Interview: New York RnB Artist Ayanna Moonah Discusses Her New Single "Float"

“I always say that the songs write themselves. Usually the first thing I do is freestyle over the beat. I do the actual refining and writing afterwards. ”

— Ayanna Moonah

Congratulations on your new single “Float”. Who produced it and would you say that the song is based on a personal experience?

Thank you!!! I’m so proud of this single. The original beat was produced by a producer that goes by ‘Unknown Instrumentalz’ - he’s so talented. I took his beat, slowed it way down and then I took it from there.

I wouldn’t say the song is necessarily from personal experience, in fact, a lot of the fun of songwriting for me is creating the storyline for a song. Typically, the atmosphere of the beat leads the direction of the song. I obviously always pull from my personal life, but it definitely isn’t totally autobiographical.

Can we expect to hear “Float” on an upcoming EP or album? If so, what can you tell us about it?

Yes! “Float” will definitely be making an appearance on my EP that is coming out at the end of the year. I’m so excited to put this project out, I’ve been working on it nonstop. The EP feels like a snapshot of the madness that goes on in my head.

How would you describe your creative process when it comes to the development of new music?

I always say that the songs write themselves. Usually the first thing I do is freestyle over the beat. I do the actual refining and writing afterwards.

Anytime I’ve gone into the recording process with a plan, I just don’t connect with it as much.

How did you get started writing music and who were some artists that influenced you early on?

I feel like I’ve been writing music my whole life but it's only recently that I’ve shared that part of myself. I was in a ton of choirs as a kid, so it was inevitable that I would start writing for myself.

Early on I was definitely influenced by artists like Alicia Keys. I found her songs to be very emotionally honest which I really admired, and still do.

With 2020 winding down, what are some of your goals musically for the rest of the year and going into 2021?

I really want to step out of my musical comfort zone. I feel like I have such a diverse music taste, and I would love for the music that I make to more strongly reflect that.

Connect with Ayanna Moonah: Twitter | Instagram

Detroit Based Singer-Songwriter Tommy Marz Releases His New EP "Chasing Light"

Detroit-based singer, songwriter and multi-instrumentalist Tommy Marz has released his new solo independent EP “Chasing Light”. The 6-song collection features five original tracks including Marz’s recent single “Summer Bummer” along with his quarantine version of the Stealers Wheel classic “Stuck In The Middle With You.”

“I’m excited to have this music finally available for everyone to hear!” shares Marz. “The build up to release day is always a combination of excitement and anxiety so I’m ready for it to come out. I’m hoping fans can find a song or two to connect with!”

Though rooted in alt-rock, Chasing Light reveals a more singer-songwriter side to Marz, who found inspiration for the material from artists such as John Mayer and Harry Styles. All original tracks were written and produced by Marz, who also performs all of the instrumentation, with additional production from Jason Tucker. The EP, his first in over six years, opens with his version of “Stuck In The Middle With You,” which Marz felt compelled to record after feeling a sense of shock observing what’s going on in the world, specifically with cyber-bullying. Elsewhere on Chasing Light is “Summer Bummer,” a mellow, anti-love song that touches upon feelings of loneliness, the personal “Stray,” written shortly after Marz’s dad passed away, and title track “Chasing Light,” which was inspired by a memorable trip to Las Vegas.

Tommy Marz first began his solo career in 2011 with a cover of George Michael’s “Faith” that took off after Michael tweeted the video to his followers. His debut original single “I Want You” was released in 2012 with his first solo album “Play. Listen. Rewind. Repeat.” issued in 2013. Tommy’s most recent release was a version of Puddle Of Mudd’s hit song “Blurry” in 2019 that features legendary 90s hip-hop/pop group P.M. Dawn. The multi-faceted artist, who’s been performing in bands since 2004, also fronted the eponymous Tommy Marz Band between 2012-2018. The alt-rock trio released two albums (Bringing Alpha [2015] and Seventy-One Trips Around The Sun [2018]), which both charted on the iTunes top 30 rock chart, toured alongside artists such as Fuel, Scott Stapp, The Dan Band and Scott Weiland.

Listen to “Chasing Light” now, stream it on your preferred music service, and connect with Tommy Marz on his website and social media.

Stream and Share “Chasing Light”

Connect with Tommy Marz: Website | Twitter | Instagram

Interview: Worcester, MA Based Singer-Songwriter The Supposed So Discusses His Album "Thoughts in the Belfry"

“I think the main theme is nostalgia. These are old songs, mostly, so it was a very nostalgic experience playing and arranging them again. There’s also the generally introspective lyrics, with the questioning of life and looking to find God everywhere, even in memories. ”

— The Supposed So

When developing new music, what are some things that inspire your songwriting and production, and how do you avoid writer's block?

Writer’s block is a funny thing. I never really have it anymore. I mean, like I said I haven’t been writing songs much lately, so you could say I have some kind of block in that regard. But I write other things, you know? Whether it’s essays or short stories, poetry, literary analysis, the novel I’m writing right now...there’s always something to be written.

I appreciate that I, to some degree, am confident in what is aesthetically pleasing, whatever form that pleasing thing has taken, and so when I’m not up to my own standards, I just stop doing it and do something else. Sometimes I think I’ve exhausted everything I have to say with songwriting. But then, I say that, and the next thing I know I have a 13 minute song, written in a couple hours...I don’t know I guess. Like with anything, there are ebbs and flows. Maybe I’m on an ebb. Or maybe I’ve just turned the page somehow. It’s difficult for me anymore to contain myself in the two to four minutes you get when you’re writing pop music.

The world is in a pretty awful state right now, and I, like so many, am just overwhelmed. Making music that doesn’t rise to the occasion seems pointless to me. But I like to arrange, so I keep doing it and new stuff gets made and that’s what’s important to me. Constant workflow. That could be the tagline on my entire career to date.

Congratulations on the completion and release of your album "Thoughts in the Belfry". What are you most proud of with this new release?

I think what I’m most proud of about this record is the production. It sounds better than anything I’ve ever done. At the end of last summer I bought a MIDI keyboard for ten bucks at a garage sale, and it really has changed the way I can make my music sound. There are nearly endless possibilities with what you can do with it, not the least of which is having the sound of an actual drum kit, something I don’t have and couldn’t utilize on my own much anyway. It’s easier just to do everything myself, and it’s nice not having to pile on guitar parts and brushed tambourine just because those are the only instruments I have.

Would you say that the album has an overarching concept or theme to it?

I think the main theme is nostalgia. These are old songs, mostly, so it was a very nostalgic experience playing and arranging them again. There’s also the generally introspective lyrics, with the questioning of life and looking to find God everywhere, even in memories.

The final track, the title track - the one newly written song on the album - sums up my entire existence kind of. I was raised Catholic, and would like to consider myself Christian, but there are all of these people not really living in Christ and they’re claiming to know how to do it best. And I, like everyone, have been freaking out about the state of the country and the world in general, and am just really frustrated with hypocrisy and short-sightedness, and uncaring. So, I hadn’t written a song in a long time, then out came a five-page epic poem I wrote all in one day (to the tune of “Ring Them Bells” by Bob Dylan) containing every simple truth I could think of. The line “To steal is fine as long as you’re a company man” is just about where I stand. The rich steal with impunity and the poor idle by. But it’s a very personal record, not all that political. Though there is a rebellion present that I think runs through all of my work.

Tell us about your creative process for the development of the album's nine songs.

This is a sort of retrospective. I’ve basically been writing and recording music, posting to Bandcamp for nine years. And I love a lot of those songs, but a good amount of their respective sound quality is undesirable, at least to me. I listen to some of my old stuff and it literally hurts my ears. So, I had this 13 minute song - that I dubbed “Thoughts in the Belfry” - written and I decided to comb my vault, as it were, and just sort of re-imagine and re-record some of them, to flush out a record.

I already had rewritten “At the End of the Day” (it used to be a real slow piano dirge) so I recorded that. And the rest just sort of fell in line from there. My process is quick and painless. I don’t do many takes of anything. There’s no real rehearsal for anything. I have the barebones - just the acoustic guitar and vocals - and I arrange parts around them, basically just recording an improvisation with whatever instrument I’m playing. Then I sit down and edit and mix and that’s pretty much it.

The most important part of the recording process for me is the literal arranging. Not just with what instruments play when, but where that sound is coming from in the stereo mix. There’s a lot of separation on this record in that regard. A lot of space. Which I suppose mirrors the distance I am from the time I wrote the first eight tunes on the record.

Were there songs that you recorded that did not make the final track list? If so, why not?

There weren’t any other new songs to think about, and I wanted the album to be on the shorter side to give people a sort of introduction to my body of work. So I guess you could say I left off about 190 other songs I’ve written over the years, for no good reason, to be honest, than that these were the songs I most wanted to hear finished in the way I’m making music right now.

There are actually already some new recordings I’m making for the followup LP, and I figured on eight or nine other previously released tunes as well, to continue this retrospective of sorts through the past decade of my artistic output. It’ll be called “Just a Bit More, As Always.” I don’t think too much about a project anymore. I get an idea, run with it, it happens as it happens, and I finish it and move on. Whether it’s the music or the writing, my main goal is to amass a body of work that speaks back and forth amongst itself. And these eight tunes just seemed to speak well with the new song.

Stream and Share “Thoughts in the Belfry” on: Spotify | Bandcamp

Connect with The Supposed So: Website | Instagram | Facebook

Review: "Low Lights, Long Nights" Album by Delvaux

Shooters Hill, South East London based rapper Delvaux incorporates a wide slew of styles and sounds with his impeccably executed “Low Lights, Long Nights”. Everything from rave to trap to EDM all within a hip-hop template comes through into a singular stream of sound.

The whole album feels coated in a dark aura as these are tracks for the twilight for the night. Delvaux’s lyricism suggests as much for his has a particularly careful take on word choice. Flows are like fire and he delivers them with so much passion. Multifaceted and multilayered, Delvaux transforms the buildup into an art form, with every single element given plenty of room to shine.

Great space and geography emerge on the powerful opener of “She Knows”. Everything within the track features a unique sort of honestly for Delvaux delivers each line with so much intense honesty. Sounds go for an elastic tact on the disorienting flavor of “Coming Down”, featuring S1MMS, as it burns through the track length with a stately, physical groove.

Nimble percussion skitters through the agile “Low”, featuring Mass Idea and J Harden, as the track constantly contorts and reorients itself. Glowing guitar serves as a key focal point on the sly “Chase Me”. Toy box melodies rest front and center on the tender “Love Me”. Eerie atmospherics roll through on the physicality of “Space Coupe”. Neatly summarizing all that came before it is the lively sweeps of “Photograph”.

The “Low Lights, Long Nights” album offers a unique eerie sort of beauty, proving the OvaC collective founder, Delvaux, to be a master of atmosphere.

Stream and Share “Low Lights, Long Nights”

Interview: Taija New Talks About Her New Single and Music Video "Couture"

“Before writing I make sure I shut myself off from the world of music. It is so easy to unintentionally incorporate others’ sound into your own craft and I always want to create music that feels organic. ”

— Taija New

We're blown away by your new single and video "Couture"; what inspired you to write it and who produced it?

Thank you so much! Being a 90s baby, “Couture” was the song that I always wanted to write and record. As soon as I heard the beat that was produced by NY Bangers, I could not stop my pen from writing; I knew exactly where I was going with the feel for this one.

Growing up, I was introduced to Hip-Hop via R&B. Some of my favorite songs like “I Can Love You” by Mary J Blige featured Hip-Hop artists like Lil Kim who brought that edge and rawness to the record. The blend was always so perfect: Soul-filled vibes with just the right amount of grit to let the listener know you mean business.

In college I really began to dig into the mixtape era when Nicki Minaj busted onto the scene. All of the mixtapes were hosted by DJs and I wanted that essence; required it. So, I presented this idea to my official DJ, Juice the DJ, and he added the perfect touch that I was seeking. I have to mention the engineer, Angelo Quaglía, whose Grammy nominated work has been heard on music projects from artists such as Joe, Busta Rhymes, 702 and Deborah Cox.

Chemistry is hard to find in this business and from the very beginning he understood exactly what I was going for and helped express it perfectly. I didn’t want “Couture” to fit the mold of today’s music which, to be honest, my music has never fit in. My goal was to create that nostalgia and invoke a feeling rather than just be a catchy tune. This is what I wanted to create with “Couture” and from the reception we have received, I feel like we got it right.

Regarding the music video for “Couture”, how did you and the director come up with the treatment, and do you look forward to directing again in the future?

I wanted to tell a story and I felt there was no better way to do that than to touch on our current state, which is COVID-19. As an artist, festival season is the time you prepare for year-round; it is the time you perform the most. Just before COVID-19 I was headlining festivals and was booked for upcoming dates. Because of the pandemic, the very fabric of live performance has transformed. I wanted to capture the essence of what my life as an artist was like before and what it is like now with virtual live performances as well as being quarantined.

I’ve worked with John Hill of Noir Films for the past two music videos so it was a no brainer that he would be the one to shoot “Couture”. I sent him a storyboard and boom! He came in, knew the perfect angles/shots to take, and “Couture” the music video was born.

I’ve always been involved with all aspects of my artistry; I just cannot help but to play an active role in the presentation of my craft. So far, I have co-directed all of my music videos and I am excited for what is to come.

Describe for us your creative process when working on new songs. Do you write lyrics before you have an instrumental?

Before writing I make sure I shut myself off from the world of music. It is so easy to unintentionally incorporate others’ sound into your own craft and I always want to create music that feels organic. Once I have that “quiet” I begin looking for instrumentals.

I always go for the feeling it gives me because that is what drives my lyrics, if I can't vibe to it, I end up with writer’s block. After meticulously selecting the instrumental, I lock myself in a room or the car and just write. Lyrics flow out of me to the point that I write most songs in an hour or less. Later I go back and fine tune the lyrics until I can’t anymore. My process would probably drive most people crazy but I feel every detail has to be intentional to get the song across correctly. So I’m a stickler for a complete body of work.

What do you enjoy most about performing live, and do you have a favorite song to perform?

My favorite part of performing live is the ability to develop a full production and push myself to produce an incredible experience. Every time I get together with my team to create a new set we embark on a new vision. How can we push the envelope? How can we improve the show? How big can we make this production? I was birthed at open mics so that desire to leave your heart on the stage never dies.

I wouldn’t necessarily say I have a favorite song to perform as they all have their moments. Every city is different and every show even more so. Sometimes my song “Newbian King” is it, sometimes it’s “LGBTooQute”, and sometimes it’s “Couture” etc.

I know it’s obvious to you now, but I’m big on feeling with anything that I do, not to be confused with receiving energy. Sometimes you can perform for a crowd and they refuse to exchange energy while you are in front of them. During these moments, my favorite becomes something that proves I have a right to be on the stage, the song of an underdog. Then, I receive energy after the show when I speak to people who enjoyed the performance. So my favorite varies every time I touch a stage.

What can you tell us about your upcoming project, which will be your fourth release? Do you have a name and overall theme/concept for the project?

I’ve worked on so many songs and as time goes on, the direction keeps developing. I’ve named this project three times already! I’m finally learning to shut up and ride the current because I’m clearly being brought to a different shore. I can say it will be a solid body of work that shows so many different sides of my artistry. I think it is important at this time in my career to showcase my full capacity thus far, there has been a lot of growth and evolution. I’m determined to put out my very best…when it’s ready!

As an artist and music brand, what are you bringing to the Hip-Hop/RnB scene that is different than what is out now?

You know, this is a question I have pondered for a long time. As a female artist, I feel there are so many different kinds of women in music. All of us beautifully singing and rapping to the beat of our own drum. My drum being that I am a child of music who is a product of entertainers that came before me.

My musical influence ranges from Alternative Rock to la música tejana, to R&B and you can hear throughout the songs in my catalog. I stood in front of the TV watching TLC, Aaliyah, Beyonce, and Selena so live performance is in my DNA. I am an all-around entertainer that will always leave my heart on the stage. I am just waiting for my turn to share my contribution to the world at large and more specifically these genres that are so dear to me.

Connect with Taija New: Website | Twitter | Instagram | Facebook

Upcoming Shows

Saturday, September 26, 2020

Memphis Pride: Live and In Color

Watch Virtually on IG and FB: @MidsouthPride

Interview: South East London Based Artist Delvaux Talks About His Debut Album "Low Lights, Long Nights"

““Low Lights, Long Nights” has been a journey for me for about 3 years, just that I never knew back then that it would lead to this release but everything clicked into place when I made ‘She Knows’ then the rest of the tracks just happened.”

— Delvaux

Salute to you on the completion and release of your debut album “Low Lights, Long Nights”; it's really dope. How did you connect with the producers and the featured artists?

Thank you very much, glad I could have the opportunity to showcase the project as I worked endless on it for about 6 months.

Massine Yallaoui, who mixed and mastered the whole project, is someone I have worked with since day dot, he really is my day 1 and it was only right for him to play such an important role on the project since we have grown together over the years.

He really is someone that can see my vision and you definitely need someone like that on your team, having that person lifts a weight off your shoulders and allows more creative freedom.

Beck Beatz played a massive part on the album, I do not know him personally but I really like the sound he was going for. It was as simple as me listening to his beats on YouTube and I contacted him and purchased the beats for 'She Knows, Space Coupe’ and ‘Floating'.

Myself and Mass produced tracks 2 and 3 'Coming Down’ and ‘Low' together.

‘Chase Me’, ‘Love Me’ and ‘Photograph’ were produced by other YouTube guys but there wasn't much conversation, not as much as I would have liked.

What does the album's title "Low Lights, Long Nights" represent?

“Low Lights, Long Nights” is as simple as it sounds, in my studio we have dim lights and we worked/recorded through the late night/early hours of the morning.

I heard that my track is a really good listen while you're driving at night? Not sure how true that is but I guess I can tie that into the title to make it sound more interesting haha.

Tell us about the collective you founded, OvaC. What are your goals for the collective and who are the current members?

OvaC, which was established late 2017/early 2018, is a collective of very special and talented individuals.

We have seven members, four which were founding members so we've expanded a little over the years.

The four original members of the group are:

Kilo Tips - A very talented rapper with loads of experience and is currently working on his 2nd album.

Sann - An amazing singer/songwriter with a voice of an angel.

Mass Idea - Producer and Engineer, does all the mixing and mastering for the collective and produces to a very high standard.

Delvaux (Me) - Singer/Songwriter and part time producer.

We then expanded towards the end of 2019 and brought in three other members:

J Harden - An amazing lyricist and rapper with a very unique voice.

S1MMS - Another amazing lyricist who has a cheeky flow and attitude.

Xaith The Nobody - Xaith is an absolute all rounder, an exciting talent.

As a collective we just want to grow as artists but bring each other up as a group when that happens, we are always collaborating on each others’ material and we have an 'OvaC Complete' playlist on Spotify that everyone can check out.

Do you plan to release any music videos for the tracks on the album? If so, which one(s)?

I am currently in talks about a music video for ‘She Knows’ but I can’t talk too much on the subject at this moment in time unfortunately, but it will be very exciting.

With "Low Lights, Long Nights" being your first album, what are you most proud of with it? Also, what is next for you musically?

I am most proud of knowing within myself how far I have come as an artist in a short space of time. A year ago I made an album but did not release it because I knew I had to go back to the drawing boards and make the album that I have made this year.

“Low Lights, Long Nights” has been a journey for me for about 3 years, just that I never knew back then that it would lead to this release but everything clicked into place when I made ‘She Knows’ then the rest of the tracks just happened.

‘She Knows’ has accumulated more than 50 thousand streams on Spotify; I wouldn't have even dreamed of it reaching that amount but now I know I can do it.

I am currently working on a 2nd album; I have not set a release date and I will make sure it is an organic process because that is how the best albums come about.

Stream and Share “Low Lights, Long Nights” on Spotify

Connect with Delvaux: Instagram

Review: "Devotion" EP by Johnathan O’Gilvie

“Devotion” is the debut EP from Orlando R&B singer-songwriter/instrumentalist/producer Johnathan O’Gilvie. Consisting of 4 tracks, each under 2 ½ minutes, this EP tells a loose narrative of Johnathan’s devotion to an old flame.

On the bouncy, trap-based opening track “Cater 2 U”, emotions are reignited when Johnathan runs into his ex. Though she’s indecisive in terms of letting him back into her life, Johnathan assures her that he’ll always be there for her.

The following track “Favorite Song” has a smooth, relaxed beat, giving the impression that Johnathan and this woman have re-settled into their relationship. He eases the doubts and concerns she has on her mind by referencing lines from popular love songs, like the TIMELESS Mario song “Just a Friend”, most of which he interpolates in the second verse.

We then get the aptly-titled “Bad Shape” where, over a forlorn, nocturnal beat, Johnathan sings about how their relationship has gone south. In a powerfully self-aware moment, Johnathan tells his soon-to-be-ex on the hook that he doesn’t want her to suffer further in the relationship. He may see himself “in the right” of their current situation, but he’s not going to tie her down and make her feel unhappy.

On the closer “Trophy x Trophy”, with its moody yet slightly upbeat and hopeful instrumental, Johnathan chooses to compliment his ex on the strong, independent woman that she is instead of condemning her for the failed relationship. She’s already a “trophy”, and on the hook, Johnathan warns the next man to come into her life to treat her as such.

In the end, I found myself really enjoying this EP. It’s short, sweet and concise, with STELLAR vocal performances by Johnathan O’Gilvie, solid production and a highly-relatable, emotionally resonant narrative. I suspect this EP is designed to hold the world over until we get a full-length album from Johnathan, but in the meantime, if you’re looking for a little depth and meaning in your contemporary R&B and soul, I recommend giving “Devotion” a listen.

Stream and Share “Devotion”

Interview: Vienna, Austria Based Singer-Songwriter Dave McKendry Discusses His Song/Video "Colourblind"

“The song was born out of my complicated relationship with the complicated town I’m from: Belfast. With the heightened focus on racism in the last couple of years I found myself in a few conversations where I wasn’t really able to relate - racism wasn’t really something I was familiar with growing up - for me it was all about sectarianism. ”

— Dave McKendry

Tell us about how your travels across Europe and your current residence in Vienna have influenced and impacted the music you create?

The funny thing about leaving home is it becomes highlighted in your memory and identity. Wherever you travel people tend to perceive you as being a person from wherever you’re from. At the same time absence (often) makes the heart grow fonder, so I’ve got a lot of love from where I’m from and that’s been highlighted.

I write more about where I’m from than I ever did when I was living there. When you’re landlocked you tend to appreciate the sea a little more, even if I’ve always loved it. That’s content. In terms of craft I created the opportunity for myself to be a full time writer so I’ve studied and practiced my craft a lot more since leaving home, both alone and with other writers, producers and artists.

In terms of the human element in my music, it’s been incredibly inspiring to experience that everywhere I go the overwhelming majority of people are good people. I carry that with me and try to instill it in my music.

Congratulations on the release of your single/video "Colourblind"; tell us about what initially motivated you to write/record the song, and what the reception to it has been like so far.

Thanks very much. The song was born out of my complicated relationship with the complicated town I’m from: Belfast. With the heightened focus on racism in the last couple of years I found myself in a few conversations where I wasn’t really able to relate - racism wasn’t really something I was familiar with growing up - for me it was all about sectarianism.

Where I’m from it came down to tribal colours. Colours you couldn’t see by looking at someone’s skin. So when I was growing up we looked deeper with questions like, “where do you come from?” We were only trying to get to the colours underneath to find out if we were safe or in danger. It was a strange thing to realise my perspective was so different and that something which should be a good thing - looking beyond the skin - had been twisted for us into something ugly.

As for the reception I don’t really know. People have told me they like it and that’s obviously nice but I try not to worry too much about how it’s performing and focus on writing music I love.

Can we expect to hear "Colourblind" on an upcoming EP or album? If so, what can tell us about it?

I’m currently in talks with my label about working on an album together. I’m sure “Coloublind” will be on it and I’m excited to release a lot more music in the coming months. For over a year now I’ve been in the studio working to shape my music into something I’m happy with and proud to share. That time is getting closer and closer but that’s about all I can say for now.

When someone listens to "Colourblind" for the first time, what do you want them to take away from the experience?

I don’t expect anyone to pick up on all the lyrics or the meaning of all of them on a first listen. If they’re curious enough to listen a second time, then maybe dig a little deeper, I’d love to think it inspires them to think about the people around them and how they interact and treat one another. There’s a lot of noise in the world. Despite my job being to create noises I’d like to do anything other than contribute to that noise. I’d like to give a little space to people. Maybe help encourage them to take a little more space for themselves. Maybe inspire them to be kinder to themselves and others. I think people want to be good. I’d like to encourage that.

With “Colourblind” now released, what's next for you musically?

Right now I’m working on the next single. I’ve got a drawer full of songs to work through and more coming all the time but they’re all on hold until the next single is ready to go.

Connect with Dave McKendry: Website | Instagram | Facebook

Indie Soul/Americana Artist Stephie James Releases Her Debut EP "These Days"

With each passing year, the city of Detroit’s once wearily languid posture manages to right itself. The forgotten neighborhoods, once filled with the promise of the American Dream, are now beginning to bustle with an energy not seen in decades. And just like the city itself, built on the hard work and resilience of the working class, its music lives on. In walks Stephie James - like a smoky, dimly lit back-alley bar, the one that’s the best kept secret in town, her music stands as a sultry embodiment of the past, but also as a bracing reflection of the current culture. Embracing the grittiness of yesteryear’s garage rock productions and also the bittersweet timelessness of Roy Orbison, this is unmistakably the music of countless romantic fantasies and of widescreen Lynchian sensibility. Without compromising an ounce of style, Stephie James has managed to not only craft an EP of beautiful, heart-on-its-sleeve classic melodies, but also imbue her music with the same sense of mystery and intrigue that makes the best Henry Mancini score somehow elevated and torrid.

While James has yet to become a household name, her credits leading up to this release would make even the most seasoned musicians gulp dryly in jealousy: touring with Anita Baker and Nikki Lane, engineering for Dan Auerbach and Buddy Miller, sessions with John Bettis (songwriter for Whitney Houston, Michael Jackson, and The Carpenters, amongst others) and landing sync in Michael Bolton’s new film, to name a few.

Of course, all of this goes without even mentioning her ambition, which first reared its head at the age of 15, when she and her younger brother established a DIY coffee shop which doubled as a music venue. The business not only helped bolster the emerging music scene in the Detroit burbs, but has grown into a prosperous chain of shops in the specialty coffee market.

After a career zigzagging in between the crevices of others’ careers, all the while building a body of work and experience of her own, Stephie James finally decided to step into the spotlight with a solo project by working with Andrija Tokic, who earned acclaim for producing Alabama Shakes groundbreaking first album.

The EP itself is a perfect distillation of the best elements Detroit rock has had to offer over the last two decades: timeless leather-cool, thanks to the resurgence of Iggy Pop and the omnipresence of Jack White- and, above all else, great songwriting. From the Americana rock churn of EP opener, “These Days,” the album puts your expectations on the backfoot immediately: one part Phil Spector crooner and one part howling-for-blood rock as James snidely intones “The tide is turning, but some things never change.” Only three songs later, the album closes its five track suite with “West of Juarez,” a lush, string-filled, western ballad, reminiscent of a bygone era, and the fearlessness of youth.

James’s credits ultimately stand as a dizzying fever dream, the type of opportunities only the luckiest are afforded and only the most capable and talented can maintain. A culmination of her life up until this point and undoubtedly the beginning of a rewarding career, James is not content to let this EP be the last redolent audiences will hear from her. For now though, Stephie James paradoxically gives us exactly what we want: enough to leave us yearning for more.

Listen to the “These Days” EP now, stream it on Spotify and connect with Stephie James on her website and social media.

Stream and Share “These Days” on Spotify

Connect with Stephie James: Website | Instagram | Facebook

Interview: Los Angeles Based Artist #Zammy Talks About His Track "RunWitMe Interlude" and "Impact" Album

“I can only make music about what I go through and see in my life, so the only way I can continue making music is by living my life to the fullest and taking it with its up’s and down’s. Thus expressing my journey sonically and visually.”

— #Zammy

What are some things that inspire your creativity when developing new music?

I've learned over time my creativity is solely inspired and fueled by my life and current mindset at that point n' time. I can only make music about what I go through and see in my life, so the only way I can continue making music is by living my life to the fullest and taking it with its up's and down's. Thus expressing my journey sonically and visually.

How would you say that your hearing disability has impacted you as an artist and how you create your music?

I noticed at a young age that writing poems and rhymes came easier to me than others around me which I attribute to my disability because the way I write is through melodies and syllables which are naturally more prominent to me when I'm listening to anything in my daily life.

Sure there's negatives to having a hearing disability but over time I've found there's positives in it also.

Congratulations on the release of your track "RunWitMe Interlude", which appears on your album "Impact". Who produced the track and what was your creative process for its development?

First of all thank you for supporting the project; this beat was one of the few I grabbed off YouTube from a producer I never met before by the name of Albrey Beats. So when I'm looking for beats on YouTube I'm always looking for videos with very few plays from lowkey producers.

This song barely made it on the project because I was pretty much done with all the tracks by the time I came across the YouTube video. Off the first listen I instantly started freestyling the lyrics and flow over the beat, I knew right then that I had to record it asap and throw it on the project some way. Ultimately making it the perfect Interlude.

Tell us about the "Impact" album overall; who were the producers on the project and would you say that there is an overarching theme or concept behind it?

Ok so “Impact” was something I started recording the moment I moved to Los Angeles from Maryland. Living by myself in a city like L.A. with a makeshift studio in my apartment I found myself recording songs that reminded me of specific women in my life that've made a lasting impact (whether good or bad).

Certain encounters and aura's you just stick with you, you know? So part of the way through making it I started working closely with my main Engineer/Producer Versus.xx who helped me take my vibe and where I was coming from conceptually n' mold it into an overall sound for the project. So when you notice each song's name is a women's name I'm basically saying the vibes you get from this song are the same vibes I felt during my encounters with that person. Overall naming the album "Impact" because of their impact on me and my goal to impact the world with my music.

Now let me not leave out, the producers credited on "Impact" were Versus.xx, Auntie Connie, JayBenJay, Big Jeezy, Albrey Beats, and Gibbo. Very talented and highly recommended as I work more closely with Versus.xx and Auntie Connie out in L.A..

Can we expect a music video for "RunWitMe Interlude" or any of the other songs on the "Impact" album? If so, which ones?

So far my team and I released two official music videos under my YouTube channel "#Zammy Music" for 'The Intro' and most recently 'RunWitMe Interlude', while also releasing one lyric video for 'Niya!' all through my in-house Production team DukeTV in collaboration with a good friend over at TilDeath Network.

Make sure you go check them out!

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Review: "How Far We Roam..." EP by Donny and Dinodondada

Donny and Dinodondada are two music producers who met on the campus of North Carolina Central University, and began collaborating on production based projects. Now they have picked up the mic and released their collaborative project “How Far We Roam…”, a ten track EP littered with poetic words that are relevant but remain timeless, and production that makes you yearn for the days of the legendary “The Infamous”, “Iron Man” and the purple tape.

Blasting off with Dinodondada and Donny’s intro, “feelinit” has a sparse backbeat - a canvas that allows these artists’ lyrical swag and confidence drip off of it, if you will.

“Toma” is another drunken and slowed down beat that sounds like a syrupy chopped and screwed jazz-meets-hip-hop vibe. Things wake up a bit with the pretty piano keys in “Caughtinit” that ride along with their aspirations and inspirations. The outro is a hilarious stream of consciousness that explores everything about what they looks for in woman, from foot fetishes to personal hygiene. We’re so used to rappers making a signature sound based off their beat and producers, but to see lyrics stand on their own feels like a refreshing difference.

“Close The Door” does fall into the millennial trap of materialism. And even though we’re in a raw time right now where we need to rap about principles and what we stand for, what would hip-hop be without the celebration of some good ol’ decadence and debauchery? As their eyes roam over “see-through sequins” on an alternative girl who loves fashion beyond the hype, draped in “high end everything, never with Balenciagas never with the upbeat shit/ never fuck with the Pradas” and saucy sneak peeks like “Victoria’s secrets under the sundress.”

Dinodondada and Donny takes a break from crooning to their honeys and livens things up with some brass instrumentals in “Paradise.” “Original Fake” leads us into an “Earth Wind and Fire” style beat that funkily croons along with Donny and Dinodondada as they flex their love for cannabis and fashion beyond the mainstream: “Gold from Acapulco/These ain’t Yeezys these from adidas from Yohji Yamamoto/Everything retro, so you know the Rollie is vintage.” As they looks down from the sky smoking the blunt, they reflects on what they have, what they love, what they smoke, and more. Donny and Dinodondada are not afraid to name drop in “Original Fake,” but want you to remember that they are far beyond the Instagram hype of things. They have their own style, and this song is part of the autobiography that weaves that tapestry.

“Chains” and “Nightflight” are essentially one song split into two (think a reverse “Life Is Good”). Nightflight is the first beat that slices sharp amidst the tracks with more jazzy, laid back instrumentals. A heart-thumping escape from the cops is still lined with their sense of style: “cops trying to kick the door/all they seen is my reflectin’ Jordan 4s/weed in my drawers” and fits in an homage to legends of the past “matched my two tone puffer/word to my mother/ I’m like puff in 94”.

The final track is fittingly titled “The End” and while it boats confidence, it warns listeners not to trust others too closely based on their braggadocio: “never doubt that were the illest/never believe in n***s who always say that they’re the realest”.

With a references to kingpin Ghost in Power, throughout their “How Far We Roam” EP, it’s clear that Dinothedondada and Donny are playing the lead in their own life stories and not backing down any time soon.

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Interview: Batshit Discusses His "take no requests" Video and Upcoming "Exactly" Album

“For me, at least the Me that’s speaking to you now, “take no requests” sounds like someone who is scrambling to find a new way to feel the unique high that can only honestly be achieved through packing into a van or similarly sized vehicle and taking a road trip in pursuit of a clearly defined artistic goal.”

— Batshit

Congratulations on the release of your new single and video "take no requests.” Describe for us your creative process during the development of this song.

I’m currently listening to the earliest demo I have of what became “take no requests,” and these are my observations: The hook is already there, albeit slightly underdeveloped. In its initial form, the song had a lone verse and a litany of empty space. The vibe, however, was there from the very beginning. Admittedly, I was not in a very solid headspace when I wrote the bulk of this initial batch of Batshit songs, though I’ve recently been able to take quantifiable amounts of solace in these songs with the added benefit of hindsight.

For me, at least the Me that’s speaking to you now, “take no requests” sounds like someone who is scrambling to find a new way to feel the unique high that can only honestly be achieved through packing into a van or similarly sized vehicle and taking a road trip in pursuit of a clearly defined artistic goal. So, in that sense, the song dabbles in nostalgia, yes, but is ultimately—at least according to how I’m feeling at this exact moment—a document of the internal battle any writer faces when thinking about age and legacy and influence and related matters of poppycockery. If anything, I like to think it only approaches nostalgia from a cautionary perspective.

What about the Trash app made it the right tool for you and Morgan Martin when working on the "take no requests" music video?

I’m not entirely sure how I first stumbled upon the Trash app, but I do know that I was quickly enamored with it. I used it frequently during the recording sessions for the inaugural batch of Batshit songs, and was thrilled to be asked to participate in the first wave of AI-edited music video experiments over the summer.

Using this opportunity to craft a video for “take no requests” made almost too much sense, and I couldn’t be happier with the outcome. The reaction to the video has been nothing short of overwhelming, and none of it would have been possible without Morgan’s complementary vision and the Trash app team’s continued support.

What can you tell us about the upcoming album you're working on? Does it have a title yet and will "take no requests" be on the track list?

The album is tentatively titled ‘Exactly’ and has actually been completed for quite some time now. 10 songs were recorded during marathon sessions at Tinshaktu in Carrollton, Georgia and Jan Smith Studios in Atlanta in 2019. Initially, I was hell-bent on just releasing the album in its entirety with no attempts at doing the whole extended rollout thing but Jesse Owen Astin—who produced, mixed, and mastered the album (and is also a well-documented voice of reason)—ultimately convinced me that I’d probably feel a greater sense of accomplishment if the songs were given a little more room to breathe.

Then, in the middle of releasing a song at a time at roughly a monthly pace, the COVID-19 pandemic and the ensuing fuck-up of a response from the White House hit everyone. So I decided to pause the release of singles for a bit. All of that resumes this month, however, and—to actually answer the rest of your question—“take no requests” is indeed on the album!

My current plan, though this could easily change within 15 minutes, is to have all 10 of those songs (and their corresponding instrumentals) bundled together for a release by early November at the latest. Leading up to that, expect a handful of videos and other social distancing-inspired transmissions from my ongoing attempt at living my own version of The Art Life.

What are some things that inspire your creativity when working on new music?

This is a nearly impossible question to answer retroactively, so I’ll just detail what’s been inspiring me as of late: the forced isolation of COVID-19, the numerical importance of age (I turned 33 earlier this year), a more disciplined approach to libations, transcendental meditation’s ultimate victory over transcendental trepidation, a litany of therapy apps, and far too much more to name here.

With "take no requests" now released, what's next for you musically?

Expect a couple more singles—including “One More Time” later this month—before the full album hits streaming. As mentioned earlier, the album will also include instrumentals for each songs, which I think is a generous offering, though the average listener may find such an addition to be wholly inconsequential. Who knows?

Regardless, I’m quite excited to immediately move forward after these songs are out in the world. I’ve already written and demoed what currently feels like at least two albums’ worth of new songs. I’m also aiming to release a series of new short stories in the fall.

Connect with Batshit: Facebook | Instagram | Twitter

The Supposed So Drops His New Album "Thoughts in the Belfry"

We are excited to introduce you to the Worcester, MA based singer-songwriter Michael McGuire, also known as The Supposed So. At 32, he has amassed quite a large body of work, stretching over 200 original songs on over 30 releases; ten books, including four books of poetry; and dozens of recorded cover songs, including Alkaline Trio’s Good Mourning from start to finish.

Since beginning his performing career at 19, The Supposed So has dipped his toe into the music scenes of Asheville, NC, Portland, OR, Belfast, ME, Cleveland, Ohio, and New York City. He is currently riding out the end of the world pursuing an English Literature degree at the University of Massachusetts.

The Supposed So has recently released his album, “Thoughts in the Belfry”, which he wrote, performed, recorded, and produced himself. Comprised of nine songs, “Thoughts in the Belfry” fuses folk, rock, and pop music, and follows his 2019 EP release, “What Belongs In The Future Runs Off With The Past”.

Listen to “Thoughts in the Belfry” right now, connect with The Supposed So on social media and check out his website for brief essays about each of the album’s songs. Also, be on the lookout for our exclusive interview with The Supposed So and the review of the album.

Stream and Share “Thoughts in the Belfry” on Spotify

Connect with The Supposed So: Website | Facebook | Instagram

South East London Artist Delvaux Releases His First Album "Low Lights, Long Nights"

Delvaux is a 23 year old singer-songwriter, artist and founder of the collective OvaC. As one of the hottest up and coming independent artists to come out of South East London, Delvaux has a specific vibe, has an ear for catchy melodies soaring over spacious dark instrumentals. He grabs and blends different sounds and influences from different genres whether its Melodic trap to UK Rap and Pop Music to RnB.

Delvaux has just released his first album “Low Lights, Long Nights”, which is comprised of 8 tracks, and features S1MMS, Mass Idea, J Harden, and Chaos Fearom.

We can’t say too much about the album now, but definitely understand that it’s DOPE and you will be blown away by it. We’ve got an in-depth review and interview with Delvaux coming very soon, but in the meantime, enjoy “Low Lights, Long Nights”, and connect with him on IG.

Connect with Delvaux: Instagram

Stream "Devotion", the Debut EP by Orlando Singer-Songwriter and Producer Johnathan O’Gilvie

New to DCWS is the debut EP entitled “Devotion” by Orlando, FL based singer-songwriter, instrumentalist and producer Johnathan O’Gilviie. He produced each of the four tracks on “Devotion” and believe it or not, the project was completed in his bedroom. Speaking of the bedroom, the track list finds Johnathan serenading and dropping many romantic notes, so this is the perfect soundtrack for the special times you spend with BAE this fall.

Vibe out to the EP now and later, stream it on your preferred music service, and connect with Johnathan on his IG. Also, be on the lookout for our in-depth review of the EP and our exclusive interview with Johnathan coming soon.

Stream and Share “Devotion”

Connect with Johnathan O’Gilviie: Instagram

Interview: London Rapper/Producer Lynx Cane Talks About His New Album "At Your Wits' End"

“For me it’s just a feeling. That sounds corny but it’s true. I’ll also say that “Cleopatra” was definitely an inspiration for the whole sound of the album due to that song being the first one done, so I was just trying to make the other songs sound cohesive enough next to it. ”

— Lynx Cane

Congratulations on the completion and release of your new album "At Your Wits' End"; tell us about your creative process for the album's 8 songs and how long it took overall to complete.

Thank you, and I started working on this album in May after I released my song "Cleopatra". I was just at home because of lock down like a lot of people, and was just writing a lot of poetry and lyrics about what I was going through emotionally and mentally at the time due to everything that was and is going on, as well as self reflecting on myself.

It was very much therapeutic, and after a few weeks I realized I had enough material for a small project. Overall, it probably took about over a month to complete.

Were there songs that you worked on for this album that did not end up on the final track list? If so, why did they not make the cut?

Yes, there were quite a few. One of them was a song called "Forest" I made with Shaggy Jacko, and Sophie Simonds about picnics and love and stuff which I really love but it just didn't fit the message and vibe of the album as a whole.

I really wanted this album to sound cohesive in sound as well as personal in topics, so a lot of stuff I was working on got scrapped in the process unfortunately. Maybe some of those songs will come out soon, I don't know, we'll see.

You produced every instrumental on this album; how did you decide which beats fit the most thematically for it, and what software/hardware do you use to produce?

That's a hard one. For me it's just a feeling. That sounds corny but it's true. I'll also say that "Cleopatra" was definitely an inspiration for the whole sound of the album due to that song being the first one done, so I was just trying to make the other songs sound cohesive enough next to it.

For the software I used Soundation. It's not as widely known as some other software because it's fairly new compared to a lot of the bigger ones, but it's pretty good. Especially if you're just starting out.

In your opinion, what's the hip-hop scene like in London for emerging artists and producers? How do you go about growing a fanbase there and are locals supportive of the homegrown talent?

There's a lot of just young talented and passionate artists out here. It's actually crazy. I didn't even realize it fully until early this year really. What's really cool about it to me is the fact that everyone is really unique from each other, there's a real creative energy here.

In terms of growing a fanbase, you just be yourself and genuine. Of course do live shows, and share your music to others on your socials but remember to just be you. People can like the music but if they don't know you, there's no connection.

Plus I would say nowadays is the best time to be an artist in the UK as I feel like a lot of people are more open minded to a plethora of different genres here now than I would say in the past in my opinion.

With the album now released, what are your goals musically for the rest of 2020 and in early 2021?

Just to keep growing and progressing really. I'm working on a deluxe version for the album with 5 more songs right now. I'm hoping to release it by the end of this year. I already got one of the songs done so that's a good sign.

Other than that, I'm planning on working on a collab album with one of my best friends Harry H Productions, who's an amazing jazz artist and producer from London also. Can't say when that's coming but hopefully next year.

Stream and Share “At Your Wits’ End” on: Soundcloud | Bandcamp | Spotify

Connect with Lynx Cane: Twitter | Instagram