Freedom to Grow: an interview with capernum

From the initial spark of self-discovery during walks in nature to the culmination of self-acceptance woven into each track, Capernum shares the profound narrative thread that binds the album together. Delving into standout tracks like 'Farewell My Friend' and 'Underbrush,' we uncover the depth of emotion and storytelling that underscore their production, offering insights into the bittersweet farewells and enchanting entrances that define the album's essence.

INTERVIEW

Your debut album, "Forest of Fairytales," offers a rich emotional journey. Can you share the inspiration behind the album and how your personal experiences influenced its creation?

That’s a cool way to put it. That album has a special place in my heart because it was my first full body of work that I felt proud of after making music for years. I started working on it in March of 2021.

Around that time, I started going on walks through a path in my neighborhood, and one time I realized I hadn’t looked more closely into nature since I was a child. I took a picture of a small carved-out hill that stood above the rest of the ground and I stared at that picture daily for a while. The album sort of spiraled out from the idea that self-acceptance

is an actual place you have to journey to.

The forest became the ideation of that very thought. Track 1 starts with a story of self loathing and incapability, to the final track where I finally felt capable and able to love who I was as a person. I feel like as I made the album, I slowly discovered who I was and began to love myself wholeheartedly. As far as music that inspired it.

As far as sonic influences go, I would have to say folk music, Glaive’s earlier work and Quadeca.

"Farwell My Friend" and "Underbrush" are standout tracks from your album. What emotions or stories were you aiming to convey with these particular songs, and how did you approach their production?

Farewell My Friend was actually the last song I started for the album.

I felt like it needed to be a much more minimal singer-songwriter cut to really make it personal. A lot of people thought it was about saying goodbye to a friend, but I really wrote it about saying goodbye to who I was.

I was just about to head to college, and felt like I needed to cut out a lot of my bad tendencies to really move onto the next stage of my life. It’s a song about saying thanks to who you were and how far you’ve come, but it’s time for a change.

It’s a really bittersweet goodbye that also works in the context of the album which I found really beautiful.

As for Underbrush, the three songs before it are supposed to be kind of a prologue in that they occur before the start of the journey to self acceptance. Underbrush is meant to signify the entrance into the woods. It’s supposed to feel magical and almost legendary in a sense.

For the production, I did a studio session with one of my high school friends. The intro guitar was recorded on voice memos to get the cicada sounds which gave it a really raw feeling and connected it back to the theme.

We thought that adding dreamy, bouncy production with the soft folky guitar gives it a sort of simple, yet otherworldly feel. I think it really fits that sparkly fairy vibe.

If I could go back, I think I’d redo the vocals on that song, but I digress.

As a new artist, how would you describe your signature sound, and what elements do you believe set your music apart in the current music landscape?

I think for my music personally it’s really hard to box into one genre. I’ve tried glaive type hyperpop stuff, folk, synthwave, indie and just straight up weird experimental music. Especially on FOF, it varies pretty frequently. I think the most signature aspect of my music is my voice. It tends to be a little weird and different from a lot of artists I’ve heard. I’m still trying a ton of new stuff, I pretty much just make whatever I’m feeling at the moment.

I think what sets my music apart is my ability to piece together worlds through lyrics and soundscapes. Even with differing genres, I can make a project sound cohesive. I love to tell stories, it’s so much fun. Pretty much all of my songs tell stories or stick to a certain concept, some more simple than others.

The themes of loss, hurt, self-reflection, and conflicting desires are prominent in your work. How do you navigate translating these complex emotions into your music, both lyrically and sonically?

I think for lyrics it really comes down to just being as vulnerable as possible. All of those emotions are things I’ve really gone through. I’ve lost a lot, I’ve been really hurt and I’ve come a long way in my personal life. I really like being super authentic with my delivery and just letting my thoughts come out in their purest form.

I love to write, and I’ve never really been a freestyler, but I treat the lyrics very delicately in that I don’t force anything that doesn’t work. I keep trying until I find the best inflections to show how I’m really feeling.

With production, I think the translation of emotions comes down a lot to sound choices that evoke certain feelings and also knowing when to make a maximal versus a minimal sounding part. Sometimes the most minimal areas allow for the emotions and vocals to really come through.

That’s something that I really like doing, and doing really really soft simple songs has been a cool thing for me recently.

"Forest of Fairytales" suggests a thematic connection between nature and storytelling. Can you delve into the significance of this connection in the context of your album and overall artistic vision?

In question 1, I kinda went over this, but I’ll go more into the abstract ideas I’ve had about this. Nature feels very open and freeing, and there’s so many stories being told just within wildlife. Animals trying to survive and bees pollinating plants.

It’s all very beautiful to me.

The openness really is fitting for the idea of self-acceptance. Self-acceptance is really just the mind being open enough to love yourself through any and all of the mistakes you make.

Nature is going to continue to play a pretty strong role in much more of my music to come. The possibilities with concepts and imagery in nature are endless really.

Your ability to vocally express intense emotions is a notable aspect of your music. How do you approach the balance between vulnerability and strength in your vocal delivery?

Vocals are something that is so cool to me. That’s where I really got my start with music. I’ve always been a vocalist, but adding production elements is something I didn’t start until a year before the album.

I like approaching the balance like anything, I think there really should be a good mix of vocal intensity on an album, depending on what you’re going for obviously. In my music, I really like to go more intense on vocals when feelings are even more heightened. I like to dramatize things a lot. And when a song feels like it needs to be more soft and visceral I like to really commit.

Vulnerability is something I really relate to more with a softer delivery. It feels quiet and heartfelt. I like strength when it comes to more catchy earworm songs. However, they should still have some pauses in their intensity at points to make the highs feel higher.

Overall, vocals are still something I’m constantly working on and trying to improve, so I think I’ll continue to get better at facing that balance.

Are there specific artists, genres, or even non-musical influences that have played a significant role in shaping your artistic style and approach to music?

Definitely. My biggest artist inspirations when I started were Juice WRLD and Convolk.

Rip Juice.

Now I would say my biggest inspirations are Bon Iver, Quadeca, Jane Remover, Underscores, Quedronol, The Microphones, Patrick O’Neill, and Brakence. A lot of these artists are exploring sounds I’ve always wanted to try out, and I think elements of their music are going to show up in my new stuff in a lot of cool ways.

I can pick songs from all of these artists’ recent bodies of work that are influencing specific songs I’m working on. Genre influences for me right now are really mainly folk, grunge, rock and experimental stuff in general. I definitely need to branch out more. For non musical influences, a lot of it comes from photography accounts I see on twitter, they inspire me quite a bit and help me to brainstorm visuals for my music.

I love the album movie for “I Didn't Mean To Haunt You”. It gave me some really interesting ideas for visuals. A lot of anime’s are also pretty influential for my style. “Mob Psycho” is a great example of a really visually stunning world that tells a really beautiful story.

I’d say places and atmospheres are probably my biggest inspiration right now though. I like emulating feelings of being somewhere while you aren’t. It’s cool for world building.

Looking ahead, what are your goals for 2024, both in terms of musical exploration and any potential new projects on the horizon?

I have so many goals for 2024. A few years ago, I made a lot of metric based goals, and slowly I’ve moved away from that.

Numbers are my last priority, while making art that I can be proud of is #1. I think my goal is to drop more music next year. This year I only dropped four songs, albeit one of them took me 6 months to perfect.

As of right now, there will be a new song in January called “Quilt”, and it’s a really soft, super short little winter themed acoustic song.

Really proud of it, and I’m excited to kick the year off strong. I’m hoping to drop a single like every other month at least for the rest of the year. So after “Quilt”, expect another song in February! I think I want to go back to some of the sounds I’ve explored before that are more poppy for sure, and I’m interested in exploring grunge which I’ve never really dabbled in.

As far as new projects go, I just started working on my second album. I’m excited to see where it goes, but I can’t really say too much other than it blows anything I’ve worked on out of the water. Depending on how long it takes, there might be an EP or two before it.

Super stoked for the album and its world.

In your creative process, do you have any rituals or routines that help you get into the right mindset for writing, producing, or recording music?

My favorite ritual for when I really want to feel the song is turning all the lights off in my room and recording with just light from my computer screen. It helps me fill in creative gaps because the dark helps me to visualize and feel things that aren’t there more closely.

I also really like making a song and then lying down and closing my eyes to see how it feels to really zone into the song. When I’m immersed, that’s how I know I’ve made something special.

I also work best from 12 am to 4 am so staying up late has sort of become a habit for me.

As your audience grows, what message or feeling do you hope listeners take away from your music, especially those who are encountering your work for the first time?

I think it’s super cool to see my growth since I first started. Even back then, I had people say that my music made them feel things that they hadn’t felt, or that my vulnerability was comforting. Some people say they just enjoy the music.

One thing I really want listener’s to get out of my music is an escape and the feelings that I try to portray. I also want to show people that anyone can make art. It doesn’t matter how many people it reaches, or how good it is.

We have so much freedom to express ourselves but some people choose not to. Nothing wrong with that, it’s just that if it’s something you’re interested in, what’s holding you back from trying something new?

Making art has shaped who I am as a person, and I’m so grateful that it’s such an accessible thing now. 

~

STREAM CAPERNUM

Brick by Brick: an interview with Micah Callari

Introducing Micah Callari, whose latest EP "Gasping for Air" offers a glimpse into her evolving journey as an artist. Delving deep into the creative process, Micah shares the inspirations behind each track and the journey of personal growth that shaped her sound. Join us as we explore the raw emotion and authentic storytelling woven into Micah's music, providing a window into her unique artistic vision.

   INTERVIEW

"Gasping for Air" showcases a unique blend of expressive vocals and intricate production. Can you walk us through the inspiration and creative process behind this release, and how it represents your artistic evolution?

When it comes to my discography, I see gasping for air as an experimental transition period.

My last record, I WILL GET MY ACT TOGETHER, was definitely my most calculated project to date; all the songs connected to each other and the album held a cohesive narrative throughout the runtime. Once it was finished and out, I wanted to do something easier and smaller in scope while still artistically challenging myself before my next big album.

I actually originally made the gasping for air songs with the intent of just releasing them all as singles, but I ended up finding they form a really cohesive package when you put them together. Once I had a cover and title in my head that clicked, I chose to turn it into the EP it is today!

I go into every project with the hope that I’ll be even better than before at production and vocals and songwriting, and I think gasping for air specifically saw a lot of growth in all those regards. I’m generally a fast worker when it comes to music, and I can knock out entire songs in just a couple days (or in sick again’s case, literally 1 day from start to finish!), so this time I tried to make sure that every choice for this project was intentional and had my full heart backing it.

The tracklist in particular took a long time to fully come together… i bet every warning label… could’ve been the intro track, and 7 dollar beverages was the closing track for most of the EP’s development… crazy shit! Even though I would probably change some things if I made the EP today, I’m still really happy with where it is now, and I think it’s my most honest music to date.

Your vocal tone is distinctive and adds a whimsical quality to your music. How do you approach using your voice as an instrument, and what influences contribute to the character of your vocal style?

I don’t know if this is just me, but when I work in the DAW, I see my voice as an instrument to play around with just as much as the pieces of the instrumental. I’ve never really separated them in my head since I started producing my own music!

I spent six years singing in choir and playing French horn. What they taught me technique wise was great, but dear god, the culture surrounding the program I performed in was frustrating to say the least. For a while I was swallowed into this elitist hivemind mindset where the social norm was to see autotune or electronic and pop music as fake and evil, and that definitely scared me off from even trying to make what I wanted musically for a long time.

It all caused me to feel a bit stuck in my head for a long time, since I was under the assumption that autotuning or manipulating my voice would equate to me being fake or something. I ended up bottling up a lot of feelings about myself and the people around me for years since I was too scared to really sing about it. Music is a big outlet for my emotions, and I was trapped for far too long.

It wasn’t until I conquered that fear of being judged for “producing my voice,” per se, that I really truly found my own voice, no matter how natural it ended up being.

"Premonition," "Sick Again," and "7 Dollar Beverages" each offer a different sonic experience. How do you navigate versatility in your sound, and is there a specific theme or emotion you aim to convey through your diverse array of tracks?

I’d say I’ve been a solidly diverse artist sound-wise from the beginning, I’ve just never been one to chain myself down to one genre or style. Whenever I get an idea in the DAW, as weird as it sounds, I just give it a go to see how it sounds.

I like challenging myself and trying out new things with each song, it makes production way more fun for me. I can’t chain myself to one idea or sound, I would be bored to death… not to say staying in one lane or genre is a bad thing! It’s just not how my brain operates at all, haha.

Lyricism plays a significant role in your music. Can you share insights into your songwriting process, and how do you find the balance between storytelling and maintaining a connection with your audience?

Before I wrote music, I wrote poetry and short stories, and even attempted a few novels as an elementary schooler. I’ve always been a writer, it’s just ingrained in my DNA. I don’t like to say it’s a natural talent for me though, I’ve spent my entire life practicing and have only felt confident enough to put my songs out publicly in the past couple years.

Similarly to my sound, I find it more enjoyable for me to challenge myself with my writing. Sometimes my songs recount literal entire days of my life start to finish, other times I write about my internal dialogue, and occasionally I just sing a fictional narrative!

Again, I can’t keep myself in one box, I’ll never be satisfied if I just stay doing one thing for my entire life.

I believe the small audience I’ve gathered over the years also understands that I’m never going to stay on one thing forever, and so because of that they’re open to hearing out whatever I try with each song. I love that, it’s really heartwarming whenever people tell me a song or project of mine has had an impact on them.

"Gasping for Air" has a sense of vulnerability and intimacy. How do you ensure that your personal experiences and emotions are authentically reflected in your music, and why is that authenticity important to you?

There was this stretch of time before gasping for air where I found it difficult to write about myself or my personal experiences.

I’ve struggled a lot with dissociation over the past year, and it really manifested in the way I was writing my music. Upon reflection, I think that’s why I WILL GET MY ACT TOGETHER was almost entirely a fictitious narrative, I was just too lost mentally to connect with myself mentally.

Gasping for Air saw me trying my hardest to bring that self-connection back to my music. Everything I wrote there was real and based in real-life experiences, and that self-reflectiveness even bled into the production and vocal performances.

Being authentic on this project was important for a lot of personal reasons; my personal life at the time was rough and I really needed that outlet to get through it all. Even if I wasn’t ready to write about everything that was happening in the moment, just getting the emotions out felt really cathartic.

As an artist, what role do you see yourself playing in the broader landscape of the music industry, and how do you hope to contribute to the evolution of your genre?

My current plan is to stay independent as long as possible.

Labels can be cool for the resources they provide, but I’ve seen too many horror stories about artists signing and losing control for me to make it my goal to sign to one. It’s just not for me, and that’s okay, even if my dreams would be a lot more achievable with label money, haha.

Funny enough, for as anti-label as I can be, I’d love to hear my songs on the radio one day. Highkey, I’ve actually been played on a radio station before, when Curro and Niko’s Drop Table show played a couple of my songs.

It was like, the craziest feeling ever. Radio was always just that thing from childhood that I thought I’d never be able to reach, and here I was hearing sick again on the airwaves on some fuckass Wednesday. Wild!!!!

I’d love for my music to reach charts, to be heard out in public places, and to have a presence somewhere, big or small. I perpetually have to tell myself that it’ll probably never happen, but it’s always been my dream and I’d love to see it through someday.

In a broader, existential sense, I want to help people take pop seriously. Throughout my life I watched a lot of elitists swear off so much good music just because it was pop, and I can’t even fathom to understand it at this point.

A good pop song can touch a person just as emotionally as any other genre, or in the case of these people, a concerto or symphony.

"7 dollar beverages" gained a lot of attention. How do you handle audience feedback, and have there been any unexpected reactions or interpretations of your music that stood out to you?

I actually went into that song trying to make it as accessible as possible, so I’m not surprised that 7 dollar beverages got as much attention as it did.

A critique I’d heard a lot about some of my earlier music was that it sounded “weird” so for this song, I specifically tried to keep my writing choices as “reined in” as possible. I will admit I do make some choices that can be out there sometimes, so this time I just wanted to make something listenable for as many people as possible.

It was a very different song for me in a lot of ways, mainly because the production was 90% by my friend Iris (@_irselr on Twitter). She just sent me this absolutely crazy beat, and then writing and recording on it took a day because it was just that good of a beat. Everything about that song happened at such a frighteningly fast pace that it lowkey scared me, LOL.

I’ve come to really appreciate what this song means to me, and I think placing it as the intro to the EP was the right choice in the end (I almost made 7 dollar beverages the closer, I really didn’t know where to put it in the tracklist for a longgg time).

Collaborations can bring fresh perspectives to an artist's work. Are there any artists or producers you'd love to collaborate with in the future, and what do you think such collaborations might bring to your sound?

For me the hardest part of a collab is just asking the person in question if they’d be interested. Once I’m actually collaborating with a person, it’s easy; as long as I know my place or role as a contributor to a project, I can stay and thrive in that role just fine, and compromise if I happen to disagree with other people’s creative decisions.

I’ve learned repeatedly over the years that other people usually know better than me when it comes to certain things, and I’m okay with that.

My dream collab list is soooo long, but right now corefish is definitely toward the top of the list. I’m very curious how corefish would sound on my production, he processes his vocals with lots of formant shifting and I think the way he does it is unlike anyone else.

I’d love to produce something different like that with him. underscores is totally be a dream collab too, she’s been such a huge inspiration to me and a studio session with her would be the fucking best.

In your creative journey, are there specific moments or experiences that stand out as turning points, influencing the direction of your music or shaping your artistic identity?

I was exclusively listening to classical symphonies and concertos and resented modern music until I was 14; that’s when I found artists like Poppy, Jack Stauber, and Billie Eilish and finally started building my own tastes and interests in music.

Then I found 100 gecs at the peak of their 2020 popularity, and it was fucking life changing. I know people like to meme on them, but I just saw some honest musicians making honest music and breaking all the rules I had built in my head about how music was supposed to work. underscores also broke my brain, she’s on another level when it comes to her writing and production.

All these artists I mentioned, who each had their own ways of expressing themselves, inspired how I make music and sing to this day.

Downloading Ableton was also a groundbreaking moment for me. Learning music production has probably been the best choice I made over the past few years. Things would absolutely be so much worse if I didn’t have my music in my life to ground and develop me.

Looking forward, what can listeners expect from your future projects, and how do you envision your sound evolving as you continue to explore new territories in your music?

It’s not ready yet, but I’m working on an album and I’m really excited to show everybody. Get ready for loud, saturated, distorted SOUNDS. And guitar samples; lots and lots of guitar samples. I can’t play guitar to save my life but I sure can sample it!

It’ll be a lot different than anything I’ve made before, but don’t worry if you don’t like it; I’m already starting to feel an itch toward making even wilder music and I haven’t even finished the current album!!!!!

For now at least, it’s a really fun stop on this never ending road I’ve found, and I can’t wait for people to hear it.

STREAM MICAH CALLARI

Testament: an interview with yonklolz

In this insightful interview with yonklolz, the mastermind behind the mesmerizing track "Don't Test Me," we delve deep into the intricate world of genre fusion and creative exploration. From the origins of his unique sound to the emotional narratives woven into his lyrics, yonklolz shares his journey of self-discovery through music and his aspirations for the future.

INTERVIEW

"Don't Test Me" showcases an incredible fusion of genres. Can you walk us through your creative process when crafting a track that seamlessly transitions between acoustic, electronic, funk, hyperpop, and punk elements? How do you approach such intricate sound design?

Around the time I made that track, I had this undying urge to fit as many things as I possibly could into a song. I felt the need to impress others, get however much recognition I could get, and just do whatever I could to garner some sort of reaction.

I really dislike the fact that that was the mindset I had going into producing that track, but I think my negative mindset kind of backfired on me halfway through completion. I had put all this energy into the first half of the song and had no idea how to keep it going, so I took a break for quite some time to focus on myself.

I think sometime in that break I realized that I genuinely didn’t care what other people thought of my songs, and regardless if it was a meaningful revelation, I found myself back in my room finishing the song, and for once it wasn’t for anyone else but me.

I used all the musical inspirations I had from when I was younger and put them together in some sort of collage that I called “don’t test me”. After this song was released, I started following the pattern of “fit everything I can into a song but for a better purpose than impressions” and it sort of became my entire style. I began noticing different genres work much better to convey different emotions, but if I wanted to have a multitude of feelings in my song, I would have to combine them at some point.

I generally think that it’s not a variety of genres in a song that makes it work, but rather the transitory periods between them. I tend to notice sometimes that in some songs, the transitions between genre to genre can sound sort of harsh and unexpected (even with songs that have a stagnant genre, but I look at this more like a transition from break -> chorus rather than genre -> genre), and the easiest way to make that transition work is to slowly build elements to the next part of the song in the current section.

TLDR: Different genres work for different moods and there’s no wrong way to mix two or more genres together, but transitions mean everything when it comes to blending them together. 

Your vocal range is impressive, moving from calm and soothing tones to intense, scream-heavy moments. How do you decide which vocal style suits a particular part of a song, and how does it contribute to the overall emotional narrative you aim to convey?

One thing I used to struggle with was how to make vocals suit the introduction of a song, whereas I felt like my tone was sometimes too jarring for such a soft section of the track.

Overtime, I noticed the dynamics of an instrumental and the dynamics of your vocals should match each other for a well-blended track. Obviously the tone of your voice, the lyrics, and the strength of how you say it matter in an emotional sense, but I feel like the actual dynamics behind it aren’t looked at as much.

Screaming doesn’t have to be for a heavy part of the song, nor does a softer tone require softer music, but the emotional aspect of it definitely increases when it matches the instrumental behind it. 

Listeners often describe being drawn into your world from the first note. Can you share a bit about the themes or stories that inspire your music? Are there specific experiences or emotions you find yourself consistently exploring in your work?

To me, music serves as therapy. I’ve never been to therapy, so I don’t know how valid of a claim that is, but I think half of the reason I haven’t become that miserable is thanks to music being there for me. Whatever emotions I’m feeling at the moment are the emotions in my song.

Most of the time, I use music to vent, so I tend to explore darker themes than I think people expect. And as I mature, so do the topics in my songs, which means at some point I really hope to make a song with a profound statement.

I always want the instrumental to convey the story or theme of the lyrics with as much intent as possible. 

As an artist who navigates diverse genres, how do you find the balance between experimentation and maintaining a cohesive signature sound across your body of work?

To be completely honest, I think the only part of my sound that’s signature is my vocals.

I do tend to follow a similar style in the majority of my songs (using heavy and washed out vocal layers), but outside of that I don’t think any song of mine is similar from the last (which can be a blessing and a curse). In this day and age, I can never tell whether people want consistency or uniqueness, and that’s something I struggle with more with each release.

That’s why at some point, I just threw out any idea of balance. I want to focus on what I want to make, and if that means tipping the scale to make something more unique than consistent, then I’ll do that a thousand times over trying to keep things balanced. Otherwise, I’d find myself limited to what I can do by what I’ve already made.

The quality of your production is noteworthy. What tools, techniques, or sources of inspiration do you rely on to achieve the unique sonic landscapes present in your tracks?

When I tell people that I produce in Ableton, they’re always like, “Yeah, makes sense. Everyone that produces in Ableton has that Ableton sound.”

But that’s just not true at all.

I know some people that produce in GarageBand better than I can in Ableton. I think a lot of good production lies in great sample selection, understanding of dynamics, and even 3rd party VSTs rather than what DAW you use.

But what is ‘good production’? I don’t have an answer for it - it's such a broad and subjective term. That’s why I think that the main part of production is making sure your production stands out. Each producer has a different way of producing songs, and the best way to differentiate yourself is just by being yourself.

I grew up listening to The Prodigy, deadmau5, Skrillex, and The Chemical Brothers, and while none of my songs sound like any of those bands, I used countless inspirations from how they produced their songs to make mine. I was immensely fascinated at how Liam Howlett was able to use so many samples from songs and transform them into violently different soundscapes, and that sort of production technique has definitely been injected into my music.

As of right now, some current artists I’m heavily inspired by are Martha Skye Murphy, Slauson Malone, and Lerado Khalil. I could go on and list every single genre of music that I’ve been inspired by, but I could summarize it by saying that the internet in itself has shaped how my music sounds and if it weren’t for thousands of these online communities that I could interact with and gain inspiration from, I’d probably be making corporate EDM. Or new age.

Actually, making new age would be pretty cool.

In "Don't Test Me" and other tracks, your lyrics carry a blend of intensity and vulnerability. How do you approach lyricism, and is there a particular message or feeling you aim to convey to your audience?

I think one thing I’ve struggled the most with in music isn’t even making music but figuring out what I should say over the song. I’m not the best writer and especially not the best lyricist, so it's hard to find that balance between good writing and a catchy tune.

Sometimes, I feel like the writing of my lyrics are greatly hindered by how I want the flow of my vocals to sound. I think that’s why I try pretty hard to have some sort of discernable emotion in my vocals to make up for the meeehh writing I come up with for some songs. I know that the passion and the emotion behind the actual instrumental is still there, but sometimes when I don’t know what to say, I just let my tone speak for itself.

I don’t think I have a current message behind my lyrics yet, but as I’ve been releasing more experimental works, I’m starting to improve in my writing and I think in 2024, you’ll see some tracks that have more intention and meaning behind them than before.

Your ability to seamlessly switch between musical styles is a standout feature. How do you see your approach to genre-blending evolving in the future, and are there specific genres you're excited to explore further?

I think that genre-blending is probably one of my favorite parts of making music because it isn’t explored as much in more mainstream songs. In the future, I’m probably going to still genre-bend but I want to work with sounds I haven’t worked with before. I did that recently on my latest release, vvv, and I plan to do it again. I’ve been listening to a lot of Squid and Model/Actriz recently (thank you Patrick O’Neil for putting me on), and I really want to do some sort of song in their anxiety rock sort of style.

I think it might be hard to find people that play live instruments as I don’t play a single one, but I feel like it would be super fun to make a crazy experimental rock EP or something.

As a multifaceted artist, do you find that visual elements or storytelling outside of the music itself influence your creative process? Are there any visual artists, films, or other mediums that inspire your work?

Of course!! I’m a huge fan of internet aesthetics and they definitely creep their way into my songs. modern discomposure, my 2nd ep I released, was a sort of exploration into early 2000s motifs and textures, and I definitely plan on making projects like that again in the future. Outside of aesthetics though, I’m a huge film nerd and there’s countless movies that inspire the production of my work.

I used to listen to soundtracks of movies constantly to get a feel for how they were paced in comparison to the movie. As I mentioned earlier, I think making a song is very similar to making movies, and I really want to follow the sort of dream logic of more experimental films in the future.

In terms of visual artists, I’ve definitely been inspired in my unreleased works by artists such as Ryoji Ikeda and Hiraki Sawa.

Looking ahead to 2024, what artistic goals do you have for yourself, and how do you envision your music evolving in the coming year?

One of my main goals this year is to delve into multidisciplinary art. Music does such a good job at conveying a meaning by itself, but I want to expand that meaning with some other form of art. I really want this year to be the year where I make the biggest impact on the scene by having compelling music videos, artistic short films, and writing that spirals out of control.

At some point, I’d love to go live too. I know everyone has that dream, but I really want my livesets to be different in the sense that I want to try to create an entirely new live experience in which everyone shares the emotions I’m sharing.

Or, maybe I’ll just go the Ryoji Ikeda route and use really cool lights and sounds. I think planning and budgeting all this will be very hard, but I trust the process and pray that this year I’ll make more connections than ever and grab the audience I want to make these projects happen. As for my music, I really want to work with more creative artists and collaborate on songs in unconventional ways.

I love the sounds and atmospheres some people in our scene make, and I think I’m just too scared to ask people to work with me. I used to have this thought that I needed to do everything on my own 100% of the time, and it’s really come back to haunt me. 2024 is the year I flip everything upside down.

As your audience grows, what kind of impact or emotional connection do you hope your music leaves on listeners, and is there a specific legacy you aim to build with your creative endeavors?

All I want is people to know that I’m here. I feel like people know that I exist but at the same time I don’t feel like I interact with anyone in the scene.

I know people tend to limit me in their mind because my artist name is silly, but I don’t think shit like that matters anymore and I want to be proof that you can have the dumbest name of all time and still make an impact on the community. I want to have some sort of audience where we can share the same experiences, same livelihoods, and same inspirations and degradations.

I want my music to serve as some sort of collective mind-like waste basket for shared negativity: your emotions are mine and I want to toss them away with you. My reality is crumbling and I want to document it the only way I know how.

I feel like there’s a couple ways to interpret that, but the way I see it is I want to feel what you feel and, if you listen to my music, feel what I feel.

STREAM YONKLOLZ

Reverberate: an interview with expathmia

With a distinctive blend of atmospheric elements and emotive storytelling, Expathmia invites listeners to delve into realms where reality intertwines with imagination. In this interview, we uncover the inspirations behind Expathmia's unique sound, their creative process in sculpting their sonic landscapes, and the future horizons they envision for their music.

INTERVIEW

Your music, particularly in tracks like "americanalleyway," paints vivid auditory landscapes. Can you delve into the inspirations behind your unique and atmospheric sound, and how do you translate those inspirations into your compositions?

I take a lot from what I currently listen to. For this EP as a whole, I pulled heavily from Quadeca, Ethel Cain, Ohzora Kimishima, and Quedronol. But for songs such as “americanalleyway”, I pulled straight from my fears: death, darkness, isolation, and being misrepresented. I want to be known for who I am and what I can do regarding music, not the sex marker on my birth certificate. During the period of time that I made “americanalleyway”, these fears controlled me and what I did, sometimes they still do.

They were bottled inside me as if a tornado of massive proportions. I wanted to create a song that represented what I was feeling in that exact moment. Whenever I make a song, I dwell on how I feel a lot because that is what usually drives my songs. It usually takes me hours of creating new synth sounds just to properly recreate that feeling. Usually just clicking synth presets then editing it from there.

It’s all just trial and error, then trial and error again, and again. It also depends on what I’m recording at the time. My phone is usually filled with photos and videos of the most random things. It’s usually the moon or some random forest, but each of these videos, I like to attach to a feeling which then goes to a song. It made making my visualizer really easy since I already had so many videos! To conclude simply, it all comes down to just messing around and trial and error. I really haven’t been producing for too long so I just like to click buttons sometimes till it works out!

Ambient music often has a way of conveying emotions and stories without explicit narratives. How do you approach creating sonic environments that evoke specific feelings or take listeners on a journey?

I have a small background in writing stories! I’m not really all that good but I have written a full length novel. I don’t think it’ll ever see the light of day, but it has prepared me for telling stories. I like to create a small tale before I do anything, whether it’s just a certain feeling or a fully planned story.

Since I haven’t really written stories in a while, it has kinda taken over my music. I’m always trying to share a story with my music and that’s how I approach each song. I’m always asking what does this synth represent, what does this song title share about the song’s meaning, what does the instrumental tell about the overall story. I think each song has to have a change within it. It’s like writing a chapter with Chekhov’s Gun. It’s a principle that states every element in the story must have a purpose and be necessary.

I like to think of my songs like that. Each song has a turning point in the story I’m telling. I think that is the best way to draw listeners in and evoke specific feelings.

"Oceanwall" has a distinct sense of place and atmosphere. How do real-world environments influence your music, and do you have specific locations or memories that serve as recurring inspirations?

As I previously mentioned, I take a lot of photos and videos of scenery that draws me in and captures a certain feeling. I base my music on those feelings I get from the world around me.

Recently, outside of my place of employment, there was a street lamp and it kept blinking, surrounded by ethereal darkness. I couldn’t help but take a video of it. I’m captivated by things people consider to be normal. I think environments like that are the best for taking inspiration from. These places that capture me get released into each song. The only place of significance related to my current EP is a lakehouse I went to this October. The first night there I sat on my bed in the darkness. It’d been a long day and surrounded by darkness and my fears, I continuously thought about my place in the world. It’s where my profile photo is from. There was a tiny mirror on my bedside and I snapped a quick photo.

From the moment I looked at that photo, I knew it would be the start of my music career. Earlier that day, I had discovered Drama Trial and ever since then, I knew that I wanted to be a musician.

That house directly inspired “Oceanwall (the closet song)” and directly pushes me forward in my music career every day.

Sound design plays a crucial role in your compositions. Can you share insights into your creative process when sculpting the sonic elements that make up your tracks?

Although I've now upgraded to Logic Pro, I made this entire EP in GarageBand. That limited my creative process, but I didn’t let it hinder me. It was limited but I spent a lot of time dwelling on certain noises and synths. I think I’ve gone through hundreds of synth presets for my EP.

It was all in the pursuit of finding the right synth for the right song. Another element I think about a lot is white noise. In songs such as “Wayfarer” and “Oceanwall”, background noise takes up a major part of the song. In “Wayfarer”, it was a clicking noise created accidentally through a plugin I use. At first, I thought it was an issue with GarageBand. Luckily, it was just a preset on my plugin! For “Oceanwall”, it was a sample of waves crashing onto a beach. I’m very particular with each thing I add. I’m very careful of the effect it has on the full track. On “Wayfarer”, I made a guitar sample that plays towards the beginning but also plays towards the end climax moment. But towards the end, it was transposed down.

That was something new I had tried and worked pretty well with a synth bit I added inspired by the movie, Hereditary, and its theme. It is all about trying new things until something works out!

Your music has a dreamlike quality, blurring the lines between reality and imagination. How do you achieve this balance in your compositions, and what role does experimentation play in your creative approach?

All of my songs tell a story. A story based on reality, close but so far from the truth. I take events from my life and base music directly upon my own lived experiences. That is how I achieve such a careful balance between reality and fiction. I probably sound like a broken record by now, but experimentation is everything.

I’m not an experienced musician so it’s all about trying new things. I pull that want to experiment straight from my life. I used to be really scared to try new things, but as I’ve started to come into my own, I’ve started to release my walls and let new things in.

Collaboration within the music industry can bring forth unique results. Are there any artists or creators you would love to collaborate with to explore new dimensions in your sound?

Oh, for sure! There are so many people I want to collaborate with. If we are talking dream collaborations, definitely Ohzora Kimishima, Ethel Cain, or Quadeca.

If we are talking a little more realistically, then Quedronol for sure. Quedronol’s is a master at creating a huge and beautiful soundscape. I would love to try and interact with that. I also have a small friend group that is slowly expanding. We have a discord server and plan to invite more musicians soon!

Currently, it’s only me and my friends: Jish (@callmejish), Capernum (@capernum1), Light (@lighttonthebeat), and Autumn (@SlaughtumnsOST). We are all collaborating and it’s so fun. 

When you listen to your own music, what emotions or experiences do you hope listeners will derive from the sonic landscapes you've crafted?

Hope. This EP spawned out of my hesitation in coming out to my friends and family. The title of the EP is a direct call out to myself. I used to be unwilling to even consider coming out and now with this EP, I’m rewriting that script and changing my despair to hope. We all may be buried in despair especially looking at the state of the world, but hope isn’t lost yet. It’s only lost when we say it is!

As a creator in the ambient genre, how do you see your music fitting into or challenging the broader landscape of experimental music today?

I think especially in this small music scene we all exist in, I think ambient music is a lot more accepted. Many people still refuse to call ambient music as music. I want to directly challenge that thought with my music. A big musician that comes to mind is thatcherblackwood.

Although he doesn’t make ambient music, he has a lot of elements I push into my music. He’s a master a creating a very vivid world out of noise and that is something I want to replicate.

Are there specific technologies or tools that are integral to your creative process, and how have they shaped the evolution of your sound?

My synths and my various plugins!!! I mainly use a granulator called Emergence.

Ever since I found that, it is like everywhere in my music. Another plugin I often use is Little Plate. That reverb is everywhere, like it’s so repetitive. Pitch bending is also very important to my musical process. Pitching notes up and down on the fly is very essential to each and every one of my songs.

These elements really pushed my music into an area that I don’t think anyone else occupies. I would love for someone to prove me wrong though haha.

Looking ahead, what themes or sonic territories do you envision exploring in your future projects, and how do you see your music evolving over time?

A huge theme that I still want to tackle and I currently do is being trans.

It’s kinda been beaten to death at this point by so many musicians, but I think I have a unique take on it that I want to accomplish later down the line. I’ve also been experimenting a lot more with guitar recently. I hinted at this in my EP’s visualizer on Youtube. Expect to see guitar in most of my future songs!

I think it could definitely head into the shoegaze region while still keeping a lot of my ambient elements. That’s my current goal.

One last thing I have to say is that I’m so thankful to Nefarious Supply and every listener. I appreciate you all!

Thanks everyone for this opportunity!!

STREAM EXPATHMIA

Crescendo: an interview with vilsynth

Explore Vilsynth's musical voyage in this interview, delving into the nuances of his creative process. Learn how he shapes his unique soundscapes, blending personal introspection with collaborative inspiration. Join us as we uncover the evolution of his artistry, from the roots of his vocal tone discovery to the atmospheric depths of his compositions, offering a candid glimpse into his emotive and innovative world.

INTERVIEW

Your voice is both beautifully evocative and calming. How did you discover the unique qualities of your vocal tone, and how do you feel it complements the atmospheres you create in your music?

My friend Alex and I used to make meme rap/parody songs back in our middle school days. I noticed that I had somewhat of a natural alto/tenor vocal range when I sang, so when I started ‘vil’ I experimented with a lot of electronic & alternative sounds that I thought would compliment my voice and likings best.

I see my style of music to be very raw and emotional, so I always try to add somewhat of an ambience to my voice, whether that is drenching my vocals in reverb or low-compression to make a softer and more ethereal listening experience.

Your production quality and sound design are notable aspects of your music. Can you share some insights into your creative process, especially when crafting the intricate sonic landscapes that define your tracks?

Whether I am producing or collaborating with producers, I always try to go with my gut and what sounds catch my ear the most.

I’m big into texture within the world of sound; how different synths, drums, and vocals fill up the space in a track. I enjoy having a variety of things going on, but to an extent where it’s not overwhelming.

Collaborations seem to be a significant part of your musical journey. How do you approach working with other artists, and what do you value most in the collaborative process?

Most of the people I collaborate with have been good friends of mine for years, online and in person. Getting to know somebody and have a connection, personally and creatively, is what makes collaboration the most exciting.

I like to let things happen naturally and not at a set pace, which always has proved to be the most rewarding.

Your music often carries a cinematic quality. Are there specific visual or narrative elements that inspire your compositions, and how do you translate those influences into your soundscapes?

I love making visual listening experiences with my tracks. I draw a lot of inspiration from nature, so sometimes I’ll go sit at my neighborhood park and jot down my surroundings and feelings.

A lot of the cinematic elements in my music have been inspired from Hans Zimmer, and his score for ‘Interstellar’ & ‘The Dark Knight’.

I sometimes find myself creating songs with the mindset of it being the score for a movie about my life, even if listeners don’t pick up on that. I’ve taken a liking to leaving my music and it’s elements up to interpretation.

In your song "greed," with xona, the balance between vulnerability and strength is palpable. Can you shed light on the emotional themes you explore in your music and how you navigate expressing personal experiences through your art?

Everything I make is based on my emotions. I’m a visual learner, so I write a lot of my feelings and song ideas in a journal.

Observing my thoughts and experiences in handwriting helps me visualize them so much better than just typing, because it feels more intimate and real. I try to dig deep and challenge my mind to articulate these thoughts into lyrics, and once they’re in front of me or spoken out loud, it’s like therapy.

As an artist, you've delved into various genres. How do you decide on the sonic direction of each project, and are there particular genres or styles that you find most inspiring or challenging to work within?

I try to study the fundamentals of certain genres that I want to make, which basically is just listening to a lot of music.

Recently, I’ve been very inspired by Paris Texas, and the Alternative Rap scene as a whole, and take heavy vocal influence from a variety of Folk/Americana music. Folk is very tedious to dive into because there are so many frequencies that can clash in the recording and mixing process.

I have so much admiration for the genre because it feels so ‘homey’ and authentic.

Listeners often describe your music as immersive. What atmosphere or emotions do you hope to evoke in your audience, and how important is it for you to create an immersive experience with each track?

I hope for my audience to relate or feel welcome with my music.

I make music for my own self-expression; to put my thoughts into an experience that comforts me. I hope that listeners can be able to put themselves into my shoes and share these experiences, or at the very least be able to take something good away from it.

The cover art for your releases often complements the mood of the music. How do you conceptualize the visual elements of your projects, and what role does visual art play in enhancing the overall experience for your audience?

Visual art is a very important aspect of my art. I always try to have a distinct color in each of my cover artworks that helps portray the overall mood and feeling of the song. I’ve tried to follow ‘aesthetics’ to make the overall visuals of my profiles on social media and streaming platforms, but I’ve always failed.

I love color and its ability to tell stories, so having a mix of different colors and editing styles in visuals represents my state of mind throughout each release.

One of our favorite tracks, "sticks & stones" with hovis, has received positive attention. Could you share some behind-the-scenes details about the making of this particular song, and what significance does it hold for you in your artistic journey?

This was the first song that I helped produce, with my good friend skylin. I approached this track with a storyteller’s perspective, trying to portray a character who is deeply in love, but is at wits end. It’s by far not my best work, but it’s a landmark in my discography for how far myself and hovis have come.

Looking forward, what creative goals and aspirations do you have for Vilsynth, and how do you envision your sound evolving as you continue to explore new facets of your musical expression?

I just want to keep learning and making whatever I feel. I hate keeping myself inside a box; I love experimenting.

I’ve grown so much as a person and artist throughout my musical journey, and I can only see myself progressing more and more.

STREAM VILSYNTH

At My Best: an interview with sc0ttryan

Today, we have the privilege of delving into the behind-the-scenes world of sc0ttryan's creative process. From unexpected moments of inspiration to the raw emotions woven into every lyric and melody, sc0ttryan shares intimate insights that offer a deeper understanding of the album's profound impact.

INTERVIEW

Your album "Betting with Blood" feels like a journey. Can you share a behind-the-scenes moment or story from its creation that's stayed with you? Anything unexpected or memorable?

Betting with Blood definitely was a journey.

This is a great question because there was absolutely one specific moment that kind of encapsulated the making of the project for me. I remember a few days before I was supposed to have the album in, I was hanging out with Lily {my girlfriend, I’ll probably end up talking about her more later} going through my FL projects. I stumbled across this unnamed FLP and figured I’d open it, and I found the entireeee last section of “closure inches closer” that I had completely forgotten I had made.

I was so fucking excited when I remembered that transition section. I hopped in the booth so fast to finish that song up it was insane. I was actually debating scrapping the whole thing that night and that moment pretty much stopped me from doing that, and is the reason that project is out.

"hlthy" carries a lot of raw emotion. What sparked the inspiration for this track, and how do you pour your feelings into both your vocals and production?

Ahhh. Thanks. Yeah. I don’t really know where to start on this one. I was absolutely in a horrific spot at the time it was made, and it’s kind of just a reflection on my habits and being so aware that what I’m doing is killing me, but being complacent and pissy about it because I’m neurotypical and tend to want things handed out to me. When it comes to translating my feelings into my music, my biggest thing lowkey is to not write ANYTHING.

This leaves everything to a massive gamble which I feel like I’m always taking, because depending on my emotional state, it’s either a hit, or it’s a MISS. I feel like I kinda just hit on that song, I didn’t have a conscious thought during that entire process, I just went full flow state and made that shit from scratch in one day. The bass patch def started it all though.

I remember pulling that serum bank up and just being like “this bass was made for my voice”. Think I was right on that one.

In a crowded music scene, your blend of production and heartfelt vocals stands out. What aspects of your music do you feel reflect the unique essence of who you are as an artist?

Thank you first of all, like genuinely. I have noticed that most of my charm musically stands in my ability to kind of just paint a picture of exactly what it is that I’m feeling at whatever given moment, and to do that shit with absolutely no confines.

My music is all over the place stylistically, sonically, it’s almost impossible to market or find a target audience for, yet I feel like I can make every song still sound like sc0ttryan, so I would say that. However, I really want to emphasize- especially with my 2024 phase you will all be hearing in the near future.

I refuse to fizzle out, and I absolutely refuse to not stand the test of time. I play the long game with this shit, and so best believe that the answer to this question is going to be completely different at this time next year.

Creating a cohesive narrative in an album is no small feat. Can you share the themes you wanted to convey with "Betting with Blood" and how you approached crafting that sonic journey?

I can’t stress this one enough . I have been waiting for someone to ask me this question so I can clarify exactly what’s going on with this album.

Betting with Blood is a musical representation of my grief, hopelessness, emptiness, and illness. It is not supposed to be high energy, it’s not supposed to be as catchy or as insane as my other shit. I made every single one of those songs from such a dark and disgusting place. I made that album as a farewell.

I did feel like I needed to share exactly what the things I was going through SOUNDED like. Words only do so much, and I felt like I could do a better job with just expressing the despair through that project. Each of those four songs has a very specific tie to four areas of my brain. It started with “heaven” though. I made the draft of that song not too long after my friend passed away.

I sat on that song for a YEAR. As did I with the closing track on the album which is about the ups and downs of gender identity, and debating whether or not being comfortable in my own skin- the ability to see myself as human when i look in my own mirror!!! Is something that I’d allow myself to do.

And it is- I am absolutely not a man, and I know that, and that song is kind of just about the pain of realizing that I have never in my life felt like a man.

Wearing multiple hats in the creative process, from production to vocals, how do you find a balance between these roles, and do you have a favorite or more challenging aspect?

Bro, you are asking the wrong person. Do y’all prefer my self prod shit more? I love producing. I love it, but I have always struggled with confidence in that area.

I just be making whatever feels right at the time. I know that answer may be significantly common and very underwhelming, but honestly, I’m an insecure kid who makes music in their bedroom. I’m working on the balance part. Also, can someone reading this PLEASE tell me why the fuck I can never get my 808s to sound right?

There’s a reason that in all of my self produced songs, there’s no 808s. I hope to bring up this interview one day after I make a hit or something and it has hella 808s, that’s gonna be full circle as hell.

Are there specific artists, genres, or life experiences that have left a lasting mark on your musical style and approach?

Bullet list of all my inspiration incoming!

• TRAUMA

• TRAUMA x2

• Video games (crosshair symbolism aint exist without CSGO)

• That awkward ass 2 year long emo phase I had when I was 12

• Generational resentment

• The urge to prove to people that I have that Shit in me

• Onto people-

• LILY ! (@lilydamirgian)

• Quinn (@iminthecut)

• Reef (@xxreefuh / @biphate )

• Niz (@niztopia)

• Noah (@backlightnoah)

• Zeke (@teenwrist)

• Kuru (@kuru8k / @kuru )

• Ian ( @zerointhebank )

• Wubz ( @0wubz )

• Cyber ( @cybertrash )

• Vaeo ( @pastaroach )

• 4cf (@4cfear )

• Angelus ( @7ngelus)

• Carpetgarden (@carpetgarden)

• LJ ( @1ljab)

• Kaixan (@kaixan2k)

• Joeyboey (@rouri404)

• Eric (@ ericDOA )

• EVERY SINGLE PRODUCER IVE EVER WORKED WITH ALSO HAS A SPOT

I am forgetting so many names that I probably will feel so terrible for forgetting later, but y’all absolutely know who you are. These people have been there for me without fail, though, and deadass I would not be here in the slightest if not for them, and many more. I love y’all and I just wanna say these people inspire me way too fucking much.

Storytelling seems integral to your music. How do you make sure your narratives connect with listeners on a personal level, and what role does storytelling play in your creative process?

This kinda comes down to the art of “ I just be making shit up sometimes”. I just like to take it to extremes.

If something I wanna talk about is a little too personal or a little too raw to the touch to record about, I’ll write a story. I fuck with throwing little bits of lore and biblical references into my lyrics as well. I work really hard on trying to establish a “Surface level” meaning to what I say, while offering a gigantic rabbit hole for my fans to go down if they care enough about whatever it is I’m talking about.

Lemme just say, “eve” and “prince” are fucking PACKED with those too. Storytelling is just a part of my music. What am I doing if I’m not creating an entire fucking universe around the music?

Looking ahead, any artistic goals or projects you're excited about, and how do you envision your sound evolving in the coming years?

Oh yeah. I’m cooking. Any music that comes out post- this interview is gonna be my best, exponentially, I guarantee it. I leveled up this year, and I really can’t wait to show it off. Duffel is gonna be crazy, the song after that is gonna be crazy, everything I’m making has been so dope that I kinda just wanna see how far I can push myself to really secure my spot as someone who knows how to make a damn good song. Idk.

My sound is constantly evolving, but all I can say in that regard is that I’m always gonna sound like me.

Every artist has their rituals. What's something you do consistently during your creative process that helps get you in the right mindset for writing, recording, or producing?

I don’t condone drug use or any kind of substances, but a 20mg Adderall XR and a hit of the pen be doing me pretty nice when it comes to locking in. My writing process also gets a buff whenever I’m hysterically upset about something for whatever reason. As long as I keep getting unnecessarily upset, y’all will keep hearing unnecessarily fire music.

As your audience grows, what do you hope people feel or take away from your music? Is there a specific emotion or message you want to communicate through your creative work?

I just want to connect with people who ache to be heard. I want to resonate with the people who know they have the world in their hands, but just can’t get to where they need to be. I want to build a home for my listeners, I want to build a universe where my fans can get lost in and listen to my shit after a hard day and just feel better.

The crosshair at the end of the day always is a symbol of unity, it’s about being a target, but not alone. My music is a cry for help, always, but in an empowering way. I don’t wanna say too much though, because it’s important to me that people tapping in can attach their own meanings to my music. Just know that I’m never gonna stop.

~

stream sc0ttryan!

Ignition: an interview with jauntsen

From drawing inspiration from iconic vocalists like Vic Fuentes to embracing the cathartic journey of self-discovery, Jauntsen reflects on their evolution as an artist. With a candid glimpse into the personal experiences that fuel their music, Jauntsen shares insights into their upcoming single "she's bleeding out!!" and the transformative process of finding authenticity within their artistic journey.

INTERVIEW

Your vocal range and passionate tone create a unique and anthemic experience. How did you discover and develop your distinctive singing style?

I think it all boils down to the roots of music that really inspired me growing up, I used to listen to a lot of singers and bands who had very high vocal ranges like Vic Fuentes from pierce the veil who has such a high vocal range but still adds a scratchy sound to it.

I never knew I could hit these notes or even achieve the sound till I started working on jauntsen because beforehand I was singing very low and pretty much moaning into a microphone. It all comes back that emo/rock music has always been the root of my love for music and overtime I’ve found other vocalists I love and try to mimic the things they do into my loud and screamy tone!

I do want to get better and try other styles of singing. I still think there's a lot of room to be improved. 

Your songwriting is often described as straightforward and cathartic. Can you share an experience or moment that inspired you to write a particularly emotive song?

This entire album is full of songs that I’ve had experiences of wanting to write about a certain issue going on within my life.

I think the next single titled "she's bleeding out!!" which should hopefully be out or dropping soon when this interview comes out is a song that has defined me as an artist and also defines the album I’m working on. I have been working so much towards trying to create my own sound within the music I have been making that within the process of creating this album, I lost myself and cooked too close to the sun and have been revising/scrapping certain songs.

This next song is pretty much about me grounding myself and trying to get myself back and I didn’t even really know I was writing about that when making the song. It just honestly happened. It was meant to be a song for me to create within my artistic journey!

What's the story behind one of your songs that resonates with you the most, and why is it significant to you?

I would love to share a story about a song that isn’t released yet but the second best song that I resonate with the most is a single from my album that is called “don’t be scared.” This song hits the nail just right for me about my feelings of self-reflection and shows a spot of vulnerability that I don’t share often. Talking about the fear of being forgotten about & going down a path you aren’t happy within your life but still having the courage to get up every day and run down this path you made to get to the other side where you no longer have to feel these things.

Many listeners connect with your music on a deep level. What do you hope your audience takes away from your songs or performances?

I just want people to resonate with it, the entire album I’ve been working on is honestly a very personal project to me. About the fear of being forgotten, self-reflection & learning to better yourself as a human being. I think a lot of people relate with these things but I hope once the album comes out people can be inspired by some of the words I say and energy I give to achieve their goals because one thing I realized within making this album was that I can do it only if I put my energy instead of letting it die. A Lot of small artists I'm friends with go through the same struggles I go through and when I see the people I look up to be down on themselves it not only shows me that I'm not alone but makes me want to help these people and give them the appreciation they deserve.

How do you approach the balance between your role as an evocative songwriter and a fearless vocalist when creating music?

I think sometimes my screaming vocals and loudness I tend to achieve messes with my songwriting, I don’t think I have horrible song writing but sometimes I wish for a cooler lyric but I’m like “Oh it doesn’t matter because i’m screaming it and people will think that’s cool” which is something I’m working on defeating within my next project and future music. That’s what I live for though, to see the progression and how far of a person I've grown over time based on not only my music but my lyrics.

Are there any specific artists or musicians who have influenced your artistic journey, and in what ways have they left an impact?

I can name several artists who inspired me the most but a lot of them are from different arcs of my life. Some of the artists are Vic Fuentes from Pierce the Veil, he’s always had such an effect on how I wanted to sing and eventually write like. I also really love early Pierce the Veil music based on how they did song structure which I think is a cool noticeable thing I do within my music.

Brakence not only for his vocals also, but I really admire his production from not only his current era but mainly his starting days from his album “hypnagogia” with all the glitchy sounds and pretty synths. Jane Remover for so many reasons, her album “frailty” changed my whole production style and was the reason why I decided to go down the path of glitchy, rock, distorted bitcrush music. The list goes on but I think these 3 dial down the core of things that started me to spiral into a daw.

If I were to name artist from the scene that I adore and love much also I’d give a shout out to drama trial, corefish, leastfavorite!, all of the webcage people, myth valley, clovehitch, etc.. the list can go on i love this scene so much and have made so many great friends who have inspired me in ways they don’t even know.

Can you describe your creative process when working on new music? Do you have any rituals or habits that help you get into the zone?

Recently a lot of the songs i’ve created that have made it onto my album have been songs I produce in my brain first out of nowhere, I feel like most artist have this where they make up songs in their brain and it always happens at the worst times like when you are going to bed, or at work, etc..

Whenever I get one of those I always voice memo the melody and whatever lyrics popped into my brain and then take the voice memo, put it into Ableton then try to build off that voice momo. Rituals though? I just gotta start making a song in the morning, I am by no means a late-night sesh person. I love waking up early and making music from 8am-7pm the latest.

I can make music from like 7pm-10pm but that’s like a rare occasion for me.

Your music is known for its relatable and honest themes. How do you draw from personal experiences to connect with your audience?

Pretty much every single song I create has to do with something that happened within my life. I mainly cope with these issues by creating songs about those feelings/situations but also make it vague within my lyrics so more people can relate. I love making songs where each person can interpolate the same lyrics differently. In the end, I know what it means to me and what I went through but other people can feel the same way.

What do you enjoy most about performing your songs live, and do you have any memorable moments from your live shows that stand out to you?

Well, I’ve only played one show so far and it was also just a guest appearance with Aria leastfavorite! We played our song “subject” together which even though I only played one song it was the best feeling of my entire life hearing the whole crowd sing my lyrics along with me and seeing everyone create a mosh pit for the ending. I am so ready for whatever show I play next and am very excited to have my own set also!

As you continue to evolve as an artist, what new directions or projects do you see yourself exploring in the future?

I 100% am already planning on making another project after my album drops, I want to dive deep into every inspiration that I take into my current style and even make something other than what I make now.

I also plan on trying to evolve into more of a content creator/streamer trying to not only make music content but gaming content as this was something that I have done in my past.

I think this is where I will start to shine more within the community!

STREAM JAUNTSEN

Jay Cartier

Welcome to our in-depth interview with Jay Cartier, the talented beat maker turned artist who recently released his album, "Everything is For Sale". In this engaging discussion, Jay takes us on a journey through his musical background, the inspiration behind his album's powerful title, and the personal stories that influenced each track. Throughout the conversation, he provides valuable insights into his creative process, collaboration experiences, and his aims for the future. Prepare to delve deep into the thoughts and experiences that shape his unique artistry.

Can you delve deeper into your background as an artist? What were some of the key experiences or moments that shaped your musical journey and helped you discover your unique style?

I started off as strictly a beat maker/producer and it took a ton of growth to get to this point with my production style. Now in terms of what inspired me to write; I’d say just starting out listening to the rappers my pops listened to in the car on the way to the gym and other places we went. I used to be much more into R&B and singing which is why I probably have that love for melody as well as the sport of just sparring lyrically.

"Everything’s For Sale" is not only the title of your album but also a powerful phrase. Can you elaborate on the personal meaning behind this phrase and how it relates to your life and music?

Honestly the idea of naming an album that has been in the works since I first heard “Watch The Throne” I don’t know why but that Hov line (“…and Everything’s for sale, got 5 passports I’m never going to jail”) has always stuck with me. Of course it’s different from my perspective; in my interpretation of the title it’s me looking at myself and my brand as a business. I feel like I’ve laid the groundwork and I’m confident enough in my product (the music) to where I can say I’m open for business essentially. The transition of being an upstart and trying to figure things out and then being able to confidently say that I’ve got something here that people can buy into and relate to and that being said: Everything’s For Sale

Beyond the overall theme, could you provide more insight into the specific themes or topics explored in each song on the album? How do these individual songs contribute to the overarching message of the album?

I can actually break it down song by song I won’t go too far in depth because I think the music can speak for itself overall.

•Track 1 (Pricey) to me is just my overall opinion on the state of music since I’ve been away, what separates me from other people in this space in terms of just being authentic to me and not trying to be something else. Lastly I’d say it reinforces previous statements (about family / loyalty) I’ve made in the past and I think it’s a great way to either be introduced to my sound as an artist or be reintroduced after the outro of ‘There Will Always Be Casualties’

Track 2 (‘96 Impala) in my opinion is a little more personal, I talk about the loss of a friend briefly, I talk about loyalty once again which is huge for me in my life but I say it in a different way. On ‘Pricey’ I say that loyalty is “Pricey” which it can be, depending on what/who you’re loyal to & Vice versa, it can be costly. On ‘‘96 Impala’ I say that loyalty is a mindset that can’t be purchased, which I also believe to be true. But of course I also throw metaphors and bars in there and send shots at those who’ve been fake in the past.

Track 3 (‘No Discounts’) is where the album starts to become a little more fun for me. It starts off pretty chill with the overall theme still being prominent. But then you hear a Jayson Tatum interview clip where he says he’s “Humbly one of the best” and that’s how I feel about music & then you get hit with the first beat switch of the album and I continue to talk my sh*t essentially. I felt like I was humble on ‘There Will Always Be Casualties’ but this time around I had to just say what I’ve been feeling and thinking.

Track 4 (‘Again & Again’) is pretty simple in terms of concept for me. At this point of the project I’ve shown you once again that I can rap, but now it’s time for some more playlist, radio friendly type of records with melody & a hook that’s catchy but also still stick to my niche of punchlines & quotables. This one is just about getting back in your bag and getting that feeling back of being on top of your game.

Track 5 (‘In Or Out’) has a pretty simple theme as well; I think everyone has been in a situation with a potential significant other and you get to that point where you have to kinda ask are you with me or not. It felt relatable and I’ve been in those situations myself so that one made sense

Track 6 (‘How [feat. SEVNGOINDIGITAL’]) This one I had a lot of fun with, Sean sent me the beat with his hook & I just took the theme and let the music come to me. It just talks about different ways I’ve dealt with the opposite sex in various situations. This is one I think is very relatable as well.

Track 7 (‘Problems [feat. Dhalya Nicole]’) I think this record is also very relatable. I believe a lot of us have been in potentially toxic relationships where we are 10000% sure that we are/were not the problem and sometimes we like to let the other person go figure that out for themselves. Dhalya absolutely killed her verse & I think it was very important to have a woman’s perspective on a track like this because this almost feels conversational to a degree. I don’t consider myself to be an R&B artist per se but this one makes me want to step foot into that genre a lot more so we’ll see what the future holds.

Track 8 (On the Up & Up) I go back to the “no hook” style previously used on the album and on this one I’m just back to talking about what I believe in and just keeping it honest about my views on the world and what I think again separates me from the rest. Along with the second beat switch where I get back into that space where I’m just confident and talking crazy honestly.

Track 9 (Everything’s For Sale) this was the final song recorded for this project believe it or not. I wrote it in about 30 minutes and I just had a great time putting together the bars and punchlines and I didn’t want to put too much structure into it. Just wanted to have fun with this one. With this album I wanted to get into that boastful mode at times and also stick to my real life experiences and this song embodies that feeling I believe.

Track 10 (Soul Food) “Put everything on the table like soul food” this song starts to slow down the album again to lead up to the conclusion. I’m basically saying that I’m more open and honest with my feelings, thoughts and emotions in the music. I want to be someone that the listener can relate to and any emotion or situation I can portray from my life into the music I feel like listeners in some capacity can relate.

Track 11 (All Business) as an artist I feel as if the intro/outro combo is just as important as anything else that goes into a great album sonically. I like for the outro to end as a cliffhanger because obviously more is coming in the future. Once again I’m talking about my real life and individual experiences on this album so I’m just venting about what goes on in day to day life. I still of course have to throw in some more bars that some might view as disses and I don’t really care how anyone takes it. I think this one wraps up this album very well and hopefully it’ll have listeners looking forward to what’s coming next.

In addition to your creative process, could you share any specific stories or anecdotes about the inspiration behind certain songs or the challenges faced during their creation?

I feel like I might have touched on the specific inspirations for each record on the previous question. However there are at least 3 songs on this album that have literally 4,5,6 different versions because they didn’t seem finished or I wanted to switch things around or make a different beat for it etc. One challenge for me is if I have the music in the tuck for too long it’ll become “old” to me and then I’ll be stuck in the cycle of my competition with myself to outdo my last thing. So it can be a blessing and a curse. I was constantly hearing things that I thought I could improve until the day I submitted the album. The biggest challenge for me is figuring out when something I’ve created is officially “Finished” sometimes the process of getting it done can take on a life of its own.

Building on the collaboration aspect, what qualities or strengths did SEVNGOINDIGITAL and Dhalya Nicole bring to the album? How did their unique styles blend with yours to create a cohesive musical experience?

SEVNGOINDIGITAL and I have collaborated a few times with 2 releases prior to “How” on “EFS” I’m a huge fan of his music and he brings such a unique style and sound to this project and from what I’ve heard from his discography I think he never misses.

I also am a huge fan of Dhalya Nicole and we have a few mutual friends that are all in and around music in one way or another. My friend and also frequent collaborator X Savy linked me with Dhalya on Instagram and after hearing some of her work I told her that when I found the right record I’d send it her way and she said that she’s open to collaborating and so about 6 months later I sent her “Problems” she sent her verse back and I knew that it could potentially be a big record.

When faced with creative blocks or obstacles during the album's production, how did you push through and maintain your artistic integrity? Were there any breakthrough moments that helped you overcome these challenges?

There was a couple of times during this process where I had a little writer’s block. Since I mostly write about my real life and my personal experiences whenever I feel stuck I just put the music to the side and go live life and let the world tell me what I should write about and usually after about a week or so away from recording I come back with a clear mind and it all flows much easier. And there’s some days where it feels like I can’t miss & I can write 2/3 songs in an afternoon as well. The main thing I learned for me is to never force it.

Reflecting on the recording process, can you share more details about the studio sessions? Were there any interesting techniques or experimental approaches used that contributed to the album's sonic landscape?

9/10, unless I’m on a feature or helping another artist write or listening in on a session, I'm recording at the house in my own studio so I don’t have many interesting studio stories unfortunately. Other than my dog Rylee being in the studio with me occasionally barking it’s not too much going on when I’m in album mode. I like being locked in without distractions during my process. I might put the Knicks game on but I usually start with one line of a verse or hook and then build off of that. I will say sonically I organized this album in this way with the track listing very purposefully. That came from me just listening to the tracks in different orders and I found that in my opinion this version flows the best.

As your sound and style have evolved, what specific elements or influences have contributed to this growth? Are there any particular experiences or interactions with other artists that have influenced your artistic direction?

I have a few friends & family that either are in the industry now or have been around it & I’ll usually shoot an idea or something to them and they can give me some more educated opinions on things. It might be something minor that I’m missing on a song or maybe they hear something I don’t. And so I’ve taken pointers and games from people I look up to that are within reach on a personal level and I’ve let that help mold me into the artist I am today.

Going deeper into the tracks, are there any lyrics or verses that hold personal significance to you? Can you share the stories or emotions behind those specific moments in the album?

As much as possible I try to say phrases that I don’t think have been said before, at least to my knowledge. I strive to find ways to put something together that makes sense and gets the message across without being repetitive for a cookie cutter type bar. On Pricey I have a line that says “my mother hates that we like guns it makes her nervous, but f*ck it we’d rather fight cases than follow hearses” and when some of my friends heard that line for the first time they gave me that look like; yea you got something here I’ve never heard that. But I try to find moments like that within every record honestly, while at the same time keeping it as simple as possible to understand & keep some replay value.

Beyond the intended message, what do you hope listeners will discover upon repeated listens to "Everything’s For Sale"? Are there any hidden layers or deeper meanings that you intentionally embedded within the songs?

It’s such a cliche thing to say but I think the music can speak for itself and be interpreted differently. I don’t want to give any listener a super specific answer on what they should take from this album because music isn’t really a definite thing; it’s art that affects people differently. In terms of deeper meanings I’d like to think so. I don’t want to be someone who just talks just to talk & it’s the same thing with the music. Some of the lyrics can definitely be looked at deeper depending on the knowledge of certain situations I’ve been in & I even revisit things I’ve previously mentioned in my music as well. I do think I’m good at generalizing certain things enough that a broad group can relate when they hear it but it’s always something specific. One of my close friends said it sounds like I’m “dissing people in every song” but I don’t necessarily view it like that I just speak my mind. That being said I’m also not ducking any lyrical smoke so you can interpret the lyrics however you want. Like I said the music can affect different people in different ways.

Balancing artistic integrity with commercial appeal can be challenging. Can you provide examples of instances where you had to make difficult decisions or compromises during the creation of this album? How did you navigate these situations?

If I’m being honest I don’t think I’m a big enough artist to say I’ve been put in any of those types of situations yet; I’m fully independent and I don’t follow anyone’s lead on what they believe I should be as an artist. I am big on making sure I’m not stepping into a space where I’m not myself or I’m not an accurate representation of me. I’m the same person in the studio vs in real life and that’s important to me. As long as I’m not compromising my morals and principles and beliefs & I give the song/project all that I can give it, I’m willing to live with the results.

Can you describe any unexpected or memorable moments that occurred during the album's production? Whether it be unconventional recording techniques or serendipitous collaborations, we'd love to hear about any interesting occurrences.

I’d probably say when I was recording the intro, it was one of those moments where I felt as if every line was coming together perfectly and every bar was going to land. Being in that creative zone where you have the feeling that you can’t miss is a great feeling. Honestly it happened a lot throughout this album's creation. The second half of the intro I didn’t even write it I just tried punching in line for line and I think it ended up being one of the better verses on the album. I tried something new because I really was considering not doing a second verse but then I liked what I kept hearing after that line and it turned into another verse.

In terms of musical influences, can you expand on how specific artists or genres have impacted your music? How have you incorporated these influences into your own unique sound?

Believe it or not I’m not closed off to only listening to rap music, I do listen to and enjoy other genres. If I hear a song and it sounds good to me then I’ll probably check it out and check the artist’s catalog out as well. I don’t hear a song, realize it’s not rap and then say “nah that’s not for me” . I might not want to make that style of music but I can listen to it and appreciate it. In terms of inspiration, that’s a long list; I grew up on mainly the household names from my parents era; Micheal Jackson, Prince, Stevie Wonder, Earth Wind & Fire. The list goes on. I’ve been drawn to classic and classic sounding samples since I got started in music & obviously sampling has been a staple since the beginning in hip hop so that’s fitting. I was introduced to hip hop by hearing KRS-One, Eric B & Rakim, Mobb Deep, 50 and I’d say Jay Z as well. And now my hip hop ear is super diverse, I listen to everything from Future and Metro Boomin to Benny the Butcher, Conway & Griselda, just depends on what mood I’m in.

Looking ahead, what are your long-term goals and aspirations as an artist? Are there any particular milestones or achievements that you're aiming for in the future?

For me, I want to be talked about in the best rapper conversations, long term. Just the art form that is rapping & putting together these bars, not necessarily achievements, but just knowing your reputation precedes you as one of the ones. I feel like I’m already laying the groundwork to be one of the best rappers lyrically. I think highly of myself because of the work I put in. It’s not a shot at anyone else because I feel as if I’m good if not great at what I do. Humbly, I’d say it’s too soon still to even talk about achievements. I genuinely love music & the process of creating something new & as long as I give my all into this I’ll live with whatever the results are I think that’s the best way to go about it. Now in terms of possibilities, I truly believe, skill wise, that I’m closer to the top tier of rap than I am to the ground level. Bar for bar I’m confident in any scenario & I’m willing to stand on that. I take pride in being a great writer so I’d love to collaborate with other artists and help them create as well & if I could get some writing credits on a major project that would be huge. Obviously everyone’s cliché goal in music is a Grammy award and I’d never say that I don’t dream of that being a possibility but I’m aware that it’s more than just good music that can go into certain awards and sometimes the art can get lost in trying to chase a trophy. For me; meeting certain artists and collaborating with musical hero’s of mine would be way more important to me as an achievement vs certain awards that others may put more stock in. The list could be endless but if I had to pick a Mt Rushmore right now I’d say; Hov, Drake, Future & Griselda. And I’d add J.Cole on that list too.

Finally, is there anything else you would like to share about yourself, your journey, or the album that we haven't touched upon? Any additional insights or stories that would help us gain a deeper understanding of your artistry?

I think we’ve touched on just about everything that I can think of. I’ll just close with the fact that I just write and rap about my personal views, experiences & opinions. I make music just venting & talking shit about my perspective on things and I think that a lot of listeners can relate to me.

Synthesis: an interview with vai5000

Introducing Vai—an artist who effortlessly blends Vocaloid beats with a spectrum of creative disciplines. Beyond the captivating melodies lies a creative powerhouse delving into graphic design, animation, and illustration, seamlessly blending diverse artistic disciplines.

In this interview, Vai shares insights into the unique intersection of Vocaloid technology and personal expression, offering a glimpse into the challenges and joys of creating music that defies convention.

INTERVIEW

As a Vocaloid producer, your music occupies a unique space in the industry. How did you discover and decide to work with Vocaloid technology, and what do you find most exciting or challenging about creating music in this format?

- Before making music as Vai I had kinda known about Vocaloid for a long long time, hell I think 3-4 years prior I tried to pick up Utauloid (a similar free software) but gave up with it due to the interface being abysmall to use haha. I always liked the kinda un-human aspect of the vocals that Vocaloid produces, like it can be good enough to trick people into thinking its just heavily processed vocals (I've had other Vocaloid producers not realize I use Vocaloid) but there's always that aspect that isn't quite human - and I think taking advantage of that is fun. When I finally got Vocaloid's software to work on my laptop, it kinda clicked instantly for me in a way my real vocals weren't, and it was just a lot more fun to do.

I'd say the most exciting part about making music with it is the way you write vocals - it's the same as writing a piano melody in midi or similar and makes things like changing the vocals or doing things that you couldn't even record so much easier than with real vocals. It's fun just to mess around and make crazy melodies, something I couldn't really do with my voice.

The worst part / most challenging thing is by far the software itself - I've gotten better with backups and my laptop has been upgraded massively since when I started, so it's less of an issue nowadays, but Vocaloid has a tendency to crash/break randomly and that can be painful, especially losing long parts of vocalwork i've made. The worst is when the entire file corrupts so you don't even have a previous version available. Some of my biggest songs the vocals were actually redone in spite due to the original crashing and deleting itself haha - not fun! Also, Vocaloid tends to be very very time-consuming, with you needing to wait for extended periods of time for each little change to notes and/or lyrics, ever-growing the bigger your song gets - hence why lots of my earlier songs consisted of 1 repeating chorus and maybe 1 bridge/verse part.

Another hard part is getting vocals that the lyrics are audible enough for. To me, I can hear everything I write perfectly, but of course, I've heard it 1000000 times while making it and know the lyrics. I've kinda approached this in two ways. I don't feel that lyrics are that important to a song as long as the melodies stick in your head and you vibe with it - I don't really listen to lyrics in music all too often, even from my favorite albums. Hell, most hyperpop you can't hear the lyrics anyway, and the music still bangs. I think if you complain that the lyrics are incomprehensible then you're approaching my music and well that style of music in general from the wrong angle. Being said, with my new work, as a kind of contradiction, the lyrics are a VERY important part of the songs, so I've been trying my best to make them more audible while still sticking to my morals that the melody needs to be the most apparent part of the track. For this, I include the lyrics in the description and 100% recommend reading along with the song. I also aim to put out more lyric videos, as I think that kinda solves the problem almost completely. In my experience, reading the lyrics even once with the song kinda gets the sounds stuck in your head and associated with the words, and you end up hearing it on repeat playthroughs, you just need that first push. I always try to improve my vocal clarity (without making it sound too human, which I'll address later!) but at the end of the day, for the most part, I don't really care if you can't fully understand the lyrics - I don't think that it's needed for the songs to emotionally click, even if they may more so if you do take the time to read my writing.

Your creative talents extend beyond music, encompassing areas like GFX, VFX, animation, and illustration. How do these different artistic disciplines inform and influence your music, and how do you approach integrating them into a cohesive artistic vision?

I've always been a fan of just trying things - if there's something I want to do the best way to get it done is to try to learn it, thats my approach to art in general. I've been an artist in terms of illustration and more loosely animation for a way longer time than I've been making (at least decent) music, and I feel like integrating what I make into my music makes my projects feel more personal, and makes me prouder of the final product. I think many people disregard the importance of image, brand, and artwork in their releases - the song's art and accompanying work like animation or video promotion are sometimes just as important as the song itself and can make or break a song's first impression, even before hearing it. Hell, even I disregarded that myself - with the music I used to make before my pivot into Vocaloid I had no care for the brand at all and just put out song after song wondering why nobody seemed to notice - learning that I could supplement my music with other aspects and mediums was a great help as having a strong image and artistic vision brings the most out of both the music and the project as a whole, and I can't imagine dropping that aspect now.

"sensory," your latest full-length effort, presents a visually and sonically rich experience. Can you share the inspiration behind this collaboration and how the visual elements contribute to the narrative of the music?

I'm not gonna lie, sensory was a mess! My aim for the project was just to make an album that I'd want to listen to - meaning sounds, features, artwork, and overall vibes that I enjoyed (at least at that time), something that my younger self would've been hooked on. There was no real inspiration outside of "I want to make something better" when compared to my previous work, NEURA BURST!, as once that project was finished I already could notice how much I'd grown and how much much much more I could've improved on that sound. As I finish the majority of a project months before it actually releases, there's always this drive to push for something better than what I just put out, and at the time I had just graduated high school and had a LOT of free time to try delve into just creating whatever I wanted. Seeing others on Twitter and elsewhere use things like videos and websites and the like made me wonder why wasn't I doing similar. So starting with sensory, a name I chose way before even my first album release, I really tried pushing my video and visual skills a lot more in the project promotion.

That being said, the signs of it being my first time attempting such are still present - the overall style of visuals is consistent at first but 100% changes and evolves while I made the album, and I feel I did announce/start the rollout with visuals elements way too early. If you go back and watch my announcement video for the album, back from December 2022 (5 months before the album's actual release!) you can spot a LOT of changes to the tracklist teased, personally a mistake on my end being too excited to just share what I was making.

Tackling 'sonically rich' - this was a coincidence that shaped around the album name by accident haha! As mentioned, I aimed for it to be me taking the sound of my first album further, which for simplification's sake was literally just digicore - not really any variation or anything, similar beats similar sounds, maybe ONE or two tracks that deviated, and if then those were likely the remixes. Sensory was just gonna be that again - digicore through and through. Looking back on it now though, that's boring! And I'm glad that (while I still consider it a Digicore album) Sensory became kinda a mesh of a lot of sounds - while the majority is still more of that Digicore kinda sound from NEURA BURST, a lot of the unique songs and sounds wound up in the project by pure chance and timing. Nujioh approaching me to work on a song ended up with “beatofmyheart”, a more j-rock-ish vibe that I had never tried before. Similarly, nuji sending me the beat that became “gestalt” was also a very different vibe from everything else on the project but I think ended up making a good variation. There were also elements of rock on the song with Jauntsen, wisp added some crazy production to the end of icarus iv and the remix of that song is basically "Dariacore" thanks to xaev's work.

That being said, it's kinda clear in hindsight while a vision was there for the album, it was ultimately just cobbled together as it went - a big indication other than the sound is the vocals themselves. I switched up how I did my vocal processing completely during this album, and while some songs got updated, songs like "don't care!", "call" and even "beatofmyheart" still use that old processing from NEURA BURST! - it makes sense as all three of these songs were being made if not completed before the release of NEURA BURST, back in September of 2022 if not earlier. I kinda view sensory as a transitional album - moving on from my, personally speaking, mediocre debut and evolving myself in real-time as the album unrolled, culminating in the project's release in April. It also marks the general end of that style for me.

Creating a brand new world for your music is a fascinating aspect of your artistic approach. How do you conceptualize and develop these worlds, and what role do they play in enhancing the overall listening experience for your audience?

Worlds are usually forgotten about once the song/project in question is released, and leaves behind a shell of an idea that while fun to look into before a project release, building hype for said project, kinda loses a lot of what makes it special once said project is out. I feel wallsocket is a good example of this view - lore and world play a very important part in the album and its artistic approach, but at least personally a lot of that lore is lost outside of the core super fan audience, and even more so once the album was released. I feel this when thinking up narratives and lore about my music - there isn't really a connected story, characters, or world to what I make, but I think narrative is still very important when it comes to music. With sensory, many of the songs were written in a way that they weren't about anyone in specific, and didn't attach to any stories. Some elements were vaguely from my own life but I tried to make the project something that you could project yourself onto and imagine I'm singing about someone you know, from your perspective. I want my world to be the listeners' world in that regard, I want them to feel my music and feel like it's not about some story from somewhere they've never gone to and can't relate to, but rather it's feelings they may have had before, places emotionally speaking they may relate to and connect with.

Moving past sensory, I did try to take some different approaches to this, especially seen with the song Control, where I built up a very micro ARG and storyline for the single. I wanted the song to be about a particular theme and present an idea, and I felt this arg-approach leading up to the song would really complement the song itself and make it hit harder. I feel if you played with my website a bit and were there for the arg elements for Control, hearing the song afterward has a greater impact - although it isn't something I'd plan to do again, as I'm sure the majority of my audience never got an opportunity to experience that world.

With my most recent work, my upcoming project, i'm going a completely different approach with worldbuilding. "vai" as a character has nothing to do with it - she isn't even on any of the artwork. I'm still presenting the stories, but to me, each song is its own world and explores its own feelings, story, heartbreak, and scenario within its runtime. Some of these tie together a little, but I feel for my upcoming album that each song is like a chapter in a collection of short stories. You don't need any context to understand them (even though I write them with subtle contexts that people might recognize) but you should still feel the weight of the character and the world through the sounds and lyrics.

Features seem to be a significant part of your collaborative process. How do you choose artists to collaborate with, and how do their contributions shape the direction of your music?

This is a really interesting question to me, especially with the current direction I'm taking! I wouldn't consider features as a significant part of my music, even though at least currently it certainly presents that way - sensory had a total of 26 collaborators! This mainly came down to how I kinda approached sensory, as said, an album that I want to listen to. And if I'm making an album that I wanna hear, I wanna get the artists I wanna hear on it! I'm pretty glad with how that ended up with sensory, as many many of the artists I listened to a TON back in 2020-2022 (and still now of course) ended up on it, both friends and people I looked up to.

When it comes down to deciding who to ask for a feature, I try to make it unique. Like, I could've asked Sebii to hop on the song with vvspipes production - but that's boring! He's got an entire album of that stuff! Having Sebii on a sound that you wouldn't usually hear him on was fun, and I kinda tried doing that when I could for other songs too. Saoirse Dream on mental's production, dylazy on a really pop/trap-y digicore beat? I was creating sounds that you wouldn't expect, and of course, having Vocaloid vocals along with that, something that basically all of the artists on the album never really had before. To me, a lot of the digicore scene at the time of sensory’s creation was kinda starting to sound similar - same vocal processing on a ripsquadd/white-armor type beat - and using Vocaloid with unexpected guest appearances was my attempt at deviating from that.

That being said, and this is important, being viewed as just someone who solely works with others on songs isn't my aim at all. 11 of the 16 tracks on sensory have at least 1 feature, and none of the tracks were produced by me at all. It was a very collaborative project - and while at the time I enjoyed that, I kinda feel it also detriments me too, cause if I'm always seen as working with these prods and feats - how good am I myself really? Maybe it's imposter syndrome, but I definitely felt like I wasn't seen as good enough because of how collaborative my work was. I aim to put that to rest with what I'm working on now.

Your art styles are described as eye-catching and expressive. Can you elaborate on your visual aesthetic and how it intertwines with the themes or emotions conveyed in your music?

My art style has evolved significantly over the last year and a bit I've been creating - but yes I've generally stuck to a visual aesthetic - it's branding, it represents me. I feel I can best answer how it intertwines with themes/emotions when relating to my newest work, so before I approach that I'll talk about the styles themselves and how I've kinda changed haha.

Vai's design was a collaborative effort itself - the original character design was not by me but it evolved as we sent iterations back and forth over different artworks - by the time of my first real release (johto, July 21st, 2022) there had already been 6 months of character design changes and work haha - but from the get-go visual style and look was very important to me to get right. Literally, look back on the art for all my 2022 singles - I wanted to get my brand and name out there, so each artwork had the same cohesive "ANGEL RADIO" banner on the left, a similar visual element, and a bright, usually pink, artwork including the art of vai + sometimes the feature.

Since then I've gotten a lot more open with my art, with the style and look varying per release - I feel I don't need to make a name for myself nearly as much anymore, so some art includes no characters or text or anything! I also commission a lot more art now than I used to. A good example of this evolution is with sensorys album art actually! (I'll attach it here) - the original album art had that ANGEL RADIO banner and style, being made at the same time NEURA BURST was releasing. The second one, still by me, only had the album name + a lot cleaner artwork and represented the sound at the time it was made. I ended up using this for the vinyl art. The final artwork I commissioned, and I feel best represents the final work. It's a really beautiful artwork, and it's just Vai standing in a field, no text no labels nothing. Fun fact, it almost wasn't the final art, as I received it a mere 3 days before the album's release! That was scary LOL.

original sensory art (mid-2022) -> new art (early 2023) -> final art (quarter 2 2023)

For my music now, when it comes to songs in the same vein as sensory (like synthetic, and an upcoming digicore single) I usually get art commissioned, but takes a long time looking for the perfect, and usually less known, artist to work on the art. I've got some amazing works that really fit with my style I feel and I appreciate every artist that's drawn for me. (I've attached a recent artwork I've gotten that will probs be used for a song that I really love).

A reason I pivoted towards that look for my artwork is the feeling that it's kinda missing from the scene. Even though I am slowly moving away from the pinks and bright colors haha (although I promise to have some releases with them still!) I kinda looked at the scene and felt that cutesy, bubbly, and happy art was just missing. Even if my music with that more pop-y cutesy art is still pretty sad lyrically LOL! I don't think I've ever really written a happy song... Nonetheless, all I saw art-wise, and sorry 2 call people out but STILL see artwise in the digicore and scene sphere is just:

- "edgy", dark, digital covers: ie think quinns old music’s artwork, funeral's stuff, stuff from like Afflicted (love Afflicted btw shoutout all of those ppl, great music) with the darker and more "internet" kinda aesthetic

- The "I make serious guitar music" cover - a picture of a place or thing with a dirt texture applied to it - is a famous example of this cover art style being frailty, but it's quite prevalent in the scene to just use pictures/photography. I feel people try to do this to look professional but honestly, it doesn't hit the same for me as a painting/artwork does! (minus frailty, that's like iconic for me - probs fishmonger too. Wallsocket tried this too but didn't really hit the same sparks)

- "aesthetic" covers - either metalheart or 3d renders (WHICH I LOVE! I DO THIS TOO!) or just like that very inspired look you've seen on like Pinterest or Tumblr kinda vibe. Or just screenshots from shows or video games, but that's mostly the 'Dariacore' scene because of Jane haha.

These all have their merits of course, but it's generally ALL I'd see, and I wanted to try to introduce something new, a little more cute even haha, to the scene as a whole. Since then though I've def seen a lot more variation and creativity which is awesome - for example, shout out riptony, riptony's cover arts are usually super colourful and the 3d animation work is awesome - drama trial, I'm not a huge fan of AI art but the visual aesthetic REALLY works and is so unique, plus couldnt be done without AI haha, and nujioh too who is an amazing artist in their own right but commissions some sick and visually unique art too.

Finally answering the main question (SORRY!) I feel my new work really tries to delve into capturing the emotions of the music and approach the art as less of just branding (like it was for NEURA BURST) but truly be an irreplaceable part of the song/album itself. Many of the new projects artworks I work on for weeks, and usually scrap and redo them at least twice. For example, the artwork for “deaths just a step away” is really important to me and I think represents the song as best I could. It's not the style you'd expect from me - even with the recent use of metalheart render stuff - and it totally isn't the colours I'd usually use (no pink on my new stuff!) but I feel if you listen to the song the art really works emotionally with it, and that’s all I want. The project’s more important than just 10 thousand billion streams, and I don't mind sacrificing that to get an end product that really emotionally hits for me.

art I drew for 'deaths just a step away. One of my favorites, despite its simplicity.

Vocaloid technology offers a wide range of vocal expressions. How do you decide on the tone and style of the Vocaloid voices you use, and how does this choice impact the overall mood of your compositions?

I'm going to come right out of the bat and say I kinda hate Vocaloid music. Sorry! It's not that I don't enjoy Vocaloid itself (otherwise I wouldn't use it!), but I feel like many, many Vocaloid artists just don't know how to mix vocals and make Vocaloid sound actually like a part of a song. I (try my best) to rectify that by the way I style my sound and use of Vocaloid. I mix my vocals as if I were mixing my real vocals, of course, accounting for the fact it still is Vocaloid, but other than that it's no different to the mixing I'd do if I sang the lyrics myself. I feel that's a big part of what makes my music unique to other Vocaloid musicians. There's a massive disconnect in the voice and the rest of the song for them, and things just feel off. I never listen to other Vocaloid music, I used to a little but just flat out don't anymore. Hell, I hate being labeled AS a Vocaloid producer! I'm just a producer/singer who uses Vocaloid as one of my tools. I rarely ever mention the fact that I use Vocaloid anymore, even people like Niz had no idea until super recently. When talking about my music the Vocaloid should never be a focus I feel.

When it comes to expression, I purposely have a voice bank that isn't overly human. Many modern banks sound close to human vocals to a staggering degree - but I feel it's still just not the point. You always get the "Woah! This sounds sooo realistic!" when people use those modern voices, but like, you'll never truly get the same level of emotion with Vocaloid in that aspect, so at that point, it just feels more like a bad and emotionless recording by a human rather than a good recording by a robot. So I try to lean into that robotic side - my vocal bank I've set to purposely use very little humanization, I've even reduced it over time. It's like if you cranked autotune to max and then some - same kinda idea as why people do that for hyperpop songs! I feel like that non-human aspect shouldn't be a flaw of Vocaloid, trying to make it sound "better" by being more realistic - I think it's something I can take advantage of to craft my music and sound uniquely. I also feel it makes me be more creative with how I portray emotion. It's hard getting emotion through with Vocaloid. Very hard. I try my best to, but the most emotional parts of songs I feel are where I compliment the Vocaloid to the production work. My new music is some of my most emotional, as the production itself speaks for me, it's a second voice alongside the Vocaloid that screams and cries just as much as I would if I sang.

Vocaloid is just another instrument, but one that can say the words in my mind. Think of a piano whose notes are the words you want to sing - and that instrument nowadays to me has an equal weight to the others in any composition. It plays its part in getting across things the other instruments can't, like lyrics, but works with them to deliver the emotions and vision I want.

I also feel the overall mood definitely is shaped by the voice, it's unique and has a much softer tone than most in the scene. There also aren't many people with really super feminine vocals in this scene I've noticed (shout out people such as Blissom though! love her voice, and feel she's one of the most similar in vocal tone to my own work to!) and I feel my vocals fit that tone more, filling another gap in the scene.

Lastly, I only use one voice. Many Vocaloid prods use multiple, I don't like that at all - really drives home that the vocals aren't YOU, and with Vai, the vocals are me. So since day one, even though I've 100% changed how I process things, it's been the same voice bank and I don't think that's going to change. Sure, that voice is and has been used by others, hell even famously, but to me the way I present the voice and vocals is ME - that's my voice, it's unique to me and it's not 'Vocaloid production' to me. It's just me.

Multifaceted creativity often involves juggling different projects. How do you manage your time and creative energy across music, graphics, animation, and more, ensuring each aspect receives the attention it deserves?

I'm in a spot right now I'm really grateful for - music, though my various projects and work over the years provide enough for me to fund both the projects I want to create, as well as let me live comfortably in everyday life, meaning at least at the moment I don't have to worry about getting a solid job while I study. This gives me a lot more time to focus on creating and projects. I also, unashamedly, often skip uni classes haha. I've never been that focused on school. I started this in high school (I'm in my first year of uni), and while the first few years of high school I really focused on studies, being in a very competitive environment, I kinda realized I was wasting my time and needed to focus more on what made me happy. Compared to my peers I started slacking off a lot more academically, but it was well worth it as I would never have grown artistically in the direction I was going beforehand.

I never thought of myself as like an "outstanding achiever", but I'm grateful I have the ability to be able to handle multiple things at once pretty well. I as of writing just passed my first year of university, and admittedly gave it very very little time or effort as I focused on my creative endeavors. I'm lucky in that I'm studying graphic design and marketing at uni so that can shine through in what I create, but for me, I need to be creative and whatever is most interesting to me I go for with a passion.

I'm basically an organized mess haha - If I wanna do something, I do it as best I can. Think an animation would look cool with a song? I'll spend an afternoon forgetting about other projects and just spend hours drawing and learning and improving, hopefully creating something cool. Every time I do this I improve my skills in different ways, and get faster too. I'm not amazing at drawing - or music, or graphics, and def not animation. But, I try it all and learn and use the strengths from each I gain to help pull up the other aspects.

Being said, music of course is the main focus. All the work you do see too all released together is a little bit of a facade too haha! Songs are finished or mostly finished (allowing for modification to polish it up to snuff later) weeks to months prior to release. I usually have 3-to-5 different things in progress so I always have something I can pick up and work on - not in the mood for vocals? I have a song that needs some production! Don't wanna produce? Well, why not remake that artwork for that other song, and make it better? Ooh, what if I add some video to that - maybe do a promo vid? Hell sometimes I say stuff it all and just throw everything to the side and just make something fun, and it ends up as something I might release or just helps me relax. (see my phiome side project!)

Whatever I'm most passionate about gets the most attention. Usually why I take ages with features... I get lost in my own world a lot. I get to everything eventually but if it's interesting to me, it comes first haha. I also don't really do much else outside of my creative stuff. I've been playing some games a little more recently just cause I have extra time now due to uni break, but usually, I'd throw out things like games or watching shows, etc to work on music. I have a constant drive to be productive, and even when I'm doing things like watching YouTube I feel off if I'm not like, making something in Photoshop or doing things for other projects at the same time. Most of the work you see for things like promo, physical items, graphics for others and labels, etc comes from my "relax" time, where I'm watching videos or something and need something to do.

What advice do you have for aspiring Vocaloid producers or artists looking to integrate various creative disciplines into their work? Are there specific challenges you've encountered that you'd like to share insights on?

Stop using Vocaloid, do something else - make something cooler. In all seriousness, just experiment really. Mess around until you find something that clicks with you and run with it - but also keep on experimenting too so it doesn't get stale over time. Don't feel bad about branching out in directions you didn't expect, and 100% expect plans to change.

Don't announce things way in advance. I see people announce or plan out these 6 album-long projects, or show a full tracklist of track names when they've made maybe 1. I've been there. You got ambitions and big ideas! But the best thing is to remember your own ability and scope and work around that. Rushing into things too early always leads to making a mess of yourself when plans change, things happen or things get scrapped. It's embarrassing and could be avoided by just waiting a little -seeing how things go. That being said, that's hard as hell LOL! There are so many songs I just wanna boom put out there right now or talk about but I know it's best I wait until things are final. I also hate jinxing things like, "GUYS [artist] IS HOPPING ON MY SONG!!" and then they drop the song later and you're kinda left in a mess.. it happens and isn't fun, and that is why I'd say just to keep some things secret until you're 100% certain it's gonna drop exactly how you envision. I feel this fits into the "challenges" aspect too cause, goddamn, holding stuff back IS a challenge.

Also don't use Vocaloid. LOL

Looking ahead, what excites you the most about the future of your artistic journey, and are there specific projects or collaborations you're eager to explore?

Something I really haven't been given an opportunity to talk about is my upcoming project so I'm going to take the liberty of doing so here. It isn't really announced yet - I've alluded to the album on socials, but for reasons stated in the previous question, plus with just what I want out of this project, I've kept quiet for the most part.

I'm really excited about this album. It's my best work, hands down. And it's like nothing else in my portfolio too, new sounds I've spent ages crafting. Most importantly to me, it's my most emotional and personal work, and at least to me, it proves something to myself.

My album has no collaborations. At all. The vocals are by me, the production is completely by me, and the art, promotion, videos, writing, mixing mastering - it's all by me and just me. I want people to understand what I can do and I want to also prove, more to myself, that not only do I not need big collabs or flashy songs to get people's attention, but that I can create true works of art that MEAN something by myself. It's the same reason why all the singles on SoundCloud don't show their stats either - the kinda point isn't the numbers or reception so I turned the play counts off. I want you to connect with the song itself and fall in love the same way I love what I've made so far. That being said, I'm really grateful that, while you can't see it from the outside, this new music has been performing on par if not BETTER than my usual more collaborative and digicore songs. It really kinda shows me that people care, and I hope with the bottom of my heart that people will care and understand what I'm doing when my album finally comes out, whenever that will be.

I'd say it's 75% done - the singles (deconstructing the Human Ego, deaths just a step away, aerith and the world ends with you) are all out now and there's gonna be a while before the rest of the project releases (at LEAST a few months, no more singles either) and I'm really excited to present it. I feel it culminates my best writing ever with sounds that are way past digicore and are more unique to me.

Inspiration for the project is funny in a way, stemming from the burnout of that digicore sound. I still love Digicore and still will be releasing the same collab work Digicore stuff (like my recent song with Sebii, and I have another hopefully before the end of the year with someone really cool on it), but that is more of a compliment now I make for fun. After sensory was finished, I felt, probably unjustly, that people probs felt that I couldn't produce. So I decided to try to make more production, and that led to my side project, phiome, and that LP "system BIOS" which is fully production work from me with no Vocaloid vocals. It taught me a lot, as I was learning with every song I made I just messed around with new techniques and things in the DAW which really helped me get a ton better with production, to the point where I'm at now where I feel my production on my upcoming album is a major major part of what makes it special, at least to me. I also can't forget the others who helped me get there too, the one moment I remember vividly is elwood making transfertool from system BIOS with me in VC - I learned so much just from that one call alone, including techniques and styles I still use heavily in my new production work and that appear a lot on my album. By the time this interview comes out, my next phiome one and first one since the project is probs out by now too - reshiram - which once again is just me playing with production for a little fun, trying stuff out while I work on my album.

Comparing my album to system BIOS, you could see it as an evolution of that sound - but with a different tonal palette, using my Vocaloid vocals (that's what makes vai music vai) and not being reliant on sampling like system BIOS was - the main you could say gimmick of each song was it stated from a sample of a 3ds music sound, ie the home menu song or the eshop theme, and was built on and built on until the final song sounded how it does. I also used a lot of vocal samples from friends, and soundscapes / soundfonts from old DS and 3DS systems and games to add to that vibe. My new album doesn't really have that, but still does use similar techniques and does call back to some of that at points.

I'm really excited for this album - moreso than any project or song I've made so far. To me, it's 10x more important than my other work - if I had to choose between releasing this project versus my song with Sebii or other big collabs, I'd scrap those collabs in a heartbeat. I really hope you keep an eye on it and it hits the way I want when it comes out. It means the world to me and I want people to see that. I don't want to reveal more about my album than I should right now (I've got a name, tons of art, and unreleased songs) but when I'm ready to reveal more, don't disregard it!

That being said, I'm not done with Digicore or collabs or the like - hell even my album, while being fully solo, I've got some plans for a few collaborative songs in that style to come out after the album (with some really cool friends!) and like I said, digicore is still just pure fun. That type of pop-y energy is still needed and while my album takes a big turn away from that look and sound I won't disregard those roots and still want to create songs that are just energy. I'd love to make some more unique or interesting things in that sphere though, with people you wouldn't expect. For example, I think a Digicore-ish song with wubz on it would be INSANE, cause like - me and wubz are the epitome of like opposite vocal delivery haha. Cutesy high-pitched pop vocals + low-pitched pitch-heavy sounds from wubz would go so crazy in my opinion. I'm always looking for people to work with who could create something interesting - good reception is always a good byproduct, but it's gotta be unique and unexpected! Put me on a goreset-type beat by 31sentinel w/Vaeo or something, or like even something with country flair like geez louise by underscores. I love experimentation!

Thank you sm for the opportunity for this interview, I appreciate your time with this (and I'm so sorry for writing a college thesis in terms of response LOL - I'd appreciate it if you could include as much as you can, to me it's all important, but yeah I did write a TON haha)

Much love to nefarious supply, and all yall do for the community.

~

Soundcloud Gems - December 6, 2023

Embarking on a journey through the vibrant underground music scene unveils a constellation of emerging stars, each promising to reshape the musical landscape in their own unique ways. From the prodigious 14-year-old Zayok, whose debut album "from zay with love*" blends production and vocals seamlessly, to Wisp's emotive voice navigating diverse genres in "Brumal," these artists are pushing the boundaries of the underground scene.

Phixel stands out, commanding every facet of her craft and redefining genre coexistence, while Xaev, a trailblazer in electronic music, promises an exciting journey with his EP "trendsurfer." Levi's calming voice and poignant themes, along with Quedronol's haunting vocals and Tepz's sultry flows, add depth to this musical odyssey.

Saoirse Dream's multifaceted talents, Sc0ttryan's emotive vocals, and Mythvalley's dynamic genre fusion complete this ensemble, collectively shaping the future of music in the underground scene.

ARTICLE

zayok

At just 14 years old, Zayok emerges as a prodigious force in the music scene, delivering a debut album that defies expectations and showcases a level of talent beyond his years. In "from zay with love*," Zayok proves to be a maestro of both production and vocals, weaving a sonic tapestry that effortlessly transcends the boundaries of the underground scene. His creativity knows no bounds, introducing listeners to a fresh and innovative sound that hints at a promising and enduring career ahead. With each track, Zayok invites audiences into a musical journey that is as captivating as it is groundbreaking, leaving an indelible mark on the landscape of emerging artists.

wisp

Wisp, a rising artist with an emotive and powerful voice, coupled with an exceptional talent for production, is leaving an indelible mark on the music scene. In his latest offering, "Brumal," Wisp masterfully navigates through diverse genres, seamlessly blending them into a captivating and picturesque musical journey. His ability to convey powerful storytelling through his music is nothing short of remarkable, creating an experience that grabs hold of listeners from the opening notes and doesn't let go until the last resonant chord. With "Brumal," Wisp not only showcases his musical prowess but also sets a compelling precedent for what promises to be an exciting and boundary-defying career.

phixel

Phixel is an absolute standout of an artist, showcasing a remarkable command over every aspect of her craft. From production to vocals, lyricism to storytelling, and an innate sense of creativity, she's a force to be reckoned with in the music scene. Her recent collaboration with Saoirse Dream is a testament to her ability to captivate and innovate. Much like her peers in the community, Phixel effortlessly blends genres, redefining their coexistence in the ears of listeners. With an unmistakable talent and a keen sense of musical exploration, Phixel is undeniably an artist on the rise, poised to leave an indelible mark on the ever-evolving landscape of the underground scene.

xaev

Xaev is an upcoming artist and a trailblazing force in all electronic music, pushing boundaries with unparalleled creativity that first caught our attention through his incredible, humorously dubbed dariacore mashups. For example, "insane anime-obsessed boyfriend." However, it's with the recent release of his EP, "trendsurfer," that Xaev solidifies his place within the foundational growth of the underground scene. His talents as a producer are unmistakable, and his ability to navigate the ever-evolving landscape of electronic music positions him as an artist deserving of widespread attention. Xaev's artistic journey promises to be a thrilling exploration, and his contributions to the underground are bound to resonate with those seeking cutting-edge and mind-bending sonic experiences.

levi

Levi has come across our radar as a promising artist on the horizon, capturing our attention with his recent debut album, "sinking". His calming and emotive voice takes center stage, weaving seamlessly over acoustics and powerful guitar-led productions. Within the sonic tapestry he crafts, Levi delves into poignant themes of love, self-hate, self-love, helplessness, and hopefulness. The allure of his music lies in its ability to evoke a range of emotions, painting a vivid and relatable narrative for listeners. Levi's unique blend of soulful vocals and thoughtful lyricism positions him as an artist to keep a keen eye on, and his journey promises to be a captivating one in the coming year.

quedronol

Quedronol emerges as a captivating artist with a unique sonic signature that transcends genres. Their calming and haunting voice becomes the guiding force through atmospheric acoustic and electronic elements, creating a beautiful and ethereal soundscape. Quedronol showcases a rare ability to deliver catchy verses, even when grappling with heavy subject matter, as demonstrated in their collaboration with Nishith on "cardiotherapy." The seamless blend of captivating vocals and intricate compositions positions Quedronol as an artist to watch, offering listeners an immersive journey through their evocative and genre-defying musical landscape.

Tepz

In the realm of emerging artists, Tepz stands out with a calming voice that complements his sultry flows. First introduced to us through his collaboration with Myth Valley on the latest single "Push Back," featuring Ghostsocial, Tepz demonstrates a unique ability to intertwine deep-cutting lyrics with beautifully catchy production and captivating storytelling. His harmonious fusion of emotive vocals and entrancing beats positions him as a promising talent within the underground music scene. With a perfect balance of vulnerability and musical allure, Tepz is an artist worth keeping a keen eye on as he continues to carve his distinctive sonic path.

saoirse dream

Saoirse, a dynamic force in the underground music scene and one of the founding members of Webcage, has left an indelible mark with her multifaceted talents. From vocals to songwriting, production, and engineering, Saoirse stands out as a powerhouse artist within the online music group. Her album "Star" is a testament to her prowess, showcasing a captivating blend of skills that keeps listeners hooked from start to finish. As Saoirse continues to redefine the boundaries of artistic versatility, she emerges as a compelling figure to watch within the vibrant world of underground music.

sc0ttryan

Sc0ttryan, a rising talent in the music landscape, has made an indelible mark with his exceptional skills in both production and emotive vocal delivery. Our introduction to sc0tt came through his single "hlthy," a raw and emotionally charged offering that immediately caught our attention. With the release of his album "Betting with Blood," sc0ttryan solidified his status as an incredibly gifted creative, offering a sonic journey that demands attention. In a world saturated with talent, sc0tt’s unique blend of production prowess and heartfelt vocals sets him apart, making him an artist deserving of both eyes and ears.

mythvalley

mythvalley emerges as a captivating force in the music scene, seamlessly blending electronic, punk rock, and alternative genres to craft a sound that's both eclectic and emotionally charged. Drawing inspiration from early luminaries like Skrillex, deadmau5, and Porter Robinson, mythvalley infuses her music with a dynamic energy that transcends traditional boundaries. Beyond the sonic landscape, her personal experiences lend depth and authenticity, creating an immersive journey for listeners. With influences that span eras and a commitment to pushing artistic boundaries, mythvalley is poised to leave an indelible mark on the evolving tapestry of music.

Reflections: an interview with catstem

Meet Catstem, a 2005-born musician whose music effortlessly traverses genres, blending hardstyle anthems with tender acoustic ballads. In this interview, Catstem shares insights into the creative process, discussing influences from J-core to vaporware. Challenging underground music norms, Catstem embraces analog sounds, creating a distinctive sonic identity.

Described as a rollercoaster of emotions, Catstem's music strikes a balance between simplicity and complexity, offering a unique auditory experience. Aspiring to inspire self-exploration, Catstem shares a vision for the future of music that goes beyond trends, and she delves into all of that with us in today’s interview

INTERVIEW

Your music seamlessly blends genres, from hardstyle anthems to tender acoustic ballads. How did you develop this diverse range, and what inspires you to experiment with such varied sonic landscapes?

I was born in 2005, so I grew up alongside the rise of YouTube and also just the Internet becoming a common thing in most households. This helped me have easy access to explore so much art over the years, and suddenly I was listening to tons of J-core and speedcore, but also downtempo, drone, and vaporware.

I'm quite the attentive listener when it comes to music, and try to make sense of everything I'm listening to, so I definitely just ended up taking in so much that ended up influencing my own works...

It's impossible for me to only exist in a small, little bubble when creating. ~(=^‥^)_｡

Your sound design is described as a rollercoaster of emotions. Can you take us through your creative process when crafting a track and how you navigate the complexities of evoking different feelings within a single piece?

One of the most important things that decides what kind of song I'm making is the headspace I'm in while doing so.

Everything is a reflection of something I feel or a very specific thought I have, and my move from there is trying to express that with sound. The interesting thing, however, is perhaps "reflection" isn't even the right word to use there, as I can never 100% translate those thoughts and feelings properly.

They seem to go through some sort of filter that blurs them a little and makes them a bit more broad... It's almost like instead of these songs being ripped straight from my brain, they're coming from my dreams.

Perhaps this subtle vagueness is for the better, as it lets me express myself while allowing me to keep personal things to myself, and allows others to relate to what I feel while also being able to attach it to their own thoughts and feelings, rather than just be stuck with mine.

Additionally, this makes for a avery go-with-the-flow process when making tracks, as instead of trying to somehow perfectly match what I feel, it ends up having a life of its own that still relates to me. ₍ᵔ·͈༝·͈ᵔ₎

The underground scene is known for its unique and diverse sounds. How do you feel your music contributes to or challenges the conventions of the underground music community?

It's a bit tough naming ways to challenge the conventions of the underground scene since it's so diverse and everyone is doing such unique things...

But perhaps if anything, I'd say that the progression of catstem sonically tends to be a bit less "digital" than you'd typically find coming from these communities.

This isn't to knock any of those sounds, of course...

Seeing artists embrace sounds and techniques unique to digital audio workstations has been really cool, for example, in styles like HexD, however, I find myself instead trying to emulate a more analog sound, and pushing towards the slight imperfections you'd hear in synths from older acts like Boards of Canada.

Maybe a good way to put it is that I tend to take influence from very new, online forms of art while also embracing the characteristics of electronic work of the past alongside that. =^._.^= ∫

Your production style is often described as in-your-face and bombastically creative. How do you strike a balance between creating music that demands attention while also maintaining a sense of musicality and cohesion?

I think a way I've been able to create tracks that are both interesting but also maintain a sense of musicality comes from the way I tend to build off of simple ideas and expand those into more interesting worlds.

Much of my sound design comes from simple waveshapes, like squares and sines, but are kind of spammed with extra little parameters and post-processing to give them character.

Additionally, my writing style melodically tends to be more simplistic while still having emotions built into it. This makes for an experience that is accessible and digestible for others, but still, one that isn't generic or "cookie-cutter".

Adding in little imperfections such as finely detuning the pitch of my synths, downsampling or using other means to move away from a clean sound, using convolution reverb with strange impulses, and other specific techniques ends up being crucial to making otherwise simple sounds have a unique essence to them and makes them interesting to listen to.

d(චᆽච)b

Moving between the energy of hardstyle to the intimacy of acoustic ballads requires a unique skill set. Can you share any challenges you face when navigating such extremes in your music, and how do you overcome them?

A big challenge for me personally is I'll find myself in the wrong headspace for the music I feel like making at the moment. I can't simply just sit down randomly and make a catstem song, nor can I suddenly make a cat.flp song.

Perhaps this is the biggest con to making art that is hugely influenced by a deeper sense of self rather than just making art to make art...

Having that sort of disconnect ends up making what I want to do feel nearly impossible. It sucks, but in reality, it's not the end of the world... Moments like this are when I instead focus on experimentation and adding to my palette.

The pause between my most recent release before "cemetery park" and the release of the single ended up being a period where I experimented more with distorted, high-resonance synths... Like 303, acid-inspired sound design.

Totally random and not too related to the music I tend to make, but it's something, at least! Case and point, sometimes the best thing to do when you find yourself in the wrong headspace for the work you want to do is simply to take a step back and take a break until that mindset comes back to you.

Do some side quests...（ФоФ)

Surprise and delight seem to be integral to your artistic philosophy. How do you approach keeping your audience on their toes while maintaining a cohesive identity as an artist?

I feel an important thing is to let yourself evolve but also establish a unique sound to yourself at the same time. There are so many little things you can do that makes the music you create have a piece of you in it that people can recognize...

It can be anything from the way you write melodies to the types of drums you use to even just the "vibe" of the tracks you're making.

I guess I realized I had developed some sort of identity music-wise once people started sending me songs specifically because it reminded them of me... I had a close friend message me immediately after hearing "Perpetual Bloom" off the new G Jones album, which was super cool.

I think what I'm getting at is that if you can express a bit of yourself in your art, your character will shine no matter what. =^∇^*=

In the ever-evolving landscape of the underground scene, how do you stay true to your artistic vision while also adapting to changing trends and influences?

Don't let yourself feel pressure due to trends or new releases in the underground scene...

This is something I see a lot of people stress out over, and I've for sure had my moments of it too. Feeling like you're working too slow to keep up with everyone else... Hearing something new and feeling like you have to change everything you're doing to emulate that...

Feelings like these suck.

They're especially frustrating because what you might not realize in the moment is certain musicians are doing certain things differently simply because you are different artists and different people.

Everyone creates at different paces... Everyone creates for different reasons... Everyone creates in different ways...

It's just not worth getting yourself into such a negative hole like that, and it's not realistic either. The better option is to take influence from new and exciting art and apply that to your own artistic vision rather than letting the ideas of others overshadow yours.

Plus, that's kind of how new trends and influential works come up anyway... Unique takes on other exciting ideas and trends. ( =ω= )

Are there specific artists or genres that have had a profound impact on your music, and how do you incorporate those influences into your own distinct style?

A really eye-opening moment for me was discovering Yume Nikki as a kid alongside other adjacent fan games.

The original game's soundtrack, composed by Kikiyama, had this unique ability to attach itself to me and some of my deepest thoughts and most personal memories... But most of the songs are just a few seconds long, on loop, made from sounds from the Microsoft GS Wavetable Synth...

It's really bare-bones computer music at a technical level, but something about its simplistic nature and its repetitive structure results in a really neat piece of music you can make so many meanings out of. It's not really songs with a start and end, it's more like the sound of stopping in your tracks, thinking about the setting surrounding you, and trying to find symbolism in it...

Where you just stand there and wonder, "what does all of this mean to me?"

This theme of being vague and up to interpretation ended up having a very big role in my music as catstem... It's evoking really specific thoughts and feelings of mine, but at the same time, it isn't, and it can be anything for anyone.

Outside of Kikiyama, another notable artist for me as an ambient musician is Mizuhiro, or more specifically his project, "25,000 Kittens"... The bittersweet pads and overall meaning behind this EP will forever hold a special place for me... Also, Ana Roxanne is such a wonderful energy.

Her cover of Whitney Houston's "I'm Every Woman" on her "~~~" EP is such a beautiful palette of sound... Her synths are so full of character and have had a huge influence on my own sound. (⌯’▾’⌯) ∫

As a rising producer and artist, what are your aspirations for the future, both in terms of your own artistic evolution and your impact on the music scene?

For aspiration, I don't think my goals exactly aim to drastically change the music scene in a sonic way, but perhaps be more important to individuals on a personal level.

I've never really felt tasked with putting drone music 'on the radar', or something like that... I've always just created soundscapes that relate to different parts of myself, partly in hopes of allowing me to better understand myself, but also in hopes of giving others the chance to do so too.

Perhaps if anything, I hope to inspire more people to explore and express themselves in a more spiritual sense. I want people to have some sort of outlet for that either through my work, the work of others, or their own music.

After releasing my debut project, "boxes for missing cats", I was really happy to receive messages and comments from peers and fans who found that the album meant something to them...

Maybe it's not some big impact on the underground scene at large yet, if that ever does happen, but knowing it can impact a few people and help them in some way has made this all worth it.

˓˓ฅ₍˄ุ.͡ ̫.˄ุ₎ฅ˒˒

Your technical mastery is evident in your music. Can you share any tips or insights for emerging producers looking to enhance their skills and develop a signature sound of their own?

I think the best thing you can do as a producer is understand what you want to make. Analyze what you enjoy about music...

Take note of specific chords and progressions you love, specific types of drums that speak to you, and different kinds of structures that stand out to you... Et cetera. Try to make a palette of everything you enjoy, everything that means something to you, and let everything else fall into place.

I didn't go into projects like "cemetery park" thinking, "I wanna process a soundfont... I wanna have my lead be a sine wave..." I had a soundscape in mind, a feeling I wanted to express, a world I wanted to create, and all the other technical stuff came into play simply as an exploration of that.

The neat thing is that, honestly, you don't even have to think too deeply about it...

But having a bit of a vision in the back of your head and applying some of your most cherished inspirations and elements of music will put you on a wonderfully crafted path.

These characteristics of you are what make your art sound like you, and people will recognize it. (=^–^)

~

NS Radio - Episode 010 Cadeem Lamarr

Welcome to episode 010 of NS RADAR! In this exciting installment, we have the talented Cadeem Lamarr as our special guest. Join us as we dive into an in-depth conversation with Cadeem, exploring his latest single "Go Weak" and its evolution in his sound. We'll also discuss his diverse musical influences, behind-the-scenes anecdotes of creating the track, and his unique approach to blending genres. Get ready for an engaging episode filled with insights into Cadeem's artistic journey and his plans for the future. Let's jump right in!

In this episode, we have the pleasure of hosting Cadeem Lamarr, a highly talented artist. We delve deep into a captivating conversation with Cadeem, centering around his latest single "Go Weak" and how it represents a significant evolution in his sound. We explore the concept behind the song, the specific elements and techniques incorporated to achieve this evolution, and the songwriting process and production that resulted in a unique sonic experience for listeners.

Furthermore, we discuss Cadeem's diverse range of musical influences and how each song in his playlist for Nefarious Supply Radio has contributed to his music and artistic journey. We touch upon the impact of specific artists and genres on his sound and how he successfully incorporates these influences while maintaining his own unique artistic identity.

Cadeem also takes us behind the scenes of creating "Go Weak," sharing specific anecdotes and stories about the production process. We learn about the challenges and breakthrough moments that shaped the final outcome of the song and how collaboration with other artists and producers brought his vision to life. Join us for this captivating episode of NS RADAR as we journey through Cadeem Lamarr's artistic world and gain insights into his music, creative process, and aspirations for the future.

Can you elaborate on the concept behind your newest single, "Go Weak," and how it represents an evolution in your sound? What specific elements or techniques did you incorporate to achieve this evolution? How did you approach the songwriting process and the production to create a unique sonic experience for your listeners?

Go Weak was a fun experiment for me. I was super influenced by sounds of amapiano and afrobeats, but I wanted to try and carve out my own lane in the space. I incorporated the log bass but layered it with an 808 and used a faster tempo because it just felt right and unique. I didn’t even write any of the lyrics down, I just looped the song and recorded what came to me in the moment. I didn’t feel like I needed to say too muchto get the point of this track across, so I let the production do its thing during several parts of the song. The main thing I learned from this song is don’t overthink it, if it feels right then it’s right.

Your playlist for Nefarious Supply Radio features a diverse range of songs. Can you discuss how each of these songs has influenced your music and artistic journey in more detail? Are there any specific artists or genres that have had a significant impact on your sound? How have you incorporated these influences into your own music while maintaining your unique artistic identity?

I love so many types of music that making, or even DJing, one sound is impossible for me. Every song has an element that contributes value to the cultural catalog of music. Whether it’s the lyrical depth, rhythm from rap, the drums from funk music, or the repeated vocal chops from UK Garage and Miami Bass songs, every part adds different sounds and styles . I take influence from them all and create a collage with each new release I make.

The fusion of amapiano, afrobeats, and synth elements in "Go Weak" is a bold and unique combination. Can you delve deeper into how you approached this fusion and the inspiration behind exploring these particular genres? How did you ensure that the different elements seamlessly blended together to create a cohesive and captivating sound?

I didn’t really think too much about making it blend, I just followed what felt right. I love dance music of all kinds. I also love going down the super nerdy rabbit hole of synths. So I just went in with the intention of finding a common ground of all the things that I like without having them clash, and most importantly was fun. The only real goal I had was to make something that could fit on the radio, someone's playlist and even a DJ set and never feel out of place.

We'd love to hear more about the behind-the-scenes process of creating "Go Weak." Could you share any specific anecdotes or stories about the production process? Were there any challenges or breakthrough moments that shaped the final outcome of the song? How did you collaborate with other artists or producers to bring your vision to life?

The song's direction was inspired by a lot of the Dutch producers I’ve met through SoundCloud like Tera Kora, S!RENE and Don Mayor. Those guys all make crazy variations of those sounds and I just wanted in somehow. Seeing what they do inspired me to get out of my comfort zone a bit and make some dancy but rhythm heavy music. Once I learned about the power of the log bass it was over.

With the release of "Go Weak" today, could you delve into the message or emotions you aim to convey to your listeners through this song? Are there any particular themes or personal experiences that inspired the lyrics or overall mood of the track? How do you want your audience to connect with the song on an emotional level?

I never want to tell people how to interpret my music because I love hearing how it affects everyone differently, often in ways I hadn't even thought of. I think that’s so cool. I just want people to connect with the song in whatever way that does something to them. Personally though, this song is about my perspective on dealing with infatuation with someone who has no idea how to respect a damn boundary.

Building upon your previous projects, "Reflect" and "COVET," how does "Go Weak" fit into the narrative of your artistic progression? Are there any specific musical or thematic connections between these projects that listeners should be aware of? How have you evolved as an artist since your earlier releases?

I don’t know how it fits, truth be told. It’s like its own little island with songs like Roti. My projects will always have a throughline or a story to them but these singles are an expression of experimentation and enjoyment, showing me as an artist, aiming to be the best I can be.

As an underground artist, navigating the music industry can be challenging. Can you share more about your experiences in staying true to your creative vision while facing these challenges? How do you overcome obstacles and maintain authenticity in your music? What advice do you have for other emerging artists who may be struggling with similar challenges?

I don’t think I’m turning any heads by saying the music industry is a tough game. The only thing that helps me is keeping good people around me. Especially people who aren't artists and work in fields like engineering or public health. My friends and family keep me grounded which is so important because the music scene can be nuts when you end up in the wrong circles.

The playlist you curated for Nefarious Supply Radio showcases a wide range of genres and influences. How do these diverse sounds contribute to your overall artistic identity, and how do you incorporate these influences into your own music in a way that remains unique to you? How do you strike a balance between experimenting with different styles and maintaining a consistent artistic voice?

Growing up I was always made fun of for my music choices because they were all over the place. I used to feel weird about it because I couldn’t understand why anyone would pigeonhole themselves to one type of sound because there’s so much good music out there. Growing up my mom would play R&B and disco/dance music, my brother showed me the Neptunez and Bone Thugz while my dad would always blast Funkadelic.  Just being around that for years made me who I am.  I guess when you hear my music you hear the world how I hear it for a bit.

Are there any upcoming collaborations or projects you can share with us? How do these new ventures contribute to your growth as an artist, and what can listeners expect from these collaborations in terms of sound and style? How do you approach collaboration with other artists and ensure that your individual creative voices shine through in the final product?

All I can say is just keep on the lookout!

Looking ahead, what are your long-term goals as an artist? How do you plan to continue pushing boundaries and evolving your sound while staying true to your artistic vision? How do you envision your music career progressing in the coming years, and what steps are you taking to achieve your goals?

I really want to release an album, I already have some ideas and it’s going to be very different from what I’ve put out so far. Outside of that I’m planning on DJing much more and exposing people to new music they didn’t know they needed but can’t live without.

Baatchoy

Baatchoy's debut album, "SIMULATION & SIMULACRA," takes listeners on a remarkable musical journey that showcases the artist's unique vision and creative essence. From start to finish, the album captivates with its distinct and captivating sonic experience. With influences spanning experimental-pop, alternative-rock, electronic, and post-ambient genres, Baatchoy incorporates innovative elements, techniques, and approaches to create a truly captivating sound. Each track on the album is a testament to their fearless experimentation and willingness to push boundaries, resulting in a diverse and engaging musical landscape.

One of the standout features of "SIMULATION & SIMULACRA" is Baatchoy's ability to create a cohesive listening experience. The songs seamlessly flow into each other, weaving a story that can be felt emotionally from different angles. The album's chaotic unpredictability adds to its allure, keeping the listener engaged and intrigued throughout the entire journey. Baatchoy's lyrics and melodies evoke a range of emotions, inviting listeners to explore their own personal experiences and reflections. From nostalgic melodies to thought-provoking lyrics, the album creates a profound and introspective atmosphere that resonates with the audience.

The production process behind "SIMULATION & SIMULACRA" is a testament to Baatchoy's artistic growth and evolution. Their willingness to experiment with different sounds, textures, and production techniques shines through in the album. By playing with pre-existing expectations and taking influences from various musical idols, Baatchoy creates a distinct and captivating sonic landscape that is uniquely their own. The album's title, "SIMULATION & SIMULACRA," holds deeper meanings and metaphors that intertwine with the broader artistic concept and vision. Baatchoy explores the notion of authenticity in the digital age, questioning the boundaries between reality and imitation. The project invites listeners to reflect on their own experiences of existing both online and offline, and how technology shapes our perception of humanity, providing a thought-provoking and introspective journey.

"SIMULATION & SIMULACRA" is not only a culmination of Baatchoy's artistic journey and personal growth but also a testament to their commitment to staying true to themselves while exploring new creative territories. With this debut album, Baatchoy establishes themselves as an artist who fearlessly pushes boundaries and creates music that leaves a lasting impact. As a listener, "SIMULATION & SIMULACRA" offers an immersive experience that demands attention and invites introspection. Baatchoy's ability to create a distinct and captivating sonic landscape sets them apart from their peers. With their debut album, Baatchoy proves that they are an artist to watch out for, and their future projects are bound to further evolve and expand their artistic boundaries, promising an exciting and dynamic artistic journey ahead. Read our full interview with Baatchoy below.

Can you elaborate on your musical background, including any formal training, significant milestones, or influential experiences that have shaped your artistic journey thus far?

Where do I begin? It all started in my childhood. My family had moved from the Philippines to live in Baltimore City, Maryland, where my sibling and I grew up. It was me, my sibling, my ma, my lola (grandma), my lolo (grandpa), and tito (uncle) all cramped living together in a Baltimore rowhouse.

My grandma played piano a lot; almost everyday actually. I remember the days I would sit next to her on the piano bench just watching and listening to her play. It didn’t take long for her to take initiative and started personally teaching me how to play piano; and to be completely honest with you: I don’t think I really wanted to play piano like that. As a 7 year old kid, who just wanted to play Playstation all the time, I did not like learning how to read music. So the years I was being taught how to play I would just lie and pretend to practice. For years I was so adamant against learning how to read sheet music, that I would just watch my lola’s hands and listen to how she played it and just replicate what she did by what I saw and heard. After years of trying to play the piano, I gave it up. Piano was never really the instrument for me. It wasn’t until highschool when I realized I wanted to play the guitar.

It took convincing my ma and lola for them to commit to me wanting to learn. We’ve never had a lot of money ever so the idea of buying a guitar was an investment. They didn’t think I was serious because I had given up all those years of piano and felt that wanting to play guitar was just a teenage fascination that would pass. However; that was not the case and I kept bugging them for almost a month until they caved in to help me buy my first guitar.

On one condition: that I had to figure out how to play all on my own.

When I started to play guitar, I fell in-love with it instantly. It was a completely different experience than piano. I started with learning how to play my favorite songs by my favorite bands at the time. I would sit down to listen to the music and just play what I heard and what I saw. It took me a couple years but I got to a point where I felt comfortable to want to be in a band.

For years I was in a band called, “Yugennui”. It was originally formed by really close friends I had made in highschool and early college. We were together for maybe 5 years? We were post-rock/math-rock trying to write music and emulate some of our favorite bands at the time: The Mars Volta, Godspeed You! Black Emperor, Tera Melos, Piglet, Tool, etc.

I want to believe that those years were so formative for all of us. We had gone on like 3 tours that we did all through the  D.I.Y. underground circuit. One tour we were out for 2 weeks and went as far north as Montreal, Canada; while hitting most of the major states and cities in between. We played in basements, attics, garages, house parties, college parties, even at a college radio station. We all rented a house and lived together so we could practice almost everyday, listen to music, and even throw house shows. It was really like that. Of course, nothing ever lasts forever and the band split up due to personal reasons. Eventually everyone in the band moved out of the house except for me.

This is where another pivot happened for me. Since the dissolution of the band, I admit that I was pretty lost at the time. After doing all that we did together for that long, I didn’t know where to go from there and I didn’t want to start all over again. This is when I started to get into learning how to use a DAW (Digital Audio Workstation), more specifically: Ableton. It was like learning a whole new instrument. Learning how to navigate and create music in this way was completely new to me.

So I just started making beats. I started the journey to learn how to produce and engineer music on my own, right then and there, while living in that same house. My new roommates and I started hosting weekly jam sessions where a lot of my friends would come and bring new friends over and we would just set up and play for hours. People would come over to sing, rap, play piano, bass, guitar, drums. People would bring their own instruments over. It was a whole thing. It’s also how I met most of my friends in Baltimore. Thinking back at it, it was kind of perfect. We had a jam space on the first floor, and then my little bedroom recording studio upstairs in my room. I ended up learning the basics of recording and mixing from those years while meeting so many people who I’m humbled to still know to this day. We would jam sometimes and then go upstairs and record verses and make beats sometimes all night long. Almost everyday! It was crazy. Those were the Grindon years (Grindon is the name of the street the house is on).

Everything I mentioned before leads up to today where nowadays I am more interested in composing and writing more intentionally than how I did back in those days.

In the past year, I’ve assisted and written soundscapes for art exhibitions in the city. I’ve composed and created sound design for a 2 hour original play called, “Lyra & The Ferocious Beast”.  Something I was so proud to be a part of. Besides all that, I have finished up an album with my very great friend Dyyo under our duo name, “G.O.L.D” that is called “LIGHT MY FIRE!!!” Another project I am very proud of. What I am especially proud of is my own personal album, “SIMULATION & SIMULACRA” because it is a culmination of everything I’ve said and done into one single project.

As an underground artist, what strategies do you employ to establish and maintain your unique identity within a competitive music industry, and how do you navigate the balance between artistic integrity and commercial success?

To be completely honest with you, I have always held space for that D.I.Y. artist in my core being. I make music because I simply love the act of creating it. I love art. I am still doing what I have been doing for years, which is making music and art because I love it. I love being around it. It makes me feel sane in this world and gives me a sense of purpose and belonging when I do it and when I’m near it.

I do recognize that, in the music industry, it is a competition to a lot of artists. But I personally don’t like thinking of it that way. What I am learning is that I want to find authenticity, autonomy and artistic integrity for myself; and in-order to seriously be a part of any major competitive music industry, you cannot have all three all the time and I am uninterested in that.

In your collaborative project with G.O.LD. How did you and Dyyo come together and what was the creative process like in terms of merging your individual styles, visions, and musical contributions?

I originally met Dyyo through Threeeyedmouse. Mouse & I have been friends together for a very long time and we had planned to hangout one night. The day of, he had asked me if Dyyo could also come over to hang. Of course, I was down and that night we played music together, shared music, and just chilled.

Ever since that night, Dyyo and I became friends and I offered him my practice space for his band to practice. At the time he was doing Dyyo Live, which was him performing live renditions of his own music. Long story short, I ended up joining the band playing synth and keys on my OP-1. After practices Dyyo would sometimes stay over and we would be in my studio creating new music. At the time, we really had no intention with it, we were just writing songs just to hang and have fun.

I’d start with a simple beat, he’d write lyrics to it, we’d record it, and then I’d go back and rework the instrumental and create new sections, and then Dyyo would go back and add more lyrics. It was really a natural flow. It wasn’t long until we realized that we had written enough songs to eventually create, “LIGHT MY FIRE!!!”

Within the experimental-pop, alternative-rock, electronic, post-ambient genres, can you highlight specific elements, techniques, or innovative approaches that you incorporate into your music to create a distinct and captivating sonic experience?

When I am producing I really try to play on a lot of ideas and sometimes juxtapose pre-existing expectations in some genres or styles of music. Sometimes they work and a lot of times they don’t work, but that’s the fun of it! I often-times take the road less traveled when coming up with an idea within a song. It’s like for example, “Yeah, I know that stylistically, it makes sense for the drums to be or sound THIS specific way… BUT what if they sounded this way?” Another small example would be like, with my guitar. I know what a guitar sounds like or should sound like, but I often take influence from a few of my idols and contemporaries and try to push my instrument into a sonic space that makes it sound less like what it actually is.

I try to push certain sounds, textures and the use of them outside their normal uses; sometimes to my own detriment because I know it is not for everyone. I'll try it anyway!

Can you provide deeper insights into the overarching themes and concepts explored in "SIMULATION & SIMULACRA," and how they reflect your personal experiences, emotions, or observations about the world around you?

SIMULATION & SIMULACRA is an album that I wanted to create that, as a whole, is really how I see people trying to experience human experiences within the internet. In an era where the pace of technology relentlessly pushes the boundaries of perception, what defines our reality?

Is this the reality we know, or rather an imitation striving to emulate it? These are questions that I really wanted to emotionally convey in the project.

The album doesn't really ask or answer these questions at all actually, the project as a whole is kind of emotionally my experience as another person who is chronically online. I think experiencing people existing inside the internet vs. outside are two totally different things.

Apart from musical influences, are there any other artistic mediums, literary works, philosophical ideas, or cultural movements that have significantly influenced your creative process and contributed to the depth and complexity of your music?

So my sibling, Kat, is a visual artist. Growing up they have always been drawing, painting, and watching movies. They actually went through the whole art academia route. They had gone to art highschool, art college and recently got their masters in art.

That being said, growing up with them, I remember them teaching and showing me illustrators, painters and really breaking it down to me at times. I am no painter or visual artist, but I am very influenced by visual art.

I hear music very visually and describe and understand music visually. I don’t believe that I have synesthesia, but as I am creating, I try to draw my own parallels to the way visual artists describe their medium, to the way I take in and understand music on the most fundamental levels. I think there are extreme similarities to techniques on how visual artists create compositions in their works to how musicians compose music.

How do you approach the production process in terms of experimenting with different sounds, textures, and production techniques, and how do you ensure that these elements align cohesively to enhance the overall listening experience of your audience?

For me it’s just having fun with it. I am not thinking too deeply about functions other than the basic fundamentals or usage of a specific sound, texture, rhythm, etc. Let me say that  I don’t know everything about music and I am always trying to learn something new. I try to stay informed about the usage of certain techniques the best I can and I respect a lot of techniques when it's needed. When I do feel like I can deviate from a certain technique or melodic or rhythmic usage I do try to push it and I’ll admit that I don't nail it most of the time.

A lot of my experimenting is respecting ideas that came before by making informed deviations from them in order to create something new while retaining, juxtaposing, or playing on the original idea. All of this is in the back of my mind while not trying to think about it too deeply at the same time.

Can you share more specific anecdotes or behind-the-scenes stories about the recording or production of certain tracks on "SIMULATION & SIMULACRA" that shed light on your artistic vision, growth, or the evolution of the album as a whole?

SIMULATION & SIMULACRA is a project I started working on from top to bottom for a couple years. I’ve done things on this album that I’ve never done before. I’ve written every song except for the vocal production and lyrics of “In Love With God and Chaos”. That is all by the great Abdu Ali!

Everything else though. I did it by myself. I recorded everything myself, and mixed and mastered it myself. To me this project is a culmination of everything I’ve felt and done up to this point.

As an artist, what specific emotions, messages, or experiences do you aim to communicate or evoke in your listeners through your music, and how do you strategically utilize lyrics, melodies, or sonic choices to convey these elements effectively?

For me I try to really hone in on the emotional push and pull within music. I’ve always been drawn to the music that made me feel goosebumps or feel a shift in myself. I feel like my own music can have a nostalgic feel. At times, I try to do what some of my favorite old pop songs did and create simple melodies or lyrics that can feel like a memory or something that has happened to you or someone you know.

I remember, years ago, my old band used to sit in the living room together and listen to albums together like we were all watching a movie. We would just sit there in silence, listening and taking the music in. When the album ended, that's when we talked about it.

I feel like I created SIMULATION & SIMULACRA for that type of experience. My aim was to give someone or even my younger self, a project that they can just sit and feel through like how I used to do to my favorite albums.

How has your personal growth, artistic development, and experiences shaped the sound, direction, and overall creative approach of your debut album, and how do you envision further evolving and expanding your artistic boundaries in future projects?

What I wanted to do with this project is combine all my previous experiences as someone who was in a D.I.Y. band for years; as someone who afterwards explored digital music; as someone who helped produce and engineer so many other people’s music; as someone who also loves so many different kinds of music; as someone who is also chronically on the internet. I wanted to put it all chaotically into one project. Maybe I did it as a personal milestone for myself. Something that represents me at this point in my life.

What I do know is that the next music I do want to write is going to be very different. I want to go backwards into my instrumentalist roots. I want to combine what I know now and go back and respect where I started from musically.

In relation to "SIMULATION & SIMULACRA," can you delve deeper into the symbolism, metaphors, or deeper meanings behind the album title, and how these concepts intertwine with the broader artistic concept and vision you wanted to convey?

I sometimes think to myself, as we become more accustomed to holding space for a version of ourselves in the internet space, which persona is the real authentic you? The version of you who exists in reality? Or the version that you allow to exist on the internet? How much of our humanity remains a part of us as we rely more and more heavily into AI and the internet? I don’t know.

Each song is like a memory or experience that I have felt in my life while feeling they are being downloaded, uploaded into you or deleted from you. I wanted the experience to feel as jarring as scrolling through the internet can feel sometimes.

SIMULATION & SIMULACRA, if I had to explain it narratively, weaves a story that can be felt emotionally from two angles - one of a human grappling to retain their essence in a digital age, and, another perhaps more enigmatic, of a cyborg on a quest to rekindle what they perceive as human emotions and consciousness.

Are there any specific tracks on the album that you feel particularly encapsulate your artistic vision and creative essence, and if so, what specific elements, themes, or sonic choices make them stand out in your perspective?

In my opinion, I feel like every song in this project is like a cog wheel in the overall machine. If I had to be specific, the way the songs weave into each other is what I think will stand out in my artistic vision, creative essence and ultimately encapsulates the themes of the album. I wanted it to be chaotically unpredictable. I made it intentionally that all these chaotic parts make up one homogenous thing. I feel like I’m Dr. Frankenstein and this album is my monster.

How has the collaborative process with G.O.LD influenced your artistic growth and pushed you to explore new creative territories, and what valuable lessons or insights have you gained from collaborating with fellow artists?

Every creative project I am a part of, I try to find ways to create an opportunity for me to explore something new musically and philosophically. For example, “LIGHT MY FIRE!!!” was me trying to leave behind a maximalist, or my, “fixing by adding” mentality.

I was trying to practice my version of a “less is more” kind of approach which was very uncomfortable to me in the beginning. When Dyyo and I faced a production or songwriting problem, I always tried to ask the question, “What can we remove, or replace?” instead of “What can we add?”

There was no way for me to be truly minimalist in this project, but it was my first step into practicing writing with more intention and reason.

The very next project I worked on right afterwards was writing the music score and sound design for “Lyra & The Ferocious Beast” for Truepenny Productions. I took the philosophies I practiced while creating, “LIGHT MY FIRE!!!” and applied to the creating process for the play but I did so with even MORE intention. I had to consider the characters’ personalities for their themes, the overall settings, and specific moments that happened. It was an opportunity for me to learn what was musically “just enough” or “needed” at any specific moment.

Regarding your singles "Say So," "Dimmer," "Pyro," and "Hold Me," can you provide more in-depth explanations about the stories, emotions, or personal experiences that inspired these songs, and how they contribute to the overall narrative and trajectory of your musical journey?

When Dyyo and I were working on G.O.L.D we really were honing in on the idea of relationships, love and lost love. All of those songs you mentioned started with me and Dyyo meeting up, I got on my computer and just started writing a loop on how I felt that day. Dyyo would then reciprocate what I created and respond with lyrics on how he’s been feeling but in a zoomed out lens that he tries to write so that way anyone can really relate to what he’s saying. After I get a feel for what he’s trying to convey, I would go deeper in the production so that way the instrumental can match the energy of the lyrics and feelings he is trying to say.

But we tried to keep it within the same narrative of a relationship that is found, that is then eventually lost and all the feelings in between.

I believe “LIGHT MY FIRE!!!” was a moment for me to really attempt something completely different for myself. Dyyo and I learned so many insights and skills from each other while working on that album.

Matter of fact, I was still working on and editing “SIMULATION & SIMULACRA” while working on “LIGHT MY FIRE!!!” at the same time. I always felt that production-wise they are two sides of the same coin stylistically for me.

Looking towards the future, what are your long-term aspirations and goals as an underground artist, and how do you envision pushing boundaries, leaving a lasting impact, and continually evolving your artistry within the ever-changing music industry, beyond the release of "SIMULATION & SIMULACRA"?

I can only aim to be more real and honest in my own artistry; as I am learning to be to myself, and to others. I think the next evolution of myself will happen when I really make the connection to my past, my roots, and culture and find a way to respect and honor those things today. In a world where things just don’t feel real anymore, I just want to be more authentic and only hope that it will translate the same way into my art.

The Power of an EPK for Underground Artists

The Power of an EPK for Underground Artists

In the competitive music industry, underground artists face the challenge of standing out and gaining recognition. However, with the advent of technology, there is a powerful tool that can help them in their marketing efforts - the Electronic Press Kit (EPK). In this article, we will explore the benefits of an EPK for underground artists and how it can be instrumental in their development.

Showcasing Talent and Professionalism

An EPK serves as a digital portfolio that offers a comprehensive overview of an artist's work. It includes high-quality photos, artist biographies, music samples, and press releases. By having all this information readily available in one place, artists can make a strong and lasting impression on industry professionals, media outlets, and potential fans. This professional presentation demonstrates the artist's commitment to their craft and their dedication to their marketing efforts.

Enhancing Visibility and Building Connections

One of the key advantages of an EPK is its ability to enhance an artist's visibility. With an EPK, artists can easily share their work with music industry insiders, influencers, and promoters. This accessibility increases the likelihood of getting noticed and opens doors to potential collaborations, gigs, and media coverage. It acts as a virtual business card, allowing artists to make connections and expand their network within the industry.

Streamlining Submissions and Saving Time

An EPK streamlines the process of submitting music for various opportunities. Whether it's applying for festivals, competitions, or radio airplay, having an EPK simplifies the submission process. Instead of sending multiple emails or physical press kits, artists can simply direct recipients to their EPK, saving time and effort. This convenience not only increases the chances of being considered for opportunities but also demonstrates professionalism and organization.

Tracking Engagement and Gathering Insights

Another significant benefit of an EPK is the ability to track engagement and gather valuable insights. Most EPK platforms provide analytics that allow artists to monitor who is viewing their content, which tracks are being listened to the most, and how often their EPK is being accessed. This data is incredibly valuable for evaluating the effectiveness of marketing efforts, identifying target audiences, and making informed decisions for future strategies.

Establishing Brand and Building Confidence

By investing time and effort in creating a visually appealing and informative EPK, artists demonstrate professionalism and an understanding of the industry. This level of professionalism can instill confidence in industry professionals and fans alike, ultimately leading to increased opportunities and support. An EPK serves as a powerful branding tool, allowing artists to establish their unique identity and leave a lasting impression on their audience.

Conclusion

In conclusion, an EPK is a vital tool for underground artists looking to elevate their marketing efforts. It offers a comprehensive platform to showcase talent, increase visibility, streamline submissions, gather insights, and project professionalism. By utilizing an EPK, artists can effectively navigate the competitive music industry and take significant steps towards success. So, if you're an underground artist looking to make your mark, don't underestimate the power of an EPK. Start building your EPK today and unlock a world of opportunities!

Follow SoundSubterra and Reach Out to Us!

SoundSubterra is a content marketing agency born from Nefarious Supply, a community dedicated to supporting and promoting underground and emerging artists. Our team of music lovers came together to create a platform that gives voice to the next generation of trendsetters in the music industry. We believe that while mainstream musicians dominate the current scene, underground artists are the entertainers of tomorrow and will drive the direction and changes in the industry.

Our focus is on quality over quantity. We work directly with underground artists to help bring direct focus to them and their music. We offer a range of services that include content planning and creation, graphic design services, and social media marketing sub-campaigns. Our content marketing strategies are designed specifically for underground artists. We also prioritize connecting underground artists together to foster collaboration and create an organic underground artist community.

At SoundSubterra, we strive to connect underground artists with a larger audience that brings focus to their talent and shows that quality music and talented artists are here. Our goal is to establish ourselves as a go-to content marketing agency for underground musical artists, helping them rise to new heights in the industry while breaking away from the usual cycle that populates mainstream music media. We aim to give our audience a different direct view into the world of music, all while creating news and content that resonates with them.

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Introducing Mekhi Fayson and His Captivating Album "Coastlands"

With a fusion of genres and thought-provoking storytelling, Mekhi takes listeners on an enthralling journey through his personal experiences and heartfelt emotions. In this interview, we have the privilege of gaining profound insights into the creative process and inspiration behind "Coastlands." Mekhi shares how themes of true identity, self-discovery, and heartbreak guided the album's creation, resulting in a rich tapestry of introspective lyrics and captivating narratives that resonate deeply with listeners.

Within the album, Mekhi introduces a meticulously crafted fantasy world, where characters and their intricate emotions come to life. Drawing inspiration from influential films such as "ATL" and "Boyz N the Hood," Mekhi infuses intention into every aspect of these characters' physical presence, lending an added layer of depth to their stories. "Coastlands" is a reflection of Mekhi's personal journey, shaped by poignant experiences that have left an indelible mark on the album's lyrics and overall narrative. The songs serve as a means for Mekhi to navigate his own path, offering listeners an intimate connection to his profound self-exploration.

Mekhi highlights the profound impact our actions have on shaping the paths of others, emphasizing that even the smallest gesture can create a ripple effect. The characters within the album embody the diverse causes and effects that shape their lives, offering a poignant reflection of the interconnected nature of humanity. "Coastlands" stands as a significant milestone in Mekhi Fayson's artistic journey, showcasing his growth and maturity as an artist. It serves as a testament to his lifelong dedication to crafting a musical legacy that resonates deeply with listeners. Read out full interview with Mekhi below.

What inspired you to create "coastlands" and explore the genre-blending concept?

what inspired me to make coastlands was my teenage years. I had been through a lot of different shifts, moved different states, and explored many different experiences. I felt like at some point in my adult years I’d have to address those things. whether it was me isolating & doing shadow work to heal, or use the fuel to create art. I did both however, releasing it in a musical format helps tell the story to the masses.

Can you elaborate on the fantasy world you have built within the album? How did you develop the characters and their emotions?

Saqid Nasty & Mekhi Fayson. Two polar opposites of self. Sadiq values his own selfishness then anything. he’s hard to read and physically doesn’t show much much emotion. Mekhi is the more vulnerable and doesn’t lack emotional intelligence. When it was time to develop the characters into an actual physical concept, I took to my inspirational films. “ATL” & “Boyz N the Hood”. Everything had intent. From the shoes, location & attitude towards the environment. The story isn’t finish yet, I still have more things in plan.

How did the themes of true identity, self-discovery, and heartbreak influence the creation of this project? I felt like a lot of the times I was searching for myself throughout this process of the album. I’m half Puerto Rican and black, a lot of my ancestors aren’t alive to this day, I don’t have any trace back of my linage at all. It discouraged me a lot because i felt like I had nothing to go back to. it made me depressed. At times I’d even lose myself inside relationships, not realizing when I didn’t have much identity it would be come a big influence on my love for the person. but once they leave me I am left with myself searching again. It had come to ahead when I realize that I am the person to recreate that linage in some form or way. wether it’s creating a musical legacy or pull a bob Marley and have a bunch of kids across the world.

Could you share any personal experiences or stories that shaped the lyrics and overall narrative of the album?

Well… R33 is a pretty cool example lol. when I lived in la, I had got blessed and come up on some money. I’ve wanted a Beamer for the last few years so I went to Craigslist to get it. found the perfect one, cheap and all. I don’t know if I was flexing it or I had evil on me or some but I’d get toed, crashed in it, broke down, and toed again before I could get a chance to say good bye. I say “you just wanna take me out .. do that on my own, had the E38 bitch..” I actually I had control of my own destiny no matter who was jealous of my car.

How did you approach the transition from trivial issues in one song to more philosophical themes in the next? Can you provide examples?

I think it was based on the time of my life when I was making these songs. I made Aksumite when I made back home from la and named it a year later. I didn’t know what the song meant when I wrote and recorded the demo months before. same with Catch up. I never truly realize how heavy or how much the song has an effect on me until months later. so really it’s just whatever happen at that point in time of my life, a say came after grieving those things that happen. So it can take a lot of time for those existential moments to settle in.

What message were you aiming to convey with the idea that there is more to discover beyond water, trees, and existing?

that there is more. more then we see. I’m not gonna say I’m some spiritual teacher or guide… but Ive had a lot of spiritual experiences in life and knowing that it is more. one day I had a thought.. trees maybe the only living thing on the planet that’s eternal. they have lived many times before us. who’s to stay they weren’t a young women in the past life? these things we have on earth are merely just experiences, however when we cross dimensions were meeting long lines of universes we can’t even comprehend.

How do you believe the album reflects the concept of human existence and our connection to cause and effect?

I don’t know what law of physics that is but.. we all change each others path. I realized that no matter how small the cause is…. there will always be an effect. it’s like a ripple in the universe. however tho, this album also shows the experiences me and the features may have shared. Ocean/Summer interlude is a great way of this. It’s a young lady not really sure of big the ocean is, knowing the a ship is her dependency and the ocean is on fire, what if she is left to fend for her well-being on this boat.. so it’s important to say this album conveys many different causes and effects on the people within the story and displays them through the characters.

Were there any specific musical or artistic influences that played a significant role in shaping the sound and style of "coastlands"?

The musical & artistic influences I went with weren’t specific. I listen to a wide range of music. I love radiohead, so I can see the influence on “Traffic” or “Checking in.” I’m also a big fan hip hop fan, so Griselda a bit on “Obsidian” & “R33.” I love 90s R&B, specifically SWV & Aaliyah so you can maybe hear that on “Catch up” or “ Double Vision.” I don’t always listen to things for the influence, it’s just whatever I’m listening to at the time… it may come on the mic.

Can you talk about the creative process behind each track on the album? How did you decide on the order of the songs?

Each track was a different process but evidently the same. When I was la, I was a songwriter for a bit so I’d always create demos to shop around. “Catch up” was a demo at first & developed to a first, then a feature overtime. So I decided to just make demos to these beats and sit with the ideas, so how long they stuck and which ones left. I would also play some of the demo tracks at early shows to see how the crowd responded & go from there to develop the track even more. So it was just a demo by demo process for me.

Did you face any challenges or obstacles while creating "coastlands"? How did you overcome them?

One of many obstacles I faced was constantly moving. Not having a great place to settle. For like two years I was kinda moving from place to place. Staying with a homie cause I may be homeless or just the people I’d stay with didn’t want me there. It affected me a lot and my process of making this album. I had some money, not a lot. I worked two jobs also. I was working every day for like 6 months and I was still making demos but didn’t have time to develop them. It took me time to get a stable spot in condition and nice place to record. Once that happen, it became much better to finish the album.

How do you envision listeners connecting with the emotions and storytelling within the album?

I want the listener to dream when listening to this. Wolf by Tyler the creator made me do that. Creating a story & expanding my imagination. It’s a way to keep in touch with my inner child. When I found out about the Wolf Story line, I didn’t have many friends at the time to talk about it with. I wanna build a community and allow those people further this story line. It doesn’t just start within this album, it goes all the back to my catalog.

Can you discuss any favorite moments or highlights from the production of "coastlands"?

haha no lie my favorite moment on the production side on this album is… See Me. Some people don’t know but I’m singing in the beginning in such a high falsetto that it blends into the melody of the beat. It’s something me and my boy Kyle (executive producer) geek over. Another personal favorite is Ocean/Summer. I produced both of those tracks.

Are there any particular lyrics or lines in the album that hold special meaning to you? If so, can you share the story behind them?

On Traffic I say “living, living like they out to get me man.” I use to be super paranoid because of my teenage years, some days I think I grow out of it then boom. So I think that’s just permanently me forever haha. It’s all good tho, gotta stay on Ps & Qs.

How do you see "coastlands" fitting into your overall artistic journey and evolution as an artist?

I actually told my homies Kyle, Jeron & Josh it took me my whole life to write this record. So I see it as a great introduction into the rest of my musical career and a great album to listen to me at my most mature stage. I still have some growing to do of course.

What do you hope listeners take away from the experience of listening to "coastlands"?

That you can be whoever you want in this world. This is your life. It’s always been that way. Never allow anyone to dictate your experiences as bad or not the way to live. Living is so dynamic and we can only control our responses to those things. Be kind to yourself. Love is in everything we see and touch. So be there ready to recognize it

NS Radio - Episode 009 Nate Gski

Welcome to episode 009 of NS RADAR! In this episode, we have the pleasure of diving into the artistic journey of the talented Nate Gski. Join us as we explore the profound impact that music has had on his life and the deep connection he shares with his craft. Nate Gski's playlist for NS Radio is more than just a collection of songs; it is a reflection of his personal experiences and a testament to the power of music in shaping his own artistic style. Each track holds a special place in his heart, marking significant moments in his life and expanding his horizons within the art of rhyme. As we delve deeper into the conversation, Nate Gski reveals his intention behind his upcoming album, "The Mary J Blige Tape." He aims to create a body of work that showcases lyrical mastery, storytelling, and feel-good vibes. By making a perfect marriage of rap and R&B, Nate Gski aspires to craft an album that resonates with his audience on a profound level.Throughout the discussion, Nate Gski shares how specific artists and their music have influenced his own approach to songwriting and performance. He draws inspiration from the introspective storytelling of Jay Z's "Dead Presidents II" and Nas' "Affirmative Action," which have played a pivotal role in shaping his lyrical approach and ability to connect with listeners.

Moreover, Nate Gski highlights the impact of Ghostface Killah's "Malcolm" and Nas' "2nd Childhood" on his ability to craft compelling narratives in his music. These songs have not only inspired him creatively but have also influenced his song structure and the way he lets the beat guide his creativity. The timeless R&B classics of Mary J Blige, such as "Be With You" and "Be Happy," hold a special place in Nate Gski's heart. They were a staple in his childhood, creating a vibrant and nostalgic atmosphere that left a lasting impression on him. Dedicating an entire tape to Mary J Blige's music is both a homage to her influence and a way for Nate Gski to tap into something familiar and deeply personal. Collaborations have also played a significant role in shaping Nate Gski's music. He draws inspiration from Method Man's collaboration with Mary J Blige on "I'll Be There/You're All I Need to Get By," which seamlessly blends rap and R&B. These collaborations have influenced Nate Gski's own approach to blending genres and creating a unique sonic fusion, providing a refreshing and captivating sound for his audience. As we conclude the conversation, Nate Gski emphasizes the importance of striking a balance between paying homage to his influences and bringing his own unique style and perspective to his music. His aim is to ensure that his songs stand out and offer something fresh to his audience, while still showcasing the profound impact that his musical inspirations have had on his artistic journey.

Your playlist for NS Radio features a diverse range of artists and songs that have inspired you. Can you delve deeper into how these songs have influenced your own music and artistic style? Do you see any specific themes or elements from these songs that you have incorporated into your upcoming album, "The Mary J Blige Tape"?

Every song on the playlist is canon to me. Every song not only marks significant moments in my life but also expanded my heart & mind into what was possible withing this art of rhyme. I aimed to make an album full of lyrical mastery, storytelling and feel good vibes. I wanted to make a perfect marriage of rap that felt like r&b without flooding the tape with singing.

Jay Z's "Dead Presidents II" and Nas' "Affirmative Action" are both iconic tracks in hip-hop. How have these songs impacted your lyrical approach and storytelling abilities? In what ways do you draw inspiration from these tracks and incorporate their energy into your own music?

These two songs in particular represent two types of storytelling. Jay’s “Dead Presidents II “ was an introspective look into his experiences,delving deep into how these things impacted him. It was more like an inner narration: weaving in between rhymes where u cant tell if he’s talking to you or he’s reflecting on his own feelings, which is why Jay-Z’s music often feels like a conversation. Nasir’s verse in particular on “Affirmative Action” was a beautiful 16 painting a descriptive picture of his environment and the inner workings of his world. They both are major examples of storytelling through flipping and bouncing syllables while making it sound like a conversation. Supreme.

Ghostface Killah's "Malcolm" and Nas' "2nd Childhood" are known for their vivid storytelling and introspective lyrics. How have these songs influenced your approach to crafting narratives in your music? Can you share any instances where you have drawn inspiration from these tracks to create your own compelling stories?

Malcolm is my all time favorite GFK song! Its also the perfect setup for a performance track in my opinion & ive used that song structure in many of my songs. Long verse,short hook at the end,boom. Its butter. Many times i dont plan where a song is going i let the beat guide my creativity and do my best to keep it together & cohesive. The creative vibe is always out of my control, its like adjusting the sails out on the open Ocean.

Mary J Blige's "Be With You" and "Be Happy" are timeless R&B classics. How have her music and vocal style influenced your sound and the way you approach melody and emotion in your songs? Can you share any specific ways that her songs have inspired and shaped your own music projects?

Mary J was a staple in my childhood. My older sister Zaria use to play Mary J all the time! During her break-ups, pregaming for parties, when her home girls came through- it was always a vibe. Dedicating a whole tape to her music is a way of me paying homage while also tapping into something that is very familiar to me. I’ve been using that formula since my first album back in 2006. Ive done a Purple Rain tape, Sade tape, 2 Anita Baker tapes & now Mary J Blige.

Raekwon's "Ice Water" and "Nutmeg" are examples of his unique flow and wordplay. How have these songs influenced your own rhyming style? Do you find yourself incorporating similar techniques or approaches when crafting your own lyrics?

Raekwon is my favorite rapper, second to Nasir. His flow has always had a since of hunger and elevated braggadocio that seems to eclipse other styles of rap. My style is heavily influenced by the early-mid 90’s NYC flows that came from Queens & Staten Island, and its not really hard to tell that style heavily influenced how I write.

The collaborations between Ghostface Killah, Raekwon, and Cappadonna on various tracks in your playlist showcase the chemistry and camaraderie of these artists. How have these collaborations influenced your own approach to working with other artists? Do you strive to create similar synergies and connections when collaborating on your own music projects?

Mannn Wu-Tang, 9 Alpha Male rappers, able to collaborate & make songs the way they do is not the norm. The fact that they came up together is a big part of the formula as to why they are so great. Most of the rappers on the MJB album I’ve known since High-School, Jr. High, or 10 years or so. Our rhyme styles compliment each other and thats why I invited those rappers in particular: USA Hadi, MoneyFourDrugs, St.Michael & Al-Jedi the producer.

Mary J Blige's "Seven Days" and Aaliyah's "One In a Million" are both soulful and emotionally resonant tracks. How have these songs influenced your ability to convey emotions and connect with your audience on a deeper level? Can you share any specific instances where you have drawn inspiration from these songs to create your own impactful and heartfelt music?

Seven Days, one of the tracks Al-Jedi sampled and produced for the album, was one of the more vulnerable songs on the album. I didn’t know how he would approach the production, but i knew i wanted it to be like the rap version of an R&B slow song. I dug deep for the lyrics.

Method Man's collaboration with Mary J Blige on "I'll Be There/You're All I Need to Get By" is a classic example of blending rap and R&B. How have collaborations like this influenced your own approach to blending genres and creating a unique sonic fusion? Can you share any ways in which these collaborations have shaped the overall sound and concept of "The Mary J Blige Tape"?

Yo Mary J & Method Man single “Your All I Need” is ji the direction I wanted the tape to go, like a blend of grimey and soulful. I was able to achieve blends like this with Kadii, Jordan Curls, & Soraya along with Promise Kept rhyming giving the tape an new stratosphere. Her rhymes gave the album a new paradigm entirely.

Your playlist includes a mix of classic hip-hop and R&B tracks. How do you strike a balance between paying homage to the artists who have influenced you while also bringing your own unique style and perspective to the music? How do you ensure that your songs stand out and offer something fresh to your audience?

If Ima be completely honest ima R&B cat at heart. Before my adams apple dropped I use to sing Usher, R. Kelly, Tevin Campbell, 112. That was my steez. I use to rock the braids on top of the fade with my sideburns laid down like Ginuwine lol. That was my style. I believe that having that as a base before I got into rapping just carried over. This album is like a cool breeze on a nice day. Its really about staying in your bag and doing your best, without comparison of whats going on around you.

Looking specifically at the songs on your playlist, how do you envision these tracks fitting into the overall narrative and sonic landscape of "The Mary J Blige Tape"? Can you provide any insights into how these songs have informed and shaped the direction of your upcoming album?

Its like this. Al-Jedi and I spent a couple weeks sharing pics of fits from the 90’s, videos by Hype Williams, & spoke about how the album should feel. How should it look when you close your eyes. After that I had a direction of which songs from her catalogue would translate that.  The master play was assembling the feature artist that made the album the gem it is. The MJB tape is like Nate G. featuring DC Avengers type vibe. MoneyFourDrugs, St.Michael, Cee-Major, Promise Kept, Jordan Curls, Kadii, Soraya, Logan & Al-Jedi were essential in reaching this level of excellence with this album.

ImYoung: The Inspiration and Sound of #Inception

In this exclusive interview, we dive into the creative mind of ImYoung, an underground musical artist who is making waves in the industry with his latest EP, "Inception." ImYoung takes us on a journey, sharing the inspiration behind the project, the evolution of his music, and the unique sound that sets it apart from his previous releases.

"Inception" is a rock project that draws inspiration from ImYoung's early roots in music, channeling the energy of the 80s rock sound and the iconic band Green Day. With the EP, ImYoung aims to break free from the mundane and inspire listeners to seize their dreams, offering a much-needed escape from everyday life.

Can you provide us with more details about the inspiration behind your EP, #Inception? Were there any specific experiences or influences that shaped the project?

Inception was originally a full on rage project - which got cut down to four songs, due to the project coming up early next year. Inception is basically a project to release the listener from everyday life and motivate him or her as much as possible.

How would you describe the overall sound and style of this project, and how does it differ from your previous releases? Are there any specific musical genres or artists that inspired the sound?

The project is straight up a rock project inspired by my early roots when entering music. Inspired by the 80´s and the infamous band green day!

Walk us through the creative process behind the EP. Did you have a clear vision for the project from the beginning, or did it evolve and take shape over time? Were there any unexpected twists or turns along the way?

The vision for the project was always clear - we wanted to make something that was going to make the people move and create a drive. Showcased the EP in Norway earlier this year and it was amazing. 300 people jumping in mosh-it's which was definitely crazy.

Each song on #Inception carries its own unique vibe and message. Can you provide us with a deeper understanding of the meaning and themes behind each track? Are there any personal stories or experiences that influenced the lyrics?

#Inception carries songs that creates a world for the listener- the message we wanted to forward was to go and get it. Focus on whatever you are doing - if it's going to school or launching your brand.

Collaborating with P-Flow on one of the songs is an exciting feature of the EP. How did the collaboration come about? Can you share any interesting stories from the recording process, and what made P-Flow the perfect fit for this particular track?

Me and Flowman have been locked in for some time now and after he invited me to warm up for him in Oslo, Norway I invited him over to London to cook up. We all combined have almost 10 demos but when this track came along I knew it was the perfect fit for the project. Always big love to my brother for putting me on!

Among the four songs on #Inception, is there one that holds a particularly special meaning to you? If so, can you elaborate on why it resonates with you on a deeper level?

I love this project just cause it simply projects something completely different than the earlier projects. I have no favourite song in particular, I love all the songs equally haha.

As an artist, how do you feel your music has evolved or grown since your last release? Are there any specific lessons or experiences that have contributed to your artistic development?

Definitely the fact that this last year I have been way more tapped inn with the production side of things. Started to get back on my beats so that definitely reflects on the project.

#Inception carries a range of emotions and messages. What message or emotions do you hope listeners will take away from experiencing this EP? Is there a particular reaction or connection you aim to evoke?

My main message for this project is that life to precious to care about everything all the time - sometimes you just have to focus on yourself and what you need to do.

Did you experiment with any new musical elements or techniques on this project? How did you incorporate them into your signature style, and what impact do they have on the overall sound of the EP?

For this project it was more of returning back to known waters and building on the rock sound even more. Proud of everyone involved - super proud of the outcome in total.

Balancing artistic vision with commercial appeal can be a challenge. How do you navigate this balance in your music, ensuring you stay true to your own creative instincts while also appealing to a wider audience?

Definitely something you always try to think off when releasing and building your brand - this time around we went with a different sound, that was recived surprisingly well by the people.

The release date of October 6th, 2023, holds significance for #Inception. Can you discuss why you chose this date and how it relates to the overall concept or themes of the EP?

No specific meaning by the drop date, the project was originally meant to drop the 29th of September but we had to push it back due to clearance of the samples.

Are there any specific goals or milestones you hope to achieve with this EP? Whether it's reaching a certain number of streams or connecting with a particular audience, what are your aspirations for this project?

Definitely something that stood out for us was how the people recived the new rock sound - which was very inspirational.

Once the EP is released, how do you plan to promote and share it with your fans and new listeners? Are there any innovative strategies or platforms you'll be utilizing to get the word out about #Inception?

We have released this project focusing on the core fanbase and applied a lot of pressure when it comes to promoting on TikTok etc..

Looking ahead, what can we expect from you in the future? Are there any upcoming projects or collaborations that you're excited about and would like to share with your fans?

The 6 of November we have new release coming up with a very talented singer, which we are very excited about. More music and more shows coming up!

Finally, as an underground musical artist, what advice would you give to aspiring musicians who are looking to make their mark in the industry? Are there any key lessons or insights you've gained from your own journey that you would like to pass on?

Always been a big fan of supporting my fans and also to focus on what you need to get done. Music can be a hard industry to be in, but as any other thing in life you have to lock in and go get it.In addition to this I want to say big ups to Nefarious Supply for always showing love and letting us come on here and speak about the project! Big love as always<3

Making Lemonade: An interview with myth valley

Meet Myth Valley, an artist whose music is an electrifying fusion of electronic, punk rock, and alternative genres. With a sound that is as eclectic as it is emotionally charged, Myth Valley's music weaves a vivid tapestry of sonic landscapes. Her influences range from early inspirations like Skrillex, deadmau5, and Porter Robinson to her personal experiences, creating an immersive journey for her listeners.

In this interview, Myth Valley delves into the creative process behind her highly-anticipated EP, 'Inevitable,' her commitment to conveying subtle yet relatable messages through her music, and the emotions and stories she aims to convey with her ruggedly beautiful sound. Join us as we explore the artistic world of Myth Valley and the unique stories woven into her music.

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Your music seamlessly combines electronic, punk rock, and alternative genres. Can you share an unexpected or unusual source of inspiration that contributed to this eclectic fusion?

When I was growing up, my music taste was very broad.

But there were for sure genres I frequented way more than others. EDM and its sub-genres being one of my favorites. It wasn't until later on in my teen years I would get really into more alternative music. I took a lot of inspiration from my favorite artists from childhood to now when creating my most recent songs, my early inspirations being Skrillex, deadmau5 & Porter Robinson.

I've been really inspired by some of the really early Sonny Moore songs and demos. My sound really is an ongoing evolution for me, right now I'm in the best spot I've ever been with how I feel about my sound.

"Inevitable" has been a much-anticipated release. Can you describe the most challenging aspect of creating this EP, and how did you overcome it in the creative process?

The most challenging thing for me was conveying a message subtle enough that it could be interpreted in any way the listener would like across the 3 songs. I wanted to keep my lyrics vague and not so direct or in your face about the subject matter I was writing about, whilst still leaving listeners able to draw their own relatability from the songs. Overcoming this wasn't exactly the hardest thing, but I think I did a decent job.

For example, when writing "scarecrow", the topic at hand, which I want to leave up to interpretation still, is a decently heavy topic and has a deeper meaning. But I wrote the lyrics in such a subtle way that almost anyone could relate it to their own personal struggle that they may be going through or have gone through!

I definitely want to stray away from this approach in future releases though, I have things I want to write about and I want them to be known.

Your sound is often described as "ruggedly beautiful."

How do you personally interpret this description, and what emotions or stories do you aim to convey through this sonic aesthetic?

To me, I interpret it as sounding rough, challenging, and strong while at the same time sounding like something you'd regard as stunning.

My aesthetic is very specific, I'm from Philadelphia, but I've not always been much of a city person, I actually feel quite lost in city life. Through my sound, I want to convey what it feels like being lost in a life where you don't fit or feel you belong, the feeling of a need for change and wanting to desperately switch up your entire life track and go live in a remote area with lots of barren land or something.

I use my own personal stories as inspiration in my sound and I try to think like, "what would this SOUND like if it were music?"

A lot of my aesthetic sonically stems from my own personal emotions and experience. My life has been very chaotic for 90% of it, I don't think I've had many moments of just normality or relaxation until recent years. I want to convey the chaos as well as calmness through my sound, hence why some of my songs have those loud rock breakdowns and drops but most of the song is more mellow or doesn't get too loud.

My upcoming release "push back!" displays this kind of sound as well!

Songwriting can be a deeply personal process. Is there a specific track on "Inevitable" where your own experiences or emotions are most prominently reflected?

Definitely scarecrow.

That song is so very deep and holds a lot of personal meaning to my own story and experiences. I definitely want to go into more detail about the topic of the song but I prefer to leave it up to interpretation!

"Inevitable" explores cutting and anthemic themes. Can you walk us through the overarching narrative or message that you aimed to convey with this EP?

I definitely intended for people like me to feel connected to the music.

One thing I will note is a lot of my music is thematic to LGBT+ experiences and navigating the world as a queer person with a lot of different personal struggles, if I wasn't too obvious.

But I don't think I intended for an overarching message with these tracks. They all tell their own individual stories, up for interpretation to the listener. In the long run, I just want those who stumble upon these songs to get something out of them, whether that be healing, finding relatability to the topics I touch on, or even just enjoying the sound or style of them!

Whatever it may be, I think we all enjoy and connect to music differently and that's cool!

Artists often find themselves inspired by various forms of art beyond music. Are there books, films, or visual art that have had a significant influence on your creative process?

When I was around 15 or 16 years old I was really into filmmaking and horror web series'/unfiction content. I personally was creating content in these spheres and was pretty successful in creating my own "analog horror" series as a teenager. I had such a specific creative process back then, and a lot of the art I created and consumed over that time period still influences me and trickles down into the art and music I make today.

Your lyrics are known for their relatability. What's a central theme or message you hope listeners take away from your songs, and why is it important to you?

If I had to pick a main message to send to people who listen to my music, it would be this: Whatever your situation may be, however bad it might be in this current moment, no matter how lost you feel, there's always gonna be something out there for you, and it's going to get 10x better in the future. Take your worst, most challenging experiences and create something worthwhile from them, whether that be music, art, or something else.

As an underground artist, you maintain a strong connection with your audience. How have your fans and their feedback influenced your growth as an artist?

I wouldn't necessarily say I have "fans" yet, but the small audience I do have has been ever so dedicated to supporting me and my art, I'm incredibly appreciative of it. A lot of my personal growth as an artist has definitely been influenced by those around me who support my music, whether that be from advice I've been given or just hearing how someone connected with my songs.

All of it influences me to grow and be an even better artist than I was before.

"Inevitable" marks a significant point in your career. Can you share a behind-the-scenes moment or anecdote from the making of this EP that listeners might find intriguing or unexpected?

So the main track itself, "Inevitable", was actually going to be scrapped.

I made it as a demo, and it started out as a copycat track of the song "Cops and Robbers" by Underscores, who is one of my favorite artists of recent years by the way.

It wasn't until my friend Jasmine heard it over Discord screen share that I decided to make it into a full song. I played it for her and she freaked out, she wanted to work on it and turn it into a collaboration between us. Which I was incredibly open to, as we have worked on songs in the past, even in person where we have great chemistry. We always come up with something unique or crazy catchy whenever we get on a song together.

So for inevitable, I fleshed out the instrumental more and she sent me guitars for the sorta nu-metal-ish breakdown at the end of the song.

In the end, I think it's safe to say I'm glad I didn't end up scrapping the song.

Looking ahead, what artistic goals and ambitions do you have for Myth Valley, and how do you envision your music evolving in the coming years to continue pushing boundaries in your genre-blending style?

I have a specific direction for my music, in the future I'd love to be able to drop cool little music videos for my songs that tell a story in each one, as well as I really want to have the means at some point to travel and perform my music live. I have some cool ideas for live set visuals and things I can do to perform in unique ways.

Overall my main goals are to just get out there more and make connections with those similar to me, whether that be sound-wise or those who have a similar vision to mine. While also continuing to evolve my sound and create better and better music whenever I can.

I only plan to get more experimental with my sound in the future, I want to evolve my sound in ways that I haven't thought of before.

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Greg Bussie - A Journey of Music and Personal Growth

In the ever-evolving landscape of music, there are artists whose stories and experiences shape not only their sound, but also their artistic journey. Greg Bussie, a talented underground artist, has emerged as a force to be reckoned with in the music industry. With his EP "Old Friends," Bussie takes listeners on a profound and introspective exploration of his life, emotions, and aspirations. In this interview, we dive deep into the pivotal moments that have influenced his artistic expression, the collaborative process behind the EP, the challenges he has faced, and his strategies for building a supportive fan base. Join us as we unravel the evolution and growth of Greg Bussie as an artist, and gain insight into his future projects and aspirations. Get ready to be captivated by his unique sound and relatable lyrics that resonate with the core of human experience.

Can you share with us some pivotal moments or experiences in your life that have shaped your artistic expression and musical journey? How have these moments influenced your music?

There’s a lot I’ve experienced in life that has molded me as an artist from my sister Shavon passing when I was 4, to my brother Shamar passing right after high school, even my uncle passing recently RIP to all my loved ones. Those moments have influenced me to put my pain into something productive when I feel overwhelmed I put it in my music and these moments also taught me to keep going and gave me a whole different reason to make this work. The beautiful thing is music has always been my way of release and will always be that!

In the collaborative process with Enrique1x for "Old Friends," can you describe the dynamics between you two? How did your individual styles and strengths come together to create a cohesive EP?

It was an amazing process working with Enrique1x, it worked perfectly because it was our vision not just mine he was very hands on and honest! Our individual strengths played in with him being a great producer I don’t think there is one sound he can’t achieve production wise but we are both very versatile. It made it easy to bounce off of each other.

Within the EP, "Old Friends," each song carries its own unique energy and emotion. Can you take us through the process of selecting and arranging the tracks to create a cohesive listening experience?

Well there was a lot that came into play with just where I was mentally each time I recorded or was in the process of writing the songs. I wanted to put my best foot forward get real vulnerable on these tracks and as far as arranging I had help from my peers listening different times of day just to get an overall feel.

The guest verses from Dope Taf and Khalil on "Old Friends" add another layer of depth to the EP. How did you choose these artists to feature on your project, and what did they bring to the overall sound and message of the songs?

• To be honest that was the last song to be recorded and added. The energy was just so genuine that night we stayed up working on music until like 3 AM and when 1 AM Delay was done we just knew it was one of those great songs. They really brought that hunger and put their touches all through the song plus we were waiting until 1 AM for weed so boom that’s the story behind that one.

Throughout the EP, there are recurring themes and motifs. Can you discuss the meaning behind these themes and how they tie into your personal experiences or artistic vision?

Really just expressing my hunger for success and how it can feel so close yet so far away and the stress that life and being a creative brings. I always feel like I want to do so much for people and this is my way of doing it both through the music and the life I’d like me and family to live.

"Old Friends" was released on September 29, 2023. Reflecting on the journey leading up to this release, what were some of the biggest challenges you encountered, and how did you overcome them?

My biggest challenges have more so come from a personal standpoint. I let every little thing life throws at me throw me off course and that’s led to inconsistencies in my life overall especially in music. But, once I got it set in my mind I’m the only thing stopping I’ve felt unstoppable all around.

As an underground artist, gaining recognition and exposure can be a challenge. How have you navigated the music industry and built a supportive fan base? What strategies have you found effective in reaching new listeners?

I’ve learned that the worst anyone can say to me is “no” even in the worst variation it still means the same shit so I reach out to everyone because how do I expect anyone to hear me if I don’t put myself in front of them. My fan base has been built off of performances and my social media presence so I’m always sending links or trying to post something new!

In terms of production, what were some unique techniques or creative choices that you explored on "Old Friends"? How did these choices enhance the overall sonic experience for the listeners?

That was 100% on Enrique most of the beats was just him cooking or playing some from the stash and I would hear something that just caught the ear or I’d feel it and immediately start writing. Enrique would kind of coach me through the process as well let me know his thoughts and ideas.

Lyrically, the songs on "Old Friends" delve into personal and introspective themes. Can you share some specific inspirations or stories behind the lyrics of one or two songs? What emotions or messages were you aiming to convey?

My personal favorite on the EP is emotions because as I said before I wanted to get a bit more vulnerable this time around and I really shared my emotions I had writing that verse and where my head was at even down to what I want to do for my pops and parents in general because Lord knows where’d I’d be without them.

As an artist, how do you balance maintaining your artistic integrity while also appealing to a wider audience? How do you navigate the tension between commercial success and staying true to your creative vision?

I find balance in just being my happiest while making music because I can really explore my mind and make what I WANT TO MAKE! I appreciate all opinions as well but this is the one thing I can do how I want to do it and nobody can change that for me. I don’t feel the tension at all.

Collaboration is a key aspect of "Old Friends." Can you discuss the importance of collaboration in your creative process and how it enriches your music? Are there any other artists you would love to collaborate with in the future?

Collaboration is so important to growth as an artist whether that be growing your audience or sharpening your sword. There is no craft in the world where you get better without being tested or some type of practice so why is music any different. I’d love to collab with The Alchemist, Isaiah Rashad, MIKE, Mavi, and Tony Shhnow.

In today's digital age, social media and online platforms play a significant role in promoting music. How have you utilized these platforms to connect with your audience and share your music? What strategies have been most effective for you?

Well with my social media accounts I’m trying to get more active but communicating with supporters has always been key to me I don’t ever want to be too big to share a conversation with someone that seems like the least I can do. But, as I said before reaching out to different platforms that can help you grow, getting play-listed, paying for promotion through the social media platform it’s a lot you can do.

"Old Friends" showcases your growth and evolution as an artist. How do you feel you have evolved musically and personally since your earlier releases? What new elements or influences have you incorporated into your sound?

The thing I feel like has led to my growth is I’ve crafted my own sound and I found my voice which was really big for me when I actually started to like how I sounded on songs. I also am not afraid to try new things.

Nashville is known for its vibrant music scene. How has being based in Nashville influenced your artistic development and sound? Can you describe any specific ways in which the city has shaped your music?

I’m based in Huntsville but not even just limited to Nashville, Tennessee as a whole has had major influence on my sound from Isaiah Rashad to Project Pat. My pops always really fed me Hip Hop from Miami to Houston and my mom being form New York gave me the best of both worlds.

Looking ahead, what are your goals and aspirations as an artist? Are there any particular milestones or achievements you hope to reach in your career? Can you share any hints about your future projects or collaborations?

To keep working my ass off and I’d really love to be performing in Texas for SXSW and every other big festival real soon. I got some big things coming another EP coming can’t put a date on it just yet but I got some Nashville natives on this upcoming EP, a lot more visuals coming , and a lot more music coming just stick with me through this journey. LOVE

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Letting Go: KITE - Corefish's Liberation Through Reflection

Corefish is an artist known for his distinctive blend of musical genres, creating a unique and captivating sound that reflects his eclectic tastes and life experiences. His music is deeply introspective, delving into themes of self-acceptance, self-improvement, and the beauty found in imperfections.

Corefish's emotional range and raw vulnerability are evident in his work, making his art a profound catalyst for personal reflection and self-discovery. Through collaborations with other artists, he expands his sonic palette, adding depth and complexity to his music. As a boundary-pushing artist, Corefish continues to explore innovative musical territories, leaving a lasting impact on his audience as they navigate the transformative journey of his art.

In this exclusive album showcase, Corefish takes us on an intimate journey into the depths of their emotional state and artistic expression. "KITE" is not just an ordinary album; it is a deeply personal reflection of Corefish's struggles with identity, relationships, and the complexities of life itself. Through a captivating blend of genres and heartfelt storytelling, Corefish invites listeners to embark on their own voyage of self-discovery.

When asked about the inspiration behind "KITE," Corefish shared, "I wanted to write from a very personal place, treating the album as a synopsis of my emotional state over the past couple of years." Themes of loss, uncertainty, and self-acceptance resonate throughout the album, with the opening track, aptly titled "KITE," exploring the profound impact of losing a dear friend. The closing tracks, "4, 5, TETHER" and "VAGRANT," delve into the idea of grounding oneself and finding contentment in the midst of self-discovery.

What sets "KITE" apart is Corefish's ability to seamlessly blend various genres into a unique and authentic sound. By combining elements of alternative, electronic, rock, and pop, Corefish has created a sonic landscape that mirrors their own eclectic tastes and experiences. The result is a mesmerizing album that captivates listeners from start to finish, adding emotional depth and richness to the overall experience.

Among the standout tracks on "KITE," Corefish's personal favorites include "BLASTOFF" and "4, 5, TETHER." "BLASTOFF" explores the concept of self-improvement driven by misguided intentions, a sentiment many can relate to. It is an introspective song that reflects on the desire for fame and recognition, ultimately leading to a deeper understanding of personal fulfillment.

On the other hand, "4, 5, TETHER" holds a special place in Corefish's heart, celebrating the acceptance of imperfections and finding contentment in not being the best at everything. These tracks showcase Corefish's raw vulnerability and emotional range, contributing to the album's overall impact.

Crafting "KITE" was not without its challenges. Corefish faced constant pressure to show improvement in mixing and songwriting, leading to moments of self-doubt and stagnation. However, these challenges ultimately shaped the final product, resulting in a collection of tracks that highlight Corefish's growth as an artist.

Collaborations played a significant role in the creation of "KITE," with artists like akyl, old collin, and dylan longworth adding new dimensions to the album's sound and themes. Their contributions expanded the sonic palette and contributed to the depth and complexity of the project.

Reflecting on the album's impact, Corefish shared, "I hope 'KITE' serves as a catalyst for personal reflection, evoking introspection and self-discovery for listeners. It's about embracing uncertainty, finding solace in imperfections, and discovering one's own sense of fulfillment." Through their music, Corefish aims to leave a lasting impression, encouraging fans and listeners to embark on their own journeys of self-growth, love, and loss.

As we look to the future, Corefish promises even more boundary-pushing music and creative endeavors. Their unique sound and evocative storytelling continue to captivate audiences, promising exciting and innovative musical territories yet to be explored.

Join Corefish on this transformative musical journey with "KITE," an exceptional album that invites listeners to reflect, feel, and discover the beauty within oneself. Experience the emotional depth, genre-blending prowess, and profound narratives that make "KITE" an outstanding musical masterpiece.

INTERVIEW

"KITE" explores themes of self-growth, love, and loss. Can you elaborate on the overarching narrative or journey that the album takes listeners on and how these themes are woven into the fabric of your music?

"I like for listeners to find a meaning and journey for themselves, but if I had to say something on the matter, I wanted to write from a very personal place. I treat 'KITE' as a synopsis of my emotional state over the past couple of years—struggling with not knowing who I am in a world that makes less sense every day, coping with BPD, relationships, and more often than not, both intertwined. Almost a meditation on who I was in the past and the person that I wish to be in the future... while also not really knowing who that is.

More specifically, I'll say the opener of the album 'KITE' deals with the loss of a very important friend and the repercussions of that on my mental state, and the two closing tracks '4, 5, TETHER' and 'VAGRANT' deal with that earlier idea of grounding myself and being okay with the idea that I'm not sure 'who I am.'"

Your album seamlessly blends genres like alternative, electronic, rock, and pop. What led to this eclectic fusion, and how does it contribute to the emotional and sonic depth of the album?

"I really tried to capture the music that I myself enjoy. I find it really hard to settle into one style of music before I think it sounds 'bad' or 'the same,' so I try to blend the aspects I like from certain genres into one messy thing. It helps the music feel like something uniquely me, and in the end, that's what KITE is, I think."

Can you share the story or inspiration behind some of your favorite tracks on "KITE," highlighting the emotions and experiences that drove its creation and its significance within the album's narrative?

"I think my favorite track would be 'BLASTOFF.' It's about this idea of self-improvement for completely wrong intentions, like for example... wanting to become super famous and make much better music so that all the friends and relationships that I've lost would look at me now and be like 'damn, I lost that cool guy as a friend.'

Like I said, it's not really something I attribute to myself anymore, but I definitely had a period of time where I thought becoming really 'cool' equated to feeling fulfilled.

A close runner-up would easily be '4, 5, TETHER.' I love that song so much, and it holds a really special place in my heart—realizing that I'm never going to be the best at something while feeling satisfied with that fact. I also think it's the most sonically 'grounded' song on the album to help represent the soothed anxiety."

In the process of crafting this album, what were the most challenging and rewarding aspects you encountered, and how did they influence the final product?

"I think the progression in mixing and songwriting was very hard for me. Every time I make something, I feel an incredible pressure to show improvement on an aspect of the art. It was very hard feeling stagnant at times when I would make a track, and it wouldn't make the cut due to not being 'interesting enough' or my friends didn't like that track as much as the last.

The largest challenge and detriment towards this project, and really all my music, would be self-doubt. I think I've learned a lot more about the subjectivity of art and that I shouldn't shun my own creations because it isn't something else."

The album delves into self-reflection and growth. How do you view your own personal evolution as an artist from your earlier works to "KITE," and what aspects of your artistic expression have evolved the most?

"I think KITE has many reflections on some of the events of the split, but not from an emotionally vulnerable and immature angle. It's less of a vent and more of a therapy session—having a conversation with myself instead of yelling out at the world that I'm perceiving as attacking me.

I think I've developed a writing and production style that sounds a lot more like myself rather than the artists I would emulate before, and I never really thought I would get to that point."

Collaborations can bring new dimensions to an album. Can you share your experiences collaborating with other artists like akyl, old collin, dylan longworth, & others on "KITE", and how these collaborations influenced the album's sound and themes?

"I just appreciate my friends for being a part of the project. I was and have been a big fan of Dylan's music long before I had even made my own. So I think it's the coolest thing in the world to be able to work with him on 'SYMPATHY.'

As for 'VICTIM,' that song was initially made in 24 hours for a 'SLUMBERPARTY WEEKEND BASH,' and that event is really just making fun songs with my friends. I think of all the songs, it's the least tied to the narrative lyrically, but damn, do I like that song and am glad I was able to fit it into the vision.

I also am so glad to have worked with my buddies on the production throughout the entire album. Huge thanks to the whole gang.

Shoutout drama trial."

"KITE" takes listeners on a journey of self-discovery. What do you hope your audience gains or feels as they immerse themselves in the album, and what impact do you intend for it to have on their own self-reflection?

"As far as a message, ideally, I want people to understand what I've gone through and where I've made wrong decisions so that they don't make those decisions themselves. I'm also just trying to convey my vibes—what I love about making music and the catharsis it brings to create art in general.

I hope that people who feel the same way as I do will be inspired to make and improve their own art, whatever that may be."

The album is a genre-blending effort. How did you approach the challenge of maintaining a cohesive sound while integrating elements from different genres, and what message or atmosphere do you aim to convey through this diversity?

"I really don't find it necessarily extra challenging to create the style I have. I think that ever since I've been making any music at all, this is the kind of thing that I've been making. Just making what I like to listen to while trying to convey my feelings.

I guess if there was anything, it would be figuring out what I want to do in the first place: if I even want to make music and then what do I start with and how do I make it good."

Looking ahead, what can your fans and listeners expect from Corefish, and are there any upcoming projects or creative endeavors you'd like to share with your growing audience?

"Just making music and playing games right now, honestly! Maybe some singles in a couple of months, but I really have to see where the wind goes. As for the music itself, as I said, I always want to make the next song better than the last.

So, expect some new genres, a crispier mix, and more effort put into every Corefish track."