, as well as artist managers, agents, festivals, promoters and brands from outside of the traditional music industry. But the vast majority of Chartmetric users are artists at every stage of their careers, covering every genre and hailing from over 100 countries. Chartmetric provides insight that every music professional needs to navigate the complex global market for music, finding, and engaging audiences at a truly global level.
Review: "The Secret Stache" EP by Chughey
Spitting truth like pure fire, “The Secret Stache” EP by Michigan based rap artist @itschughey is an intensely personal performance. Check out our in-depth review of the EP now.
Spitting truth like pure fire, Michigan based rap artist Chughey’s “The Secret Stache” EP is an intensely personal performance. Lyrics have a unique quality to them verging on a stream of consciousness approach. By focusing intensely on mental health, a desire to grow, the collection has a power to it.
Chughey keeping the arrangements to the essentials the way the journey unfurls gives it a highly personal quality. Things have a reflective quality to them, from his observations that run through the entirety of the collection to the dreamy-hued melodies that gracefully waft on by.
References abound throughout the whole of the mix. Chughey’s style touches upon the work of Atmosphere and Oncue. By keeping things focused, the EP has a great urgency to it. Surprisingly reassuring, there is a hope that seems to tie it all together. The focus on redemption, the desire for it, gives Chughey a little in common with Kendrick Lamar’s pointed critiques of society at large. Additionally, too, the emphasis on getting the atmosphere just right further touches upon Lamar’s work, especially from his “DAMN.” album.
Woozy keys introduce the EP on a high note with “Example”. Akin to coming in and out of focus, the song’s disorienting structure perfectly punctuates Chughey’s careful, highly articulate narratives. The blurred melodies alongside the nimble beats gives it a floating through space sort of emphasis. Heavier with its tact is the intense “Begin to Die”. Delivered with urgency, from the martial rhythms to the shouted vocals, there is a commanding presence that tries to cut through the haze. Full of concern, care, and compassion, the song feels akin to a wake-up call.
Easily the highlight of the entire collection comes from the warped toy-box riffs of “Ominslash”. Giving it a nostalgia gone nightmare fervor, the eerie echoes add to the strange unsettling quality of the piece. Ever larger, the piece works itself into a virtual frenzy. For the finale stretch Chughey strips it all away, leaving only a raw beating heart at the very center of it all.
Chughey’s new EP, “The Secret Stache”, shows off his highly unique style, inviting the listener into his innermost thoughts and feelings.
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Interview: Léthargie and underfish Talk About Their Collaborative Album "blunderfish"
We connected with Léthargie and underfish for an exclusive interview to discuss their newly released collaborative album “blunderfish”, and much more.
“...I hope they can find a bit of themselves in this project. I feel like pain is the shovel to bury parts of ourselves we used to cherish. Whether this brings someone joy, excited, peace, sadness, I just want people to feel something genuine.”
Big ups to you guys on the completion and release of your collaborative album "blunderfish"; what initially led to the decision to create the project and how long did it take to finish?
We met each other back in college, I think in 2015. I was making Soundcloud rap with stage mics and sock pop filters and Mike (Léthargie) was doing his own thing, dabbling in both hip hop and electronic music. I came across one of his first sample-based projects and was floored. The way he chopped samples was on another level, he was somehow able create a polished yet chaotic sound.
I then reached out to him and asked if he wanted to teach me how to sample; he agreed. After a few jam sessions, we decided on working together on a project. I had a concept in mind and Mike was down bring it to life. It's hard to say how long “blunderfish” took. I'd say 3 years. We live far apart so linking up wasn't easy. We'd have to section off a majority of our day to get sessions in.
Describe for us your creative process for the development of the album's 13 tracks. Would you say that there is an overall theme or concept?
I truly believe to create a good project, you need a producer in your corner who believes in you and the process. For music, people need to feel the vibe before they feel the words and Mike brought the vibes. We both agreed that this would be a sample-based project. We wanted it to sound very DIY, kinda reminiscent of older underground hip-hop. Me and Mike would spend hours in his basement and living room listening to records, carefully waiting for that one record to blow us away.
In terms of the concept of the album, the overall theme revolves around dealing with pain and finding yourself in the process. I was personally dealing with a lot while making the project. This was the first time in my life where I discovered that music is healing. Basically, each track showcases a place I was basing my identity. A blunder is a stupid, careless mistake. I feel like you need to make a lot of those to truly find yourself. At first listen, the songs sound like hits rather than serious songs. But if you listen closer to the words, you can find the overall arch of the album.
Were there songs that were written or recorded that did not make the album's final track list? If so, why?
We actually had a whole other album finished before “blunderfish”... but the files got corrupted and we lost the whole album. It's funny because that was probably the best thing to happen to both of us at the time. I remember sitting down with Mike agreeing that we could do way better.
Since then, I feel like we've both grown as artists and personally as well. Looking back at it now, my flows and lyrics were super trash haha.
Tell us about the album's cover graphic; what does it represent and who is the lucky guy on the cover?
I always find it hard to bring my ideas to life. I have a notebook filled with music video ideas, cover ideas, project ideas, whatever! Luckily, Mike's roommate, Connor Tadao (founder of Flee Normality) is a super talented photographer who was able to turn my ideas into a reality.
Again, the picture was very DIY. I had bought a laundry basket and about 10 bags of fish crackers. We cut a hole in the basket to fit my head and filled that sucker with fish. Connor then took a few shots and we were done.
There wasn't really any concept to the cover, more just wanted something that caught people's attention. I had a previous idea for the cover but I feel like this one really stands out. Kind of like a shark breaking through a sea of fish.
When someone listens to "blunderfish" for the first time, what do you want them to take away from experience?
I hope they can find a bit of themselves in this project. I feel like pain is the shovel to bury parts of ourselves we used to cherish. Whether this brings someone joy, excited, peace, sadness, I just want people to feel something genuine.
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Connect with underfish: Twitter | Facebook | Instagram | Spotify
Houston Based CHH Artist D'Vo Releases His New Album "The Codex: Running The Point"
Houston based CHH artist @nerdlifebyDVo returns to DCWS with his brand new album “The Codex: Running The Point”, the highly anticipated follow up to his last release “The Codex: I Got Next”.
Houston based CHH artist D’Vo returns to DCWS with his brand new album “The Codex: Running The Point”, the highly anticipated follow up to his last release “The Codex: I Got Next”. This new album features OB3ple, Master Pé, Vicky Flint and Yoel, along with production by Beanz & Kornbread, Tellingbeatzz, and several others.
Speaking about this new album, D’Vo says “In this album, you are able to see my growth as an executive producer and sound engineer, using more modern mixing techniques, such as delays, compression and unique equalizing curves that give the voice unique characteristics. Still having so far to go, but in this project things started to click a bit. The light bulb went off. lol. It is important for me to go through the learning curves because I want to be able to make it happen myself.”
D’Vo also notes that “I have always been a person that leads by example; so instead of hiring or asking someone to do something, I will just dive in there and do it myself, God has given us all the tools, power, and ability to be efficient. It is up to us to utilize those tools. Some people wait for things to happen, others take their destiny in their own hands and make it happen.”
We’re very excited to share D’Vo’s latest project with you now, as well as an exclusive interview and in-depth review, both coming this week. Be on the lookout for both, but in the meantime, check out “The Codex: Running The Point” below, and connect with D’Vo on his social media.
Interview: Michigan Rapper/Producer Chughey Talks About His New EP "The Secret Stache"
We connected with Gladstone, MI based rapper/producer @itschughey for an exclusive interview to discuss his newly released EP “The Secret Stache”, his self-directed music video “Omnislash”, and much more.
“...Sometimes I’ll work on a beat and it’ll inspire some lyrics. Sometimes I’ll have lyrics I thought of randomly in a store or on a walk and I’ll make or find a beat that fits it and go from there.”
Congratulations to you on the release of your new EP "The Secret Stache". What inspired you to create these three new tracks and what does the title represent?
Thank you very much for that. Both "Example" and "Begin To Die" I drew inspiration from what I was going through in life, as far as "Omnislash", I was in the mood to go in on a track and have some fun with words and punchlines.
I came up with the title after I ended up with a decent amount of tracks that didn't fit the upcoming album, I'm dropping this summer. I still wanted to share some of the tracks I had "stached" away, so I decided to share some of the "Secret Stache" as an EP. A little something something till the album drops.
Were there other songs that you worked on that did not make the final track list for “The Secret Stache”?
That there was. The Secret Stache 2 is definitely a possibility.
The music video for "Omnislash" is fire. Describe your experience directing the video and how did you come up with the idea for the secret stache buried treasure?
Thank you very much. I had the vision in my head for the most part. I knew I wanted it to be fast-paced and be pretty heavy with effects and transitions, so I tried to make the most out of the camera/ tripod setup, some rooms in my basement, and after effects. As for 'The Secret Stache' skit, I wanted to have a little fun with some promo and thought it'd be a funny concept to make an epic video tracking down and digging up the "stache".
How would you say that "The Secret Stache" is different from your prior projects, including your debut album from last year?
It's more of a fun way to get some of the tracks out that I thought were still quality, but don't fit the feel of the full-length projects I'm working on. It was a little more of a laid back experience with this EP as opposed to the previous projects I've put out.
When creating new music, how would you describe your creative process? Do you write lyrics based on the instrumental you already have in front of you?
It really varies, to be honest. Sometimes I'll work on a beat and it'll inspire some lyrics. Sometimes I'll have lyrics I thought of randomly in a store or on a walk and I'll make or find a beat that fits it and go from there.
Sometimes I'll find something that really inspires me online and write to it. But nowadays, for the most part it starts with making the beat. But I normally will make like five or so beats before one really hits me and inspires me.
When I'm making that beat, ideas for the hook or verse will start coming to me and I'll work on some of the writing while constructing the beat to fit how I want the track to be. So yeah, it changes quite a bit lol, but either way the creative process is a truly beautiful thing. Make art and make love.
Review: "Blunderfish" Album by underfish and Léthargie
The “Blunderfish” album is exactly what your quarantine has been missing. Created by Canadian producer and rapper duo underfish and Léthargie, “Blunderfish” sounds like the grown-up version of your favorite Soundcloud rapper in the best way possible.
The “Blunderfish” album is exactly what your quarantine has been missing. It’s a wakeup call to rap and electronica - it’s all the musicality of a Chance the Rapper track, with all the weirdness and sense of humor from an Adult Swim show. Created by Canadian producer and rapper duo underfish and Léthargie, “Blunderfish” sounds like the grown-up version of your favorite Soundcloud rapper in the best way possible.
Léthargie, otherwise known as Michaël Landry, fits into a niche that the DCWS team hasn’t really encountered in our reviews before - his style harkens back to producers like AraabMuzik, focusing on sample-based trap and hip-hop beats. It greatly cheers up our #quarantinemood to hear dope instrumentals from someone with proper producer chops. Léthargie’s background is mostly in Electronica, but inspirations are hip hop heavy, ranging from Just blaze and J Dilla to 9th Wonder and Kenny Beats. The beats on this album aren’t just a canvas - they’re a piece of art in their own, and we can’t wait to see what big name MCs discover this under-the-radar gem soon.
The duo consciously worked on “Blunderfish” with a DIY sound in mind, along with early 2000s underground rap. We have to say, they pretty much nailed it with precisely chosen samples and unexpected vocal timbre.
A surprising standout beat we were obsessed with appeared as a casual interlude titled “Flopstyle”, “Sunlight” starts off as a soothing guitar-laden track that embodies how you feel standing under some warm ways, before it speeds up into something more exciting, and proves our golden friend a double edged sword; specifically warning us not to look directly into the sun. Underfish expands on problems of deception within the music industry and warns others as a cautionary tale while confessing his own inevitable involvement.
Underfish sells us a good performance in “Playin a Game”, but those Barry White samples steal the show, giving us a more complex peek into Léthargie and his process. The album is dotted with confident horns in this track and the cinematic “Mask Electric.” “Cloud Nein” is just as the title suggests, reminding listeners that every day is a chance to turn over a new leaf, all against a dreamy wave of a super-stoned beat.
Even if we’re stuck inside this summer, we’ll be playing “Blunderfish” as we soak in the sun or smoke that balcony spliff. We expect to see more hot drops from underfish, and hope that this duo eventually expand their portfolio to work with vocalists and branch out to additional collaborations.
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Interview: Rose Brown of CHH Duo The Brownz Talks About Their New Short Film "I Shall Speak"
We connected with Rose Brown of the husband-wife CHH duo The Brownz for an exclusive interview to discuss their new short film “I Shall Speak”, the CHH scene in Kansas City, and much more.
“It’s important to know what your standards are before you go after something. You can probably achieve or obtain just about anything in the world if you’re willing to do ANYTHING to do so. But at what cost? We’ve both literally been in situations where we could have compromised our standards for a desired outcome, but we didn’t – and we won’t.”
Congratulations on the release of the short film of your single "I Shall Speak", which you co-directed with Ben Cinematic. Tell us about how the song itself became the visual we see now and how long did the video shoot take?
When Fierce first came up with the hook, he wanted to add more to it, but I told him it was so powerful just like it was; it left no room for compromise. It had that feel like even if it means our life, we are going to stand on what we believe, like we had this important message to get out and we just have to - NO MATTER WHAT. It just went from there.
We came up with all the ideas for the visuals and started making calls, scouting locations and gathering props. It took about 2 months from the time we got the idea before we got to start shooting it, and the video took 4 separate shoots at 4 locations over about a month’s time to pull off. (Shout out to Ben Cinematic.) We shot during the winter which brought additional challenges, but it all worked out.
Tell us about Omegalistic Music, and what your goals are with this record label?
When I was a solo secular artist, I released several albums as “Loose Change Productions” reflective of the fact I was self-funded, and was just scraping together what I could. Although I put out a few projects, when Fierce and I got together, much like I gave up my old last name for his, I was happy to start from scratch with him to form a vision together for our brand. He always says it’s “Omegalistic Music- Sounds of the Revelation”.
I can definitely tell you it has been a big investment for us. We are both very passionate about this music. It is a blessing to do what you love with your spouse - we play off each other’s energy and ideas. Our goal is to make good music with a message. With hip hop especially, you have to choose if your message is going to be medicine or if it’s going to be poison to the minds of your listeners. We choose to make music that is clean, non-degrading and that glorifies God. Our music is reflective of where we are in life presently.
For a long time I had a stigma as to what I thought “Christian” music was, so when I first was exposed to some great Christian music it was very exciting. We strive to make music that’s true to the craft of real lyrical emcees on a conscious level, and that is hot enough to win over listeners outside the normal demographic of “Christian” music fans.
As far as goals for the label, we would like to keep growing it. We want to be able to quit our jobs and do music for a living full time. We would love to eventually be able to sign and mentor other artists. Strange Music is based here in Kansas City, and we would love to grow our label to something comparable in size that presents opportunity for artists that don’t fit into that lane.
Speaking of Kansas City, how would you describe the Christian Hip-Hop scene there now in 2020?
It pales in comparison to KC’s secular Hip-Hop scene, but I think the scene is growing. It’s kind of exciting to see other artists who like us, used to be “secular” artists, who now have a testimony and have “changed lanes” so to speak.
There are a couple of good Christian artists in Kansas City I know about, and likely several more that I don’t. A Ward is tearing up the Battle Circuit all over the U.S. which is pretty impressive for a Christian artist.
What can you tell us about your upcoming album "D.E.M."with S.H.A.D.O.W.; when will it be dropping? Also, how did you connect with him?
“D.E.M.” which stands for “Destroy Everything Moving” is a project that will be highly anticipated by real hip hop heads. It’s a very lyrical project where S.H.A.D.O.W. kind of meets us halfway. He is a secular artist, but he had no problem with excluding any kind of vulgar language from the project. It’s been really fun doing that project because it brings 3 different styles and personalities into each song.
It has grown all of us as artists because you end up doing songs on a subject matter you never thought of, or on a beat you may not have picked. We all pride ourselves on being really dope artists so it’s friendly competition every song -you know you gotta bring your “A” game, because the other 2 are going to, and no one wants to get ate on a track. Lol.
S.H.A.D.O.W. built himself a reputation as a dope battle rapper back in the day. We both met him on the music scene, and just recently reconnected via social media. We went over to his house for the Superbowl last year (2019) and I got the idea to do a group project as we listened to each other’s music and he was down to do it. So we agreed to doing an EP and started knocking out some heat.
The way 2020 is going with this pandemic, we haven’t set a release date for the project yet but it will definitely be this year. We did release one single with a video from the project last year, “Right Now” which you can check out on our Omegalistic Music YouTube channel. (It’s dope- totally worth checking out).
When someone listens to or watches "I Shall Speak" for the first time, what do you want them to take away from the experience?
“I Shall Speak” was the first track we did that’s kind of that “new wave” – the beat is kind of trap, and we rapped faster than we do in a lot of our other songs. I hope that keeps people from trying to place us in a box – we are seasoned artists, we can do it all.
More importantly, though, we want people to know we can’t be bought, we won’t sell our soul to make it in the music business, and it really is about the integrity of the art. If a major label told us the ONLY way to be successful in this business was to “dumb down” our lyrics, or leave God out of it, or help push an agenda then I would try my hardest to prove them wrong and have no regrets about it if they weren’t.
It’s important to know what your standards are before you go after something. You can probably achieve or obtain just about anything in the world if you’re willing to do ANYTHING to do so. But at what cost? We’ve both literally been in situations where we could have compromised our standards for a desired outcome, but we didn’t – and we won’t.
Bay Area Hip-Hop Artist Jwalt Debuts Mini-Documentary "A Day with Yours Truly"
Bay Area hip-hop artist @officialjwalt debuts his mini-documentary A Day with Yours Truly ahead of the release of his debut album “Yours Truly” which releases on May 15th. The documentary includes cameos by rappers Too Short, Dave East, Raekwon The Chef, Method Man, and Ghostface Killah.
Bay Area hip-hop artist Jwalt debuts his mini-documentary A Day with Yours Truly ahead of the release of his debut album Yours Truly which releases on May 15th. The documentary includes cameos by rappers Too Short, Dave East, Raekwon The Chef, Method Man, and Ghostface Killah.
Jwalt is an 18-year-old rapper, songwriter, poet who exploded onto the national hip-hop music scene after appearing in the Sway’s Universe Doomsday Cypher in 2017. At 15, the experience elevated J’s status within the industry and opened the door of new opportunities.
Described by Mistah F.A.B. as the "the next Bay Area artist to break,” Jwalt shared the stage with rap powerhouses like Freddie Gibbs at the 7th annual Hiero Day Music Festival and G-Eazy at the inaugural Sway Festival in 2019. However, those performances do not compare to the event highlighted in A Day with Yours Truly. The documentary follows the days leading up to J’s concert at the Oakland Arena with rap icons the Wu-Tang Clan, Nas, and Too Short on February 21st. A Day with Yours Truly gives fans a deeper insight into J’s journey as an artist and the close-knit family structure that enables him to do what he loves.
A Day with Yours Truly premiered through the New York-based hip-hop and photojournalism publication RESPECT. on May 7th. They spoke with J in great detail about the significance of the concert as an Oakland native. J tells RESPECT., “Coming from Oakland it is a place that every artist dreams of playing, so I wanted to document that moment and remember my first time performing there. It’s something that I will be able to look back at in the future and remember how hard I worked to get there.”
Sway Calloway, who is a mentor to Jwalt and executive producer of his debut album expressed his excitement for J’s big day. In a clip from the documentary Sway says, "let's savor this moment, this [is] a big one!" Similar sentiments have been revealed by other respected voices that watched the documentary and listened to J’s music. Earmilk, a publication included on Refinery29s list of "The Best Music Blogs That Aren't Pitchfork" declared, “This hip-hop artist from Oakland, California is way ahead of his time.” Rolling Out added, “Jwalt is an 18-year-old rapper who is cut from the cloth of the golden age.”
His self-described “pure hip-hop” style fit well with the rappers he rocked the stage with at the Oakland Arena. Director and editor Ryan Corr helped J set the tone for his debut project which is produced entirely by DJ Toure of the legendary Hieroglyphics. Towards the conclusion of the documentary Jwalt says, “It was fun, man. I’m happy to be here in the presence of legends.”
A Day with Yours Truly is a testament to J’s work ethic and showcases his potential to lead hip-hop’s next generation of MCs. The mini-documentary can be viewed here. Jwalt’s debut album Yours Truly will be released across all DSPs on Friday, May 15th.
For updates and more information about Jwalt please refer to the social media and Spotify links below. Also, check out our exclusive interview with Jwalt HERE.
Connect with Jwalt: Facebook | Twitter | Instagram | Spotify
Interview: Nashville Singer-Songwriter Liv Margaret Discusses Her New Music Video "Oasis"
Thanks to Nashville based singer-songwriter @livmargaret who connected with DCWS for an exclusive interview to discuss her new music video “Oasis”, the pop music scene in Nashville, and much more.
“I can usually hear production in my head when I’m writing, and if I hear my sound, I’ll most likely record a demo of it, as if I was calling dibs on the song. ”
When developing new music, describe your creative process for us. Also, do you play any instruments?
When I am developing new music, I try to keep an open mind. If I try to put a song in a box, pigeon hole a particular sound, then I can hit dead ends. I’ll have a little playlist of songs that are inspiring me at the current moment that I refer to, then I usually gravitate towards a particular sound or drum pattern that catches my ear, and then I can build the track with the producer from there. I like to work closely with the producer, even co-produce.
I play piano, guitar, and a little ukulele. When I’m writing, I do a lot of it on piano, but have started to write more on the guitar lately.
Congratulations on the release of your new music video for “Oasis”. Tell us about the song itself and what inspired you to write it.
Thank you! I initially wrote “Oasis” on the piano and wrote the song with the help of my friend Alex. At the time I was listening to a lot of Bossa Nova. I love “Girl From Ipanema”, especially the Frank Sinatra version. The song was definitely inspired by that.
I have a friend from Rio De Janeiro and would often fantasize about being there on those beaches. I originally wrote the song about wishing you could escape your current reality to a more dreamlike reality. You see, I grew up in New Hampshire where it seemed like Winter never stopped. We have snow from October till into April sometimes. I would daydream about being on a beach somewhere, soaking in the sun, with a margarita in my hand. Then, when this whole worldwide pandemic happened, it seemed like everyone wanted and needed to escape to an oasis. The song became very applicable to our current situation.
Where was the music video shot and how did you and the directors come up with the vintage, dream like treatment for it?
Not only do I listen to old Bossa Nova music, but I also listen to a lot of 50s/60s music. It’s a HUGE inspiration for my music. I naturally also love the fashion from those eras as well. The director, Matteo Guastamacchio, knew this about me and took the idea and ran with it.
We ended up shooting most of the beach scenes in Rhode Island (right next to Taylor Swift’s house), some in New Haven, CT and then shot the last scene in a warehouse in Nashville where we used the scene as a template for the CGI in post production – thanks to Paul Melluzzo and Omnislash Visual. Matteo loves old movies and art from those eras as well, so he knew just how to make look old and retro.
As a songwriter, how do you decide which songs to keep for yourself or to sell to other artists?
Sometimes, when I write with someone, there is a clear intention that I am either writing for the artist or myself. Sometimes the artist who I’m writing with has a clear idea and needs songs for a project. Sometimes we go into a writing session with no intentions, you know, writing just for the sake of creativity. When that happens and a great song comes out of it, usually there is one writer who is like, “I love this, this is so me, I need to cut this.” That’s happened to me before.
I can usually hear production in my head when I’m writing, and if I hear my sound, I’ll most likely record a demo of it, as if I was calling dibs on the song. But I’ve luckily never have had to argue over a song or anything like that.
Nashville is generally known as a country music destination. What’s your experience as a pop artist/songwriter been like there? Are there a lot of pop music venues to perform?
I moved to Nashville 7 years ago and when I first moved, there was only a tiny pop scene. But, since then, it has grown tremendously. Nashville is one of the fastest growing cities in the country. I know of so many producers and writers who have moved to Nashville from LA.
Now, most venues like to cater to multiple audiences, not just country music. I’ve had venues tell me that it was nice to have a night of pop music to break up all the country music. Most people like a little bit of both and I think Nashville is doing a good job of doing that. It’s really starting to cater to multiple genres, thanks to venues like Exit/In, the Commodore Grille, the Analog, and the Back Corner. I am grateful that I was able to hone in on my writing here in Nashville, because there are so many great writers here.
With the “Oasis” single and music video now released, what are some of your goals musically for the rest of 2020?
I have two upcoming singles, “Mind Reader” and “Famous,” to be released soon. I would like to release another music video along with one of the singles.
As far as making any more plans, it’s hard to say right now. Most of my gigs have been cancelled due to Covid-19, so I will be focusing on writing and recording from home for the majority of the rest of 2020.
Review: "Dark Matter(s)" Album by Q.Z. Tha Leader
An idiosyncratic style defines @qzthaleader hypnotic “Dark Matter (s)” album. The stylistic potpourri reigns supreme for he filters through a great degree of genres, from elements of jazz, rock, electro, noise, all neatly anchored in a fine, flexible hip-hop framework.
An idiosyncratic style defines Q.Z. Tha Leader’s hypnotic “Dark Matter (s)” album. The stylistic potpourri reigns supreme for he filters through a great degree of genres, from elements of jazz, rock, electro, and noise, all neatly anchored in a fine, flexible hip-hop framework. By keeping things loose and unpredictable QZ truly marches to his own beat.
Huge amounts of distortion roll through adding to the intensity of the sound. Right in the center of it all is QZ’s highly pointed, articulate lyricism. His flow comes through with such urgency, for he combines observations on the greater universe with the here and now of the world at large.
QZ’s unique approach at times recalls the powerful, clear-eyed focus of A Tribe Called Quest. Arrangements further draw from their take as he allows the grooves and rhythms to become purely elastic. For the aggression of his style, the way he stretches things and adds a heavy jagged edge draws from Death Grips. Just like them, QZ lets things get a bit uncomfortable sonically. Volume, warped melodies, the whole of it has almost an industrial aesthetic. Then there are the lyrics, drawing from both a hopeful dreamy world (pining for Jupiter’s moon Europa) as well as dealing with the inherent flaws of the here and now of the world (systematic oppression).
“M.O.E. (Meanwhile on Earth) Intro” sets the tone for what follows: churning grooves and urgently delivered lyrics. Rock riffs filter into the mix on the force of nature style of the title track “Dark Matter(s)” feat. Devans Verse.
The luxurious “Born Leader” opts for a well-earned swagger, for the samples intermingle to create a joyous kaleidoscopic array. Muscular basslines worm through the infinitely catchy “God Flow” where lyrics are delivered with such poignancy.
Stripped down to the essentials is the hot humid approach of “Hero & Leander”, feat. Cristina, where the guitar adds to the reflective nature of the work. The personal journey of “Green House” feels particularly vulnerable with its intense storytelling. A calming finale comes with the laid-back “Good Intentions” feat. Devans Verse.
The self-produced “Dark Matter(s)” album shows off Q.Z. Tha Leader’s stark vision delivered with fire.
Stream and Share “Dark Matter(s)” on Spotify
Interview: Atlanta Based Artist Timothy Léon Talks About His New Single/Video "You"
We had the opportunity to connect with Atlanta based artist, dancer, and actor @iamtimothyleon for an exclusive Q&A to discuss his recently released single/video “You”, and much more.
“I can now truly say that my art is “my art” and not just a duplicate of something that I see trending in the media and mainstream. Being an artist that not only creates wonderful, quality recorded material and video work; but an artist that can give you an even greater EXPERIENCE when they perform their work live.”
What are some things, people, or places that inspire your creativity as an artist?
God and Life. Period. Growing up in a strong family of faith; my firsts experiences with music was strictly for ministry's sake. So, therefore my connection to music is always a divine connection. I believe God is so big that he can't be boxed into just one thing; and he uses different ways to speak and relentlessly pursue us even if it's through an R&B album that you thought had NOTHING to do with him.
God gives us LIFE; and LIFE is the experience that we are all having at the same time. Like the COVID-19 pandemic for example, this is a time that we are all experiencing this together. Everyone has a different side of the story; but we are all still in the same story line of life. My creative inspiration is to find a way to express my side of the story so that someone somewhere knows that they are no alone in their experiences. Whether it's to laugh, cry, feel sexy, or to just have a good time and dance their ass off; they'll find themselves somewhere in this art... and that is an act of God.
Congratulations on the release of your new single "You", and its music video; tell us about what inspired you to write that song and how you connected with its producer BachBeats.
Thank you! I'm super excited about this song and the video, and I'm so glad everyone can see it now! My inspiration for music period is life's experiences. I can't speak for everyone, but I have definitely been in a situation before where I found myself falling for someone that honestly wan't good for me.
The lyrical content presents an analogy between someone who is addicted to an actual drug and someone who is emotionally addicted to an individual. More so, addicted to the "high" of infatuation that the person provides. The danger, none sense, and drama behind that person is always in their blind-spot until they finally become "sober" enough to realize what was going on.
I heard this track while browsing online, and when I heard it, IMMEDIATELY I had to find the producer and start working on the song!
How would you say that your professional training in the area of Performing Arts and Theatre has prepared you for what you are doing now creatively?
I've wanted to be a performer as long as I could remember, and I've always had talent; however I am very thankful for the opportunities that I've had to craft my skills. I mainly moved on raw talent until I started college at Savannah College of Art & Design. I received my BFA there in 2014.
Before college, everything I knew was raw talent and what I crafted on my own by studying artists I looked up to; however, the training put things into a whole other perspective for me. I began to realize that I was being trained on how to craft and create my art from scratch. The training allowed me to find myself as an artist and to trust the process of my artistic development which actually coincided with my human development as a person. I can now truly say that my art is "my art" and not just a duplicate of something that I see trending in the media and mainstream. Being an artist that not only creates wonderful, quality recorded material and video work; but an artist that can give you an even greater EXPERIENCE when they perform their work live. Like, no one actually like to talk about the fact that there are millions of "new artists" out there that are now social media famous; but none of them have the skill nor the bravery to stand on a stage and entertain a crowd.
My training in theatre keeps me grounded in what caused me to fall in love with music; which was the "show quality" of a live performance. My training also gave me thick skin in understanding the "art of critique"; which goes way further than just giving criticism; but to know how to receive criticism and decipher whether it is constructive or destructive. It's important to understand the balance of those two mindsets in the culture we live in today. We are constantly watching people try so hard to get the approval and permission of others to do whatever they want despite those same people's opinions. It's like living in an oxymoron! Being trained in these areas helped me to be able to balance that; and also it helped me to know the power of networking and understanding how to find and create your own space in the industry.
While at SCAD; finding talent was a dime a dozen; because the school was surrounded by talented artists everywhere; and it takes a person that knows who they are as a person and as an artist to remain secure and confident in what they have when they are surrounded by others that are doing the same. The reality is, that is the music industry. Beyoncé, Jill Scott, India.Arie and Rihanna are all four specifically different artists; but there are people that will support all four of them. As artists, we don't have to fight over a fan-base; there's enough love out here for everyone.
We're blown away by the music video for "You". How did you and the director RZ Visionz come up with the idea to reference the series You and the movie Asunder in the visual? Also, who is the leading lady in the clip?
Funny Story! I am blessed to be surrounded by amazingly talented people that are a part of my creative team. No iconic artist does EVERYTHING by themselves. They may be involved in everything; but they don't do it alone. So I have a team of creatives that help make things come to life.
After my bestie, J-Law, and I wrote the song; I went in to record it; and took it to my creative team at one of our "Steak N Shake" meetings. I told them that I wanted to create a music video that was more so a short-film, where one would have a love for the song and the video separately. While talking about the meaning behind the lyrics about how love and lust can become toxic obsession; we all had the same idea at the same time! It was like a scene from a movie, lol! We all said, "What if the video is based off of 'You'?" which actually then gave me the idea to change the name of the song to "You". The original name of the song was "Addicted"; but it made sense to change the song title to "You" because of where it would go visually.
I called the director, RZ Visionz who had also directed my video for my last single, "PM to AM"; and he was all-in from the beginning of the concept! He had the vision to create the intro of the video and to make it as close to the opening scene of the first episode of "You" as possible. So, I went into the booth and created the introduction poem for the video, that believe it or not was an entire free-style. For some reason, my mind just knew exactly what I wanted to say in the intro.
The reference to "Asunder" came because as dangerous as the character "Joe Goldberg" is in the series; the audience still develops a love for him as a person through empathy. However, just to push the concept of hysteria a bit more; I thought of a character that scared the shit out of me with their obsession. Chance, Blair Underwood's character from "Asunder", was the definition of crazy! LOL! I wanted to capture the moment in the film where he is seen standing nude (obviously I wasn't nude) in a sense worshiping the image of this woman he's obsessed with by way of a mural he created with photos of her. It's that scene in the movie that makes me say "OMG! He's lost it". Which is funny because, while shooting the scene Shanaca Renae the Model, the leading lady in the video was just a bit creeped out when she saw all of it. She was a good sport in getting it done though! And of course anyone that can run that fast in heels is someone you want on your good side! LOL!
What can you tell us about your upcoming album "Kiss & Tell"? Are there any featured artists, and does the album have an overarching theme or concept?
Well I mean, Good people don't "Kiss & Tell", so I'm not sure what I can tell you. LOL. I'm kidding... I will say that this album is definitely my most transparent album. My vision is for this body of work to be a sonic masterpiece. Yes, every song is going to be a bop; but overall it'll be a project that you can play without skipping a track. I miss albums like that. I'm super excited to be working with a lot of new producers and arts on this album like AJ Smallwood of AA.Sounds; IER Music; Idris French; éks; and a lot more people.
The album has a theme of a coming of age, if you will, to a place of sexual freedom. Very similar to the classic Janet Jackson 1993 "Janet" album. Janet is one of my biggest inspirations and in that album she expressed a process of coming into maturity regarding relationships, and even self-love. "Kiss & Tell" does the same thing, just more so from a male or androgynous perspective.
As a young man, I can truly say that we rarely allow men to feel comfortable enough to express this side of themselves; and being a PK myself, growing up in a strong faith-based community, this would definitely be a no-no. But likewise to how women can empower themselves with this; we as men should be able to do the same. I believe that's why artists like the legendary Prince and even Tank are so respected; because it takes a strong man within himself to allow himself to go there; because it's another form of vulnerability.
Being vulnerable in a public way is always an obstacle for an artist, but I believe things become less of an obstacle when we are free enough within ourselves to talk about it and to share those thoughts and or experiences. If a lot of people were more honest, ESPECIALLY IN RELATIONSHIPS, about their fantasies and the things that they have or would like to experience; it leaves less room for things to be taboo; and it allows us to trust each other more. You can trust someone that is honest with you.
Interview: Q.Z. Tha Leader Discusses His Self-Produced New Album "Dark Matter(s)"
Portland rap artist @qzthaleader just released his self-produced new album “Dark Matter(s)”, so DCWS connected with him for an exclusive interview to discuss the project, his creative process during its development, and much more.
““Dark Matter(s) “ has 3 meanings. The first meaning is obviously the space meaning. I’m such a space stan, it’s ridiculous! The second meaning is in reference to the actual content of the album. The third meaning highlights the importance of melanated people in today’s society. We are not always viewed as equals. ”
Congratulations on the completion and release of your new album "Dark Matter(s)"; what are you most proud of with this project?
Thanks bro, I really appreciate that. This is a two part answer for me. I’m really proud of the fact that I was able to speak freely about my truths. It’s things on this album that I’ve been wanting to speak on for years. I held back in the past for fear of ridicule on certain subject matters.
Secondly, I’m proud to have an album that’s has a human feel. There’s live instrumentation all throughout the project. My most organic album to date!
Tell us about your creative process for the development of the album's 13 tracks. Were there songs that you created that didn't make the final cut?
I usually start with making the sketches of the beats and move on to constructing a demo. If I like the full demo enough, i’ll move on to adding the lyrics and live instrumentation afterwards.
I do have a couple songs that didn’t fit sonically into the theme. Those will probably see the light in a few months on another project I’m currently working on!
From a conceptual and sonic perspective, how would you compare this album to your last project “Moment of Genius: Opus II (MOGO II)”?
Conceptually, “Dark Matter(s)” Is more detailed body of work than MOGO II. MOGO II was merely an EP, so I could only stretch the concept so far with so few tracks.
With “Dark Matter(s)”, I was able to play with the concept of space to accentuate the textures of the songs. I have space commentary, actually space sounds, and space references littered throughout the album. Sonically, “Dark Matter(s)” has a lot more experimentation than MOGO II.
Shout out to all the artists who are featured on this dope album; how did you decide which artist should appear on which song?
Honestly I work with a close knit group of artists, so I know what they like, don’t like, and what they would sound dope on. I knew I wanted to showcase melodic hooks and cinematic verses. So I reached out to the artists and vocalists who could bring those textures I was looking for.
What does the album title "Dark Matter(s)" represent to you and why is the title track the first song we hear after the intro, "M.O.E."?
“Dark Matter(s) “ has 3 meanings. The first meaning is obviously the space meaning. I’m such a space stan, it’s ridiculous! The second meaning is in reference to the actual content of the album. The third meaning highlights the importance of melanated people in today’s society. We are not always viewed as equals.
The title track appears after the intro to sort of set the tone for the rest of the album. “M.O.E.” views our society from a macro lens. Whereas “Dark Matter(s)”, the track, tackles the social ills in my worlds orbit.
Interview: Baltimore Pop Singer-Songwriter Violette Talks About Her Debut Single "Lose My Head"
We connected with Baltimore based pop singer-songwriter @whoisviolette for an exclusive interview to discuss her new single “Lose My Head”, her transition from band front woman to solo artist, and much more.
“I’ve always told my own stories as a musician, but there’s something so freeing about having agency over what I’m making without having to speak for others”
Congratulations on the release of your debut single "Lose My Head"; tell us about how the song came about and how you connected with the producers, Maika Maile and Chris Kamrada.
Thank you so much! "Lose My Head" started as this housey, 4 on the floor drum and bass loop I built out on Logic. I wrote the hook ("when I lose my head/when I lose my") and knew I wanted to tell a story of obsession gone too far and that feeling of possessiveness. When I went to Orlando to record, it was the song I really wanted to dive in on.
I've been working with Maika and Chris for a while now in past projects and knew they were the team that could help me bring the song to life.
Would you say that transitioning from being the front woman for a band to a solo artist has affected the way you tell a story through your songwriting?
I've always told my own stories as a musician, but there's something so freeing about having agency over what I'm making without having to speak for others. I've always been in bands and had that group of people to fall back on or hide behind if I needed. I've never felt more vulnerable while making music, but I've really been enjoying the process of discovering that feeling and letting myself go, even when it's not so easy.
Can we expect a visual to accompany this great song and will it be featured on an upcoming EP or album?
I don't have a specific visual coming out for "Lose My Head" but I am releasing singles from my first EP throughout the summer. I have some things up my sleeves visually, including some live performance videos once the world gets back to some form of normal.
When it comes to developing new music, how would you describe your creative process when songwriting and in the studio for recording?
My writing process is all over the place. Sometimes I can sit with a guitar and flesh out a song in an afternoon, other times I build instrumentals and sit with a verse for a while before finishing it. I'll then take a group of songs and ideas to the team, we'll listen to them, and see which ones get us the most excited, dive in to those, and see what happens.
With the single now released, what are some of your goals musically for the rest of 2020?
This year is about introducing myself to the world with my EP. I'm always writing and working on new music, so I'm hoping to record my second EP over the summer. I'd love to be able to consistently put out music for the rest of the year and hopefully get on-stage before 2021!
Stream and Share “Lose My Head” on”: YouTube | Soundcloud
Connect with Violette: Website | Twitter | Instagram | Facebook
Interview: Australian Power-Trio ADJUSTER Talk About Their Self-Titled, Debut Album
Major thanks to @adjusterband who connected with DCWS for an exclusive interview to discuss their debut album “Adjuster”, the music scene in Alice Springs, Australia and much more.
“I’m just proud of the band as a whole, and the fact we finally got there after a difficult and challenging two years. Future releases should be a lot easier and we’re definitely more productive now we have a solid and reliable line-up”
Congratulations on the release of your debut album "ADJUSTER"; how long did the project take to complete and were there songs recorded that didn't make the final track list?
Thank you! I wrote some of these tracks almost a decade ago as they were floating around the repertoires of my previous bands 'The Harry Macintosh Project' and 'Justice For Dragons'. However, quite a few of them were either not priority songs or hadn't been learned by the band properly just yet.
The “Adjuster” album has been in the works for around two years as we had run into several line-up issues with bassists. Luckily a year ago we met Brodie who is totally on the same page as Rob and I so everything has fallen into place.
There were no other tracks recorded for the album even though we have another two album's worth of songs. We felt these eight all fit together really nicely and represent the initial stage of the band really well. We've already started work on album number two!
How did you guys decide to form the band and where did the name ADJUSTER originate?
I moved to Alice Springs in March 2017. I had previously been the guitarist and main songwriter in 'The Harry Macintosh Project' and 'Justice For Dragons' back in the UK. I had a bunch of leftover songs for those bands and also a load of acoustic demos which never saw the light of day. I was keen to not let these songs go to waste, so I advertised for a drummer and bassist on a local music forum and almost immediately received interest from our drummer Rob and original bassist Kyle.
We got together and gelled really well. Kyle played our first four shows with us, but due to busy work life, he was forced to leave the band. We went through another couple of guys that didn't work out before Brodie came along and stuck with us.
Our original bassist Kyle came up with the name 'ADJUSTER'. He simply said during a rehearsal one time that he's always wanted to be in a band called ADJUSTER, so we said okay, and ADJUSTER was officially established!
Where is Alice Springs in Australia and what's the rock music scene like there? Are locals generally supportive of home grown talent?
Alice Springs is a small town in the Northern Territory which is smack-bang in the centre of Australia. It's in the middle of the desert and is regarded as one of the world's most remote and isolated towns. Despite that, there is a thriving music scene here.
It is extremely diverse with all kinds of different genres kicking around. Compared to my experience in the UK, Australians seem to care a lot more about local artists and love coming to shows. Everyone is really supportive and interested in each other's work, it's great.
"Wipe It Up With a Towel" is a great track; how did you decide that it should be the lead single off the album?
Thank you! We felt 'Wipe It Up With A Towel' ended up being the best-sounding track on the album. The production and mix just seem to sound a bit more crisp and clear than the other tracks. I also had a chance to use my new Electro-Harmonix 'Mel9' pedal which can be heard during the main melody. Our co-mixer, masterer and label manager Dave Crowe also added some extra synth to the track which gives it a bit more depth. It's also probably our most instantly-accessible track from a commercial perspective.
What are you most proud of with the "Adjuster" album and how excited are you to get on the road and promote it with your fans?
I'm just proud of the band as a whole, and the fact we finally got there after a difficult and challenging two years. Future releases should be a lot easier and we're definitely more productive now we have a solid and reliable line-up.
We're really excited to hopefully get the opportunity to tour once the COVID-19 situation has relaxed enough to allow us to do so. We were hoping to launch the album at Wide Open Space Festival on release day, but unfortunately, the festival was cancelled.
Read our in-depth review of the “ADJUSTER” album - HERE
Interview: New York Multi-Instrumentalist Rob Benny Discusses His Debut EP "From the Rooftop"
We connected with New York based Acoustic, Alternative, and Americana multi-instrumentalist @robbennymusic for an exclusive interview to discuss his debut EP “From the Rooftop”, his Synesthesia condition and much more.
“...I’d want listeners to be encouraged to stay hopeful and weather the storm, even through the darkest most difficult of times. To appreciate life, family, loved ones, and close friends. To never take anything or anyone for granted.”
Congratulations on the completion and release of your debut EP "From the Rooftop"; tell us about your creative process for the development of the 3 songs and how long it took to complete.
Thank you very much! The creative process varies, depending on each individual song. Some chord arrangements come together very quickly; in this case, lyrical melodies and any additional lead phrasing would be added afterwards. In other instances, the lyrics would come to my head first. Then, a melodic line would be written, followed by the underlying chord and overall musical structure. “From the Rooftop” took me about a week to complete.
The songs themselves have actually been written a while back with much different arrangements and styles. So, rewriting and reworking them with new chord structures, rewritten lyrics, and revamped tempos was not much of a challenge. My recording process, itself is very streamlined; Pianos first, Guitars next, followed by Lead Vocals, with backing vocals being the last. Finally, I edit the music myself in the DAW without the overuse of unnecessary effects to take away from the raw sincerity of the recordings. A very subtle mastering effect simply to “gloss it over” capped it all off.
What does the EP's title, "From the Rooftop" represent?
“From the Rooftop”, to me, represents isolation. Whether literally or figuratively looking from the perspective of standing, alone, on a rooftop as you look outward and downward at the rest of the world passing by, the album title reflects that very chilling feeling of isolation - a deeper kind of isolation that goes beyond mere social introversion - one can experience.
This especially strikes a nerve in today's climate - most highly prominent in the Greater New York City metropolitan area - where everyone to some extent has been hit between the eyes by the Covid-19 outbreak.
Describe what it is like to be a Synesthete and when did you discover that you had this sensory phenomenon?
I've known that I had the condition of Synesthesia since I was a very young child - 4 years old, to be exact. Basically, as a Synesthete, you associate individual items, sounds, or pitches with a different color on the spectrum.
Each individual Synesthete has a slightly different perspective and way of associating colors with objects, notes, numbers, etc., so it's fascinating to learn of how others who are aware of their condition have used it in their own Art, Music, Crafts, Writing, Teaching, among a wide variety of additional ways to make use of this relatively rare condition.
For myself, I associate each individual note with a different color, while I perceive major and minor tonality of that same note with a different shade or texture of said color. For example, I perceive the note "C" as the color red; a C Major chord would be perceived in a bright red setting, while a C Minor chord would be perceived in a dark, crimson red manner. The different combinations of chords within different songs I create allow me to visualize an artistic landscape in my head, depicting a particularly different visual plot and artistic setting for each song.
What instruments do you play and are you self-taught? Also, are there any new instruments that you are planning to learn?
I play Guitars, Piano, Bass Guitar, Percussion, and sing. I’m mostly self-taught on each instrument, although I have taken formal lessons and Classical training. I have also played Saxophone for three years as a child in elementary school band, but never carried it further enough to consider myself a developed or skilled player in that regard. Nevertheless, with Guitar, Piano, and Vocals, I studied from advanced instructors and tutors on each instrument to correct bad habits, develop new skills, learn new approaches and exercises to maintain stamina, learn what pitfalls to avoid falling into (especially being a Baritone vocalist with a distinct range that can't go beyond a certain register), and refine techniques that I already picked up through my own study, practice, and discipline.
When someone listens to the "From the Rooftop" EP for the first time, what do you want them to take away from the experience?
I'd want listeners to be encouraged to stay hopeful and weather the storm, even through the darkest most difficult of times. To appreciate life, family, loved ones, and close friends. To never take anything or anyone for granted. Be it indirectly or directly caused by such a devastating ripple effect, internal suffering through experiencing or observing loss or pain is something that anyone of any age can easily relate to.
Looking out at the rest of the world knowing that there's only so much you can do under a pandemic can be demoralizing and desensitizing. Hopefully, my music can allow others to continue to seek the silver lining under the black clouds while never losing hope within or the will to carry on right until the very end.
Read our in-depth review of the “From the Rooftop” EP - HERE
Connect with Rob Benny: Website | Twitter | Instagram | Facebook
Joy Downer Announces Her Debut Album "Paper Moon" and Shares New Single "A Song You'd Never Want to Hear"
Pop artist @joyydowner is excited to announce the release of her debut album “Paper Moon” on June 5th. With the news, Joy is sharing the infectious new single “A Song You’d Never Want to Hear”.
Joy Downer is excited to announce the release of her debut album “Paper Moon” on June 5th. With the news, Joy is sharing the infectious new single “A Song You’d Never Want to Hear” – available now via all DSPs.
The track and album feature Joy’s addictive vocal melodies seamlessly blended with synths, drum machines and guitars. Self-described as “Alternative Dream Pop,” the nine-song debut LP was recorded by Joy and her husband Jeffrey Downer in their home studio in West Adams, Los Angeles. Dave Trumfio (Wilco, Jesus and Mary Chain, The Mekons) mastered the album and mixed six of the songs with the remainder of the tracks being mixed by Liam Westbrook, one-half of the UK production duo Superhuman.
“Paper Moon” was written and recorded by Joy and Jeffrey Downer outside of “Plastic Wrap” – a song they collaborated on with musician, visual artist and painter Darren Le Gallo. The debut LP also features Joy’s brother Jon Bishop on “Neon Turns” and title track “Paper Moon.”
“Paper Moon” is the follow-up to Joy’s debut EP “Radio Dreamer” – which was released January 2017 and was recorded and produced by Rob Kolar (KOLARS, Lemon Sun). With some early love from Grimy Goods and HillyDilly among others, the songs also caught the attention of UK production duo Superhuman who enlisted Joy’s vocal talents for a Honda TV ad campaign that featured her singing “Somewhere Over The Rainbow”.
Listen to “A Song You’d Never Want to Hear” right now, stream it on your preferred music service, connect with Joy Downer on her website and social media, and get ready for “Paper Moon” on June 5th.