Between Genres, Beneath the Surface - Corbin Adler

Corbin Adler’s music feels like a late-night drive through memory. cinematic, raw, and unafraid to sit in silence. Blending alternative R&B textures with the intimacy of indie folk and lo-fi soundscapes, his style doesn’t ask for attention, it earns it through atmosphere and emotional clarity. There’s a quiet conviction in how he creates, with every synth layer, guitar loop, and drum break reflecting an artist who’s lived through what he’s writing.

Raised on acoustic storytellers and shaped by his own trials navigating faith, time, and pressure, Corbin doesn’t just make music—he translates moments. From corporate burnout to personal heartbreak, his songs often feel like journal entries that slipped into the studio at just the right time. But don’t mistake vulnerability for softness. There’s strength in how he holds space for imperfection, choosing honesty over polish.

In this conversation, we get a look into Corbin’s creative world, how he balances production with emotion, why imperfection plays a role in his sound, and what it means to stay authentic in the face of industry noise. Whether you’ve just tapped into his music or you’ve been following the wave, this interview is a reminder of what it looks like when someone builds a lane that feels like home.

Your sound seamlessly blends alternative R&B, lo-fi, and indie influences. How did this fusion come naturally to you, and what artists or experiences shaped it?

Thank you! Funny enough, I grew up learning & listening to a lot of indie and folk music like City & Colour, Hozier, Ben Howard, etc. But when I started learning production & Ableton, I found myself making a lot more R&B records than anything else. So naturally I bring my indie, folk, and rock influences into art along with any other genre(s) I love. I always want my music to live in the “R&B” world but to have a little twist of a different genre in there as well.

You’ve spoken about struggling with life, time, and faith in your youth. How have those themes evolved in your music as you’ve grown, and do you feel they still shape your perspective today?

Man. I wouldn’t be the person I am now without all my struggles. A large majority of my life has been learning how to deal with the punches of life, time, and faith. It’s made me a much more caring person to everyone and everything around me. And in terms of my music, those struggles show up a lot in my writing. Like writing a song about working a corporate job for the first time and being so frustrated with the rich only getting richer.

Your storytelling feels deeply personal. Do you find that songwriting helps you process emotions, or do you go into a track with a clear story already in mind?

I appreciate that, and I’m glad that comes across! All my songs have been situations I have or am currently processing— A breakup, losing friendships, financial issues, or struggles with life. Outside of music, I’m a very emotionally open person, I’ll be the first to admit my feelings, and it’s honestly a gift to be able to share those feelings through music for anyone else to tie their own feelings to the song as well.

Your production choices are often atmospheric and layered—do you approach sound design with the same level of personal intention as your lyrics?

I do! I have always considered myself more of a producer/musician than a writer. Often when I hear other songs I enjoy, it’s always the music itself that captures me rather than the lyrics themselves. So all my songs are built around making the music & instrumentation sound good first with layering synths, guitars, drums, and etc. I’ve also really fallen in love with the idea of imperfection. I’ve spent the last several years learning how to do everything “right” in Ableton, but now I’m learning how to break my own rules & not quantize everything lol.

The independent music landscape is constantly shifting. What’s been the biggest challenge in getting your music heard, and how have you navigated staying authentic while growing an audience?

Damn great question. Honestly? Consistently putting myself out there is the hardest part. It’s difficult to spend hours marketing yourself to find 200 views. But i’ve found putting less pressure on the marketing aspect & keeping it more real and honest with the viewer and myself is the best way I can stay authentic while putting myself out there too.

As a creative who curates music as well as makes it, how do you balance your personal artistry with your role as someone who uplifts other artists?

I’ve spent the last several years learning music all by myself. And most of those years I spent doubting myself. I know how hard it is to follow this dream. A lot of us are one conversation away from quitting. I had one person, outside my friends, who told me “I love what you’re doing. keep going.”, and it changed my life.We all need that person, so know I try my best to be that person for other artists like myself.

Many artists use visuals to enhance their music’s impact. How important is visual storytelling to your process, and do you see yourself expanding into more visual projects in the future?

I think it’s incredibly important. Hearing a song for the first time has its own meaning, and then watching that song with its visual often creates its own different meaning. I’d love to make some really cool visual narratives in the future, but in the meantime I’m having fun focusing on making my sound the best that I can first and foremost.

Looking ahead, what’s next for Corbin Adler? Are there any projects, collaborations, or sonic experiments you’re excited to explore?

So many things. I wanna continue meeting so many great and talented people in this space like yourselves. It’s an honor to live in this industry & I love seeing my friends succeed. I’ve got some ambitious projects in the works that I’m excited to share with y'all here soon.

If someone discovers your music years from now, what’s the one thing you’d want them to take away from it? What’s the legacy you want to leave behind?

Love this question. I’d love for people to walk away knowing they can do anything. I spent my whole life thinking I couldn’t make music work. But honestly, your dream isn’t as far fetched as you think it is.

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SoundSubterra Sessions Episode 1 - Chris Chand and the Stillness in Motion

At Nefarious Supply, we’re carving our own path in underground music—moving deliberately away from algorithmic playlists and surface-level interviews toward something more intimate, intentional, and artist-driven. SoundSubterra Sessions is how we put that into practice. SoundSubterra Sessions is the next iteration of what began as Nefarious Supply Radio — refined, redefined, and now rooted more deeply in the artist’s process. Where NS Radio was about what we were listening to offering artist-hosted playlists that were compelling but often left the deeper story untold SoundSubterra Sessions is about fully understanding who we’re listening to, and why their song choices matter. It's our commitment to going beyond the playlist itself, and building content that showcases the artist as a whole: their process, their influences, and the emotional architecture of the session. Each episode is more than curation it’s a collaboration in storytelling.

Our first featured artist isn’t new to the Nefarious Supply ecosystem. In fact, we’ve been following Chris Chand for years. From our first conversation with him back in 2021 where he spoke about growing up in a musical household in Pickering, cutting his teeth in Toronto's independent scene, and learning to produce and record music from his bedroom, to hosting Episode 008 of NS Radio in 2023, we’ve seen his artistry stretch and evolve across projects, collaborations, and sonic identities. There’s a sense of intentionality to how Chris moves. He’s never tried to chase trends or box himself into a genre. Instead, he follows a feeling—and that feeling has become sharper with every release.

Back then, Chris was only a few songs in but already carving out a sound that blurred the lines between alternative R&B, pop, and funk. He was experimenting with sonic textures, producing for others, and learning to balance vulnerability with craftsmanship. Today, that balance has matured. And with his latest track Vista Park, it feels like the sound has finally caught up to the vision.

Vista Park is the kind of track that doesn’t announce itself. It floats in and holds you quietly. The song is rooted in a real memory a park, a warm view, a conversation that stuck—and shaped by the emotional afterglow of rewatching Eternal Sunshine of the Spotless Mind. That combination of place and emotional residue fuels the track’s soft glow. Cinematic but grounded, it sits in the in-between space between nostalgia and presence.

The pacing is intentional. Chris didn’t want another slow-dance ballad. Instead, he crafted a song that rides a groove—upbeat, but not urgent. Something you can move to without being pulled too far. It reflects his growth not just as a writer and producer, but as a performer who’s increasingly building records meant to live beyond headphones.

To understand the layers that make up Vista Park, Chris curated a playlist of songs that orbit its sonic and emotional space. But this isn’t just a playlist. It’s a document of process, a reflection of artistic headspace during a very specific creative moment.

Tommy Richman’s SOULCRUSHER provided the sonic spark—an example of the kind of energy he wanted to reinterpret through his own lens. Ralph Castelli’s Rare tapped into the romantic tension that subtly anchors the song. Todd Rundgren’s Can We Still Be Friends? opened the door to a more nuanced take on emotional resolution. These aren’t just references they’re co-authors in spirit.

Other selections push genre boundaries. Tame Impala’s Feels Like We Only Go Backwards offered a production ethos more than a sound. Mk.gee’s DNM made him reconsider the role of guitar. Feng Suave’s Half Moon Bag gave him permission to chase feel over category. These curveballs don’t fit into a neat box, but they expanded the one Chris was working from. There’s freedom in that a kind of openness that doesn’t try to control the narrative, just shape it as honestly as possible.

All of it was recorded at home. Still. Years later. The setup has barely changed: guitar, bass, mic, MIDI keyboard, a dresser as a desk. It reflects a core part of Chris’s identity not just as an artist, but as someone who has always leaned on resourcefulness. He doesn’t wait for ideal conditions. He makes with what he has. And that consistency, that commitment to making something meaningful with whatever’s around, is part of what makes his work resonate.

That minimalism is baked into the mix, too. Vista Park sounds close, but distant. Intimate, but removed. It feels like you’re watching something unfold from across the street—a balance Chris likens to The Truman Show. There’s always a window between you and the memory.

If Vista Park was a short film, it would be a summer story. A fleeting romance set in a small cottage town. Warm tones. Static frames. Wes Anderson symmetry with real-life tension. It wouldn’t try to explain everything. It would just be. It would leave quietly, leaving you to fill in the space it leaves behind.

The playlist isn’t an appendix. It’s part of the story. A reflection of what he was learning from, analyzing, and drawing courage from. Chris calls it being a student. And that’s always been central to his process—whether dissecting songs from his ‘INSPO’ playlist during his NS Radio episode or talking about how Steve Lacy, Marvin Gaye, JMSN, and Childish Gambino helped shape his artistic foundation.

What hasn’t changed since we first spoke to him is the intent. The goal has never been fame. It’s always been clarity. Communication. Honesty. To make music that documents his own story in real time, and maybe helps someone else tell theirs. It’s not about proving something. It’s about expressing something that’s already true.

SoundSubterra Sessions exists for artists like Chris—those who are building something quietly, consistently, and with care. The ones who don’t chase moments, but create them. The ones who shape culture by staying grounded in their own.

We're grateful to Chris Chand for hosting the debut episode of SoundSubterra Sessions (formerly Nefarious Supply Radio). His artistry and openness set the tone for what this series aims to be—deeper, more intentional, and fully focused on the artist’s story. We’re excited to see where he takes things next, both as an artist and as a voice in the creative community. Experience SoundSubterra Sessions, hosted and curated Chris Chand, powered by Nefarious Supply.

Be on the lookout for Episode 2 dropping soon.

If you're an artist looking to be featured, submit your music at the link below. We're always looking to highlight voices that move differently. All artists, all genres, all stages—because "artists first" is what drives us.

Juice Davis Is Done Holding Back - Sound, Story, and Full Creative Control

Some artists take years to find their voice. Juice Davis built his from the ground up. A multi-hyphenate from Virginia, Juice represents a rare type of artist—one who engineers, produces, writes, and performs everything himself. His growth is audible. What began as raw experimentation has evolved into a fully-formed sound marked by control, confidence, and emotional depth. But that growth didn’t come easy. Over the years, Juice has deleted over 100 songs, driven by a feeling that the work didn’t reflect who he was—or who he was becoming. Now, with a renewed sense of purpose, he’s entering a new chapter.

Juice’s music blends smooth R&B with high-energy hip-hop, capturing the duality of his influences and experiences. His lyrics are rooted in real life—sometimes autobiographical, sometimes imagined—but always honest. Whether reflecting on his past in “OAM” or flexing his storytelling in “PAPI JUGO,” Juice delivers music that moves between worlds while staying grounded in his own. He speaks with clarity, humility, and a quiet fire that signals bigger things to come. For him, this isn’t just music, it’s memory, motivation, and mission all wrapped into sound.

Your sound has evolved significantly over time. Looking back at your earlier work, how do you feel you’ve grown as an artist, both technically and personally?

Technically, I’ve grown as an artist by learning how to mix, master, engineer, write, produce, & perform everything myself. My earlier work you could tell I was bit of an neophyte towards doing all of those activities, but as the years went by you could hear the growth…precisely. That’s a big accomplishment to me, because I don’t have to depend on anybody else, but myself. I have the freedom to do whatever I want, whenever I want, however I want. It brings a lot more joy & originality to my work as I see it evolve. It’s like, “Damn, I did this lol” & you can always tell it’s me. Especially coming from the area I’m from (DMV, 757).

Personally, I’ve seen my attitude & patience towards music grow a lot more now that I’m older. At a certain time in my life I felt though everything I put out was rushed. I didn’t let the art sit enough & that persuaded me to delete A LOT of work. People who listened to music faithfully would get upset about it LOL. Now everything I put out is not getting deleted, because I feel more confident when approached/discovered about my music. I’ve deleted over 100 songs throughout my years of making music…that time is over with now. I’m turning a new leaf.

You’re involved in both songwriting and production. Can you walk us through your typical creative process? How does an idea transform into a finished track?

99% of my music is personal, so therefore it’s the experience that gets me motivated. However I’m feeling for the day, I’ll open FL, start cooking some beats up, or just start writing/freestyling to beats that have been sent to me by others/or beats that I have produced. I’m always in front of my studio setup whenever I have free time. I’ll set the mic up, start mumbling melodies/lyrics, & whatever I feel though is catchy, I’ll do a quick run through for the song structure. If everything rolls off the tongue & I’m having fun, then it has the potential to be a song that’s finished.

Later on, if I’m not busy I’ll polish up the vocals on the track even though I really love the few first take vocals. The emotion is raw at that point & it doesn’t feel rehearsed. Throughout the day I’m always jotting down bars in my notes, so lyrics are never a problem. I can just scroll, pick whatever I come across & it’s like I’m instantly put into that mood when I first wrote the note down. I love that about my process.

Your music flows between smooth, melodic R&B and energetic hip-hop vibes. Do you intentionally balance these styles, or is it something that happens naturally?

It happens quite naturally. When you hear yourself on different type of sounds you tend to gravitate towards what “fits you”, if you know what I mean. Plus I lean towards music that my pops played around me often at a younger age. It just runs in the genes.

Your lyrics often reflect self-growth, relationships, and deep personal themes. How much of your music is autobiographical, and how much is storytelling?

I’d say it’s 40% autobiographical & 60% storytelling.

"OAM" and "PAPI JUGO" show different sides of your artistry. What inspired these tracks, and what message were you aiming to convey?

“OAM”, I was inspired by watching old camcorder videos of myself playing sports at a young age. It automatically gave me nostalgia. I’m basically writing to my older self to always stay motivated & not let predicaments hold me back…”I’m on a mission”. “PAPI JUGO”, I was inspired by Scarface & Goodfellas…it’s more of an “badass” song or a flex song. It’s me appreciating where I’m at in life, reminiscing on old times & ignoring those who are jealous of me. I always felt though people need to tell THEIR story & not think it’s corny/lame just because it doesn’t sound like the next man’s. That’s what makes a story unique…it’s different…it’s authentic.

As an independent artist, what have been the biggest challenges you’ve faced in building your career? How do you balance creative control with the business side of music?

The biggest challenges have been connecting & marketing. In VA, I can say majority of creatives have a “clique” & if you’re not…how can I say this without being too explicit…if you’re not bending over backwards for them…they won’t acknowledge your talent. When I was a teenager & I dropped songs, the numbers did very, very well. At that time you could tell the difference between a creative, a music listener, & somebody who has other hobbies. As I got older I started seeing people who never did music or those who didn’t want to be a creative start to dabble into it. Everybody around here wants to do music or have the spotlight in some damn way. This can make it difficult when nobody knows their place in the game. This is a reason why I think this particular area has such a weird time supporting each other.

My city is full of gatekeepers, arrogance & envy. But that’s okay, a lot of things are going to change within the next couple of years & I’m standing on that. We just have to come together. The marketing side of music…I’m still learning how to approach it all. I don’t have a manager, booking agent, mentor, or none of that. I’ve had a few approach me, but it didn’t feel right, you know? Seems like they didn’t want to build, so majority of the time I’m a student learning as I go. As of now, I’m just trying to grasp the “algorithm” of the internet by learning behaviors & patterns. I remember when you posted on social media & everybody who followed you saw it. It’s a totally different game now & learning it is crucial. How do I balance creative control with the business side of music? My answer is I simply try to have as much fun as I can & surround myself with people who allow me to be who I am. I think people forget about that & that’s when the art tends to descend.

Music videos and visuals play a huge role in an artist’s brand today. How do you approach the visual aspect of your music? Do you have creative control over your visuals?

I have complete creative control over my visuals. But I do have a friend, Carlos Barahona, who I’m starting to collab with more when it comes to visuals/music videos. He was the one who directed the “OAM” video, very talented guy, shout out to him. When it comes to the approach I always want it to be natural & not so rehearsed. For cover arts I like to use random pictures that I take throughout my days that may correlate with whatever song I’m releasing. Then I’ll try to bring it to life with motion picture effects. I think it’s a good way to keep people engaged.

Can you describe your most memorable performance so far? What made it stand out, and how has performing shaped your artistry?

My most memorable performance was at my high school’s talented show back in 2014. I performed two songs that night: “What You Know” & “No Juice”. The crowd’s reaction was nuts. It was amazing to see how quickly people caught on to the lyrics, shouting it back to me as I performed. This showed me how much of an impact my music had on people & it let me know what pocket I needed to stick to as far as my sound. You can find the full performance on my YouTube page.

Do you have any new projects, collaborations, or surprises in the works that fans should be looking out for?

Haha, yes, for sure! I do have an album coming, fasho. A lot has been in the making, mainly a reason why I haven’t been as active online. I don’t want to say too much, but right now I’ve been working with Omar Washington, P. Bentley, R3CESS, Don B, & Klu. When the time is right, things will start rolling out back to back

What do you want to be remembered for when people talk about Juice Davis years from now?

A pioneer, a hard-worker, a musician, & overall a humble man with a message that moves people

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Shoutout to Juice Davis for taking the time to chop it up with us and let us into his world. From the technical growth to the personal evolution, his journey is a reminder that artistry is just as much about self-trust as it is about skill. Whether he’s pulling inspiration from old camcorder footage, flipping samples from voicemail clips, or blending storytelling with imagination—there’s a raw honesty in the way Juice creates that we respect heavy.

If you’re not already tapped in, go run it up. Follow Juice on Instagram to stay in tune with what’s next and stream his full catalog on Spotify. This current chapter is only the beginning.

And if you’re an artist doing it your own way—writing your story on your own terms—submit your music to us here. We’re always looking for new voices that move different.

The Vault Radio - Episode 1

Welcome to The Vault Radio, Episode 1—a monthly curation dedicated to sharing authentic, hand-picked music we've genuinely been enjoying. Each episode will highlight not only fresh underground releases but also older music that might've flown under the radar yet still deserves your ears. While keeping you in tune with new artists and sounds is important, it's equally valuable to pause and give overlooked gems the attention they deserve.

Music is deeply personal, subjective, and shaped by our individual experiences. This playlist isn't about chasing trends or viral hits; it’s about real music we've connected with personally and sincerely want to share. Every selection here is intentional—tracks and albums that resonate with our current experiences, moods, and inspirations. You might connect with some immediately or grow to appreciate others over time. Either way, there's something real here to discover. So, welcome to Episode 1 of The Vault Radio. Sit back, relax, and dive in. Who knows? You might just find your new favorite track here.

AIR GUITAR by $avvy

$avvy’s latest album, AIR GUITAR, represents a significant sonic shift from his previous projects, inspired by his move from Nashville to Los Angeles. This transition wasn't just geographical it was creative, personal, and deeply transformative. Embracing a DIY mentality, many tracks started as raw bedroom recordings, later refined in professional settings. The process mirrors the album’s overall theme: experimentation, reinvention, and pushing past boundaries. Tracks like "Whiplash" and "JESUS BBQ" are prime examples of this boldness, showcasing his ability to blend raw emotion with structured artistry.

The album draws influence from a variety of sources Michael Jackson’s meticulous musicality, the psychological tension of films like Whiplash, and personal experiences of love, loss, and self-discovery. Each track builds upon these inspirations to create a project that is both personal and universal. The title AIR GUITAR itself symbolizes uninhibited expression, capturing that childhood joy of pretending to play along to your favorite songs, embodying the idea of feeling the music in its purest form.

Notably, Teezo Touchdown, known for his genre-blending artistry, further validated the album’s reach by incorporating some of these tracks into his live performances. This kind of organic recognition underscores how AIR GUITAR resonates beyond just its core audience, highlighting its authenticity and staying power.

Listeners are encouraged to experience the album front-to-back without distractions, allowing themselves to sink into the sonic textures and narratives woven throughout. Ideally, AIR GUITAR is best heard on warm, reflective evenings, with the California sunset in view a fitting backdrop for a project that captures both nostalgia and forward motion, personal reflection and universal connection.

STRIVE FOR BETTER by Lango

Lango’s STRIVE FOR BETTER is more than just an album, it’s a deeply personal reflection of growth, transition, and self-awareness. Emerging organically from a period spent pursuing a master's in Biotechnology, this project captures the duality of chasing new dreams while navigating emotional complexities. Lango steps away from overproduction, opting instead for a sample-heavy, mellow soundscape that enhances the project’s raw and introspective nature. It’s music for moments of solitude, deep thought, and personal evolution.

Tracks like "Never Be" and "Thinking Bout Me" dig into themes of insecurity, the fear of not being enough, and the emotional weight of personal relationships. Lango’s willingness to explore these unfiltered emotions gives the album a sense of relatability and honesty, making it easy for listeners to see reflections of their own experiences within his words.

"Safety," a particularly powerful track, was shaped by a personal tragedy, revealing a shift in perspective regarding life, loss, and the unpredictability of the world. "Pushin 30" serves as both a declaration and a reflection—acknowledging how time changes us, yet also reaffirming that personal growth doesn’t come with an expiration date. Instead of viewing aging as a limitation, Lango embraces it as an opportunity to evolve, explore new ambitions, and redefine what success looks like.

What makes STRIVE FOR BETTER stand out is Lango’s approach to emotional openness not as vulnerability, but as a tool for connection. He presents his emotions not as weaknesses but as stepping stones toward understanding himself and the world around him. Free from the pressures of mainstream appeal, this album serves as a reminder that personal expression holds its own weight and impact. STRIVE FOR BETTER is a project that doesn't demand attention; instead, it quietly invites listeners in, allowing them to take what they need from its message.

COASTLANDS by Mekhi Fayson

Mekhi Fayson's COASTLANDS is a sonic voyage through self-discovery, existential reflection, and deeply personal storytelling. Blending hip-hop, R&B, and indie influences, the album is a carefully woven narrative that mirrors Mekhi’s own journey shaped by personal challenges, relocations, and a desire to explore identity beyond surface-level understanding.

At its core, COASTLANDS is a meditation on fate, choice, and the unseen forces shaping our lives. "R33" is a powerful example of this, where Mekhi reflects on the unpredictability of life through the lens of an experience with his dream car capturing themes of control, luck, and the inescapable nature of cause and effect. "Traffic" and "Aksumite" highlight Mekhi’s ability to shift between personal experiences and grander philosophical themes, making the project feel both intimate and expansive.

Mekhi is unafraid to bring listeners into his imaginative world, where reality and fantasy blend seamlessly. Characters like Sadiq Nasty, a persona embodying selfishness and emotional detachment, serve as contrasts to Mekhi’s more introspective, self-aware nature, creating a layered storytelling experience that goes beyond traditional autobiographical lyricism. The influence of films like ATL and Boyz N the Hood can be felt throughout, adding a cinematic quality to the project’s atmosphere.

Musically, COASTLANDS doesn’t settle into one specific sound. Instead, it pulls from a variety of influences, from Radiohead’s atmospheric production to Griselda’s gritty hip-hop textures, to the nostalgic warmth of 90s R&B icons like SWV and Aaliyah. This melting pot of inspirations allows the album to feel fluid, adapting to different moods while maintaining a cohesive emotional core.

Standout tracks like "Ocean/Summer" and "Obsidian" showcase Mekhi’s talent for crafting immersive soundscapes, blending lush instrumentation with poignant lyrics that feel as if they were pulled straight from late-night, introspective thoughts. There’s a dreamlike quality to COASTLANDS, making it feel less like an album and more like an experience—an invitation to reflect on where you’ve been, where you’re going, and the unseen forces guiding your path.

Ultimately, COASTLANDS is an album about perspective. It challenges listeners to look beyond the tangible and consider the connections between actions, emotions, and destiny. It’s an artistic milestone for Mekhi Fayson, solidifying his ability to craft music that is both deeply personal and universally resonant.

Spotlight Tracks - Curator's Favorites:

"Whiplash" by $avvy – $avvy continues to push boundaries with "Whiplash," a standout track that fuses raw emotion with dynamic production. The song encapsulates his fearless artistic reinvention, blending introspective lyrics with high-energy instrumentation. It represents the moment where his creative risks fully pay off, offering a glimpse into his sonic evolution.

"Safety" by Lango – Lango delivers an emotionally weighty track in "Safety," a song inspired by real-life fear and reflection on personal loss. The lyrics depict the unease that lingers after experiencing tragedy, giving listeners a deeply personal yet universally relatable moment. Its understated production makes space for Lango’s storytelling, making it one of the most intimate and powerful moments on Strive for Better.

"Obsidian" by Mekhi Fayson – "Obsidian" is a masterclass in haunting, poetic lyricism. Mekhi Fayson’s introspective storytelling shines as he explores themes of resilience, self-reflection, and transformation. The track stands as a pivotal moment in Coastlands, highlighting his ability to weave deeply personal experiences into larger philosophical reflections, all within a genre-blending soundscape.

"Father" by Jim Legxacy – Jim Legxacy presents a raw and deeply personal narrative in "Father," a track that delves into generational cycles, identity, and emotional vulnerability. His fusion of alternative influences and hip-hop elements gives the track a layered complexity, making it a must-listen for those who appreciate music that prioritizes both sound and substance.

"Flight or Flight" by Three65 – This track captures the tension of high-stakes decision-making, embodying the chaotic energy of life’s turning points. Three65’s urgent delivery and charged production mirror the intensity of facing one’s fears, making "Flight or Flight" an adrenaline-fueled, thought-provoking listen.

"What You Wish For" by Lexa Gates – Lexa Gates crafts a dreamlike soundscape in "What You Wish For," a track that feels like a hazy reflection on ambition and longing. Ethereal production, layered vocals, and deep introspection create an immersive listening experience that lingers long after the song ends.

"The Tan Commandments" by Yung Manny – Yung Manny’s signature wit and sharp lyricism are on full display in "The Tan Commandments." The track is packed with clever wordplay and high-energy production, making it an undeniable anthem. It’s a prime example of his ability to balance humor, technical skill, and social commentary all in one song.

"Nag Champa" by Sincere Hunte – "Nag Champa" is a soulful, meditative track that radiates warmth and introspection. Sincere Hunte’s laid-back yet intentional delivery, combined with smooth, jazzy production, makes it a perfect soundtrack for late-night reflection or relaxed contemplation.

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Thank you for checking out this edition of The Vault Radio. We appreciate you taking the time to explore these artists and tracks with us. Music discovery is a collective experience, and we'd love to hear what’s been in your personal rotation lately. Tag us @NefariousSupply with your favorite underground finds so we can check them out and continue curating sounds that deserve to be heard. Your picks might inspire future episodes and help spotlight even more deserving artists.

Are you an artist looking to get featured on The Vault Radio or even have a full write-up with us? We’re always on the lookout for fresh talent. Submit your music here, and let’s build something great together!

November Day - Embracing Chaos, Imperfection, and the Art of Letting Go

Some artists make music that feels like a fleeting moment in time, while others craft soundscapes that pull you deep into their world. November Day falls into the latter category. With his latest album, Brown Songs, he takes listeners on an immersive journey filled with raw emotion, experimental textures, and an unfiltered creative process. Known for his DIY approach, November Day blends slowcore, noise rock, and lo-fi aesthetics with deeply personal storytelling. His music isn’t just something you listen to—it’s something you experience.

In this interview, we dive into the creative process behind Brown Songs, the struggles of staying true to his sound, and how he’s already gearing up for his next artistic evolution. From recording on a four-track cassette recorder to letting accidental samples shape his songs, November Day embraces imperfection in a way that makes his music feel alive. Read on as he shares his thoughts on growth, inspiration, and the freedom of making music without limits.

Your latest album, Brown Songs, feels deeply personal and sonically immersive. What was your mindset while creating it, and how did you push yourself differently compared to past projects?

I was in a bit of a reclusive stage after finishing my previous album, Lucky; that album took a lot of emotional energy to make and I wasn’t sure what to do next. Then one day my dashingly charismatic roommate Tobias Fever and I were at the local music shop and I saw a Tascam MF-P01 four track cassette recorder behind the glass and just knew I had to have it. That whole project, along with the subsequently released project Blue Songs, were made entirely on that four track. When I first got to play with it I only bought a microphone and a tiny Behringer synth so the opening track is mostly guitar drone/acoustic until the random Three Six Mafia song plays, which for the record, I did 𝘯𝘰𝘵 know was going to happen until it did. You can pretty much hear me adapt to the tempo in the recording which I find pretty fun. There are plenty of moments like that on the album: samples I only obtained because I was using 2 for 1 dollar cassettes that already had shit on them. Like on the song Flowers, there’s this voicemail of this dude calling his fiancé’s parents and just being a real horrible human being. It made me feel sick in a warm, humid way so I put him on the album. Love that stuff. Front to back it only took me three days to make Brown Songs; it was me learning a new means of recording and really, learning how to have fun making music again.

You handled all the guitar work and production yourself. What was the most difficult aspect of working entirely solo, and did that process bring any unexpected creative breakthroughs?

I find making music alone to be extremely cathartic. On Brown Songs for example, where every song was made in under an hour, usually like 30 minutes tops by myself in my room, I was able to capture exactly how I was feeling or what was going on that moment, unfiltered. I want to always be moving closer to that sense of self, or sense of moment in my music. I think working mostly alone and slowly building my own creative habits is best for my more personal work. I recall early on in my experience producing (around 2 years ago) a lot of people wouldn’t fully get what I was going for sonically and would always lob the same critiques of “𝘵𝘢𝘬𝘦 𝘵𝘩𝘢𝘵 𝘥𝘪𝘴𝘵𝘰𝘳𝘵𝘪𝘰𝘯 𝘰𝘧𝘧” or “𝘸𝘩𝘺 𝘤𝘢𝘯 𝘐 𝘩𝘦𝘢𝘳 𝘺𝘰𝘶𝘳 𝘤𝘩𝘢𝘪𝘳 𝘤𝘳𝘦𝘢𝘬𝘪𝘯𝘨” and while I do think it’s crucial to listen to what people have to say about your music; after all it’s the ears of others that will be hearing more than your own, I know for a fact that if I took to heart everything people had said instead of trusting my gut instincts with how I felt my music should sound and feel, the music would become something other than a 𝘵𝘳𝘶𝘦 extension of myself, and we’d never want that.

There’s a strong emotional weight in your music. Do you write from lived experiences, or do you use songwriting as a way to explore emotions outside of yourself?

Most of my songs are definitely lived experiences; my album Dune for example is like, word for word my entire experience with a person from where I was standing. I feel like making music in this way is important for me in my healing processes. If something is really affecting me, I pretty much 𝘤𝘢𝘯’𝘵 move on until I’ve written every possible emotion out, and then some. Recently though I have found myself moved by fictional characters to write my stories. The other day I was watching Buffy the Vampire Slayer (highly recommend) and couldn’t help but feel depressed on behalf of the main characters’ over their constant struggles finding love, since they’re all so busy every night killing monsters and stuff. I finished an especially sad episode and had about it ready in an hour! It felt really good to step outside myself to write, I think I’m gonna try it more.

The album features a mix of downtempo, ambient songs and more energetic, guitar-driven moments. How do you approach that balance when structuring an album?

I wouldn’t necessarily consider myself the greatest guitarist, or even a traditionally 𝘨𝘰𝘰𝘥 one, but I believe I have a knack for improvisation. A lot of songs I will have one idea going in and end up with a completely different sounding finished product. The key to me is to embrace whatever shifts come as the song develops. Did I start this as a slowcore song? 𝘠𝘦𝘴. Does it now have boom bap fart drums and a loud warbling synth? 𝘠𝘦𝘴. 𝘕𝘰𝘸 𝘐’𝘮 𝘨𝘰𝘯𝘯𝘢 𝘳𝘢𝘱 𝘰𝘯 𝘪𝘵. And I wouldn’t have it any other way. Sometimes I surprise myself and crack out a pretty catchy guitar melody that can carry me through a whole indie/rock song; 5C and Peter Time come to mind. I think I’m gonna spend more time getting consistent with my guitar playing this year so I can lean into more focused efforts melodically. I never wanna lose sight of the chaos though.

What’s a song on Brown Songs that was particularly challenging to create—whether technically, emotionally, or just in finding the right sound?

𝘙𝘪𝘨𝘩𝘵 𝘣𝘢𝘤𝘬 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘨𝘳𝘰𝘶𝘯𝘥. I was so intimidated recording that song. It’s a cover of one of my favorites, “The Man Who Was Wrong” by Dr. Dog. I don’t really know any traditional guitar chords so I had to learn my first, and initially I wasn’t really sure what direction I wanted to take since the original song is almost five minutes long. I settled for cutting it to the first verse and chorus and was pretty happy with the result. A lot of my friends say that song has my best singing and I am in love with the sound of me stomping on my floor and cracking a snare drum with my knuckle for the percussive element. I’ve decided to try to put a cover on every album from now on to keep me on my toes; I covered “The Narcissist” by Dean Blunt and Inga Copeland on Blue Songs, which was a lot of fun. Definitely check out Dean Blunt if you haven’t, his sound was the most prime influence over the 𝘦𝘯𝘵𝘪𝘳𝘦𝘵𝘺 of Blue Songs, which is the evolved, subjectivity uglier little brother of Brown Songs.

Many independent artists struggle with finding an audience while staying true to their sound. How do you navigate promotion while keeping your creative vision intact?

At the end of the day I think it’s most important that the integrity of the art is not hindered by the fact that it needs to be promoted to the people. If you change your art for the world, you will never find the audience who would have appreciated it for what you 𝘸𝘢𝘯𝘵𝘦𝘥 it to be, and you will never find the artist you were 𝘮𝘦𝘢𝘯𝘵 to find within yourself. Dean Blunt comes to mind again. His music is awesome and so ahead of its time. The first album I heard by him was “The Narcissist II” released in 2012. That album is a fucking horror movie. It’s all recorded into tape and the chords are so eerie yet comforting and sometimes sexy even; he’s singing in this smooth baritone register through the lens of this 𝘷𝘦𝘳𝘺 𝘦𝘷𝘪𝘭 man, as he gains the trust of this woman and becomes more and more violent until he eventually kills her. He plays the role so well and the music is insanely good! I bet a lot of people wouldn’t have made an album that conceptually risky. Dean Blunt is rising to the top of the industry nowadays; where would he be if he hadn’t stuck to his gut instincts way back in 2012?

Your music has a very cinematic quality to it. Do you have visual or film influences that shape your approach to songwriting?

While I don’t 𝘵𝘺𝘱𝘪𝘤𝘢𝘭𝘭𝘺 get a lot of inspiration from movies or shows, that seems to be changing as I touched on earlier. And even outside of film, I would definitely say that visuals are one of the places I get the most potent inspiration. More often than not, I base a lot of my albums’ sounds off the cover arts. I usually go through a few arts over the process, but having a visual element tied to the music while making it is absolutely crucial for me. And I also want my music to be something that you automatically visualize while you’re hearing it; keeping in room ambience and intentionally making sure there are random natural sounds and patterns in the music is something I find 𝘱𝘪𝘷𝘰𝘵𝘢𝘭 to maintaining the essence of my current sound. So is panning. In my experience, an interesting or unexpected pan will tickle more ears than a shiny mix or thumpy bass 𝘮𝘰𝘴𝘵 𝘵𝘪𝘮𝘦𝘴.

If you could score a film with your music, what kind of movie would it be and why?

It would have to be something depressing, that’s for sure. My song Chuck was written about my experience accidentally killing an animal with my car. It looked to be a large woodchuck or gopher type of guy. I felt his whole body crunch underneath my wheel, I don’t think I’ll ever forget that. Those are the kinds of moments that make me sit down and start playing my guitar. 9. All of it man, I’m gonna do it all. I’m currently offloading most of my time into a 90s/2000s boom bap inspired space album as a pitched down buff space guy named Spazeman Spliff. And it’s 𝘎𝘈𝘚. My musical journey started with rap and it feels so right to step back into that cockpit with fresh ears and ideas. It’s like, what sounds the most fun right now? Lemme do 𝘵𝘩𝘢𝘵. Me and all my friends at Exxitworld have a really cool group tale planned that’s gonna be a blast to make as well! I have a lot of fun stuff planned this year, and while I’m far from done satiating my lofi-noise-slowcore-rock-DIY-experimental-garbo-music itch, November is just one month. There’s a whole universe out there. A year from now I wanna be making gospel music too. I want to serve my God in everything I do, especially my music.

If someone were to listen to Brown Songs years from now, what’s the one thing you’d want them to take away from it?

Be yourself! Brown Songs and, by extension, Blue Songs, are just exercises in me having as much fun as possible making music. If I thought it would sound interesting or funny or weird, I would do it. I think we need more of that nowadays. Get outside of your comfort zone. Fuck whatever you are doing, do something else. You can always come back later with more perspective and varied artistic DNA than you ever could have gained just doing the same thing over and over; you will thank yourself. And stop caring what people think. They are always learning, always changing. So are you, and so am I. You might not love your newest song a few years from now but if you follow your heart’s intrigue instead of what the masses accept as what you should be making, you will be damn glad you chose to do what felt right.

November Day is an artist who refuses to stay in one lane, constantly evolving while staying true to his vision. Brown Songs is just one chapter in his journey, and with new projects already in the works, now is the time to tap in. Follow him on Instagram, Twitter, Spotify, and SoundCloud to keep up with his latest drops.

Want to be featured on Nefarious Supply? Our submissions are always open, and we’re constantly looking for new talent to showcase. Click the link to submit your music and stay updated with our latest interviews and editorials. Let’s keep building.

The Artist Playbook: A Guide for Underground Artists

Welcome to The Artist Playbook, your comprehensive and step-by-step guide to building a thriving music career from the ground up. Whether you're just starting out, seeking clarity on your next steps, or looking to sharpen your existing approach, this playbook provides practical, actionable advice specifically tailored for underground artists ready to navigate the complexities of the music industry.

Over the next ten months, we'll break down essential topics in a structured, easy-to-follow manner. We'll explore critical areas such as branding, content creation, marketing and promotion strategies, distribution channels, and monetization opportunities. Each month will focus on a central theme, carefully unfolding through three targeted entries designed to build methodically on the previous lessons. This systematic approach allows you to absorb essential industry insights and immediately apply practical knowledge to your own career. By the end of 2025, you'll have a comprehensive, actionable roadmap, empowering you to step confidently into 2026 with clarity and a focused direction.

This guide isn't simply a collection of general industry tips, it's a detailed, practical, and straight-to-the-point resource designed for ambitious underground artists committed to turning passion into measurable, sustainable progress.

We'll kick things off by laying a solid foundation: clearly defining your "why," setting precise, realistic goals, and mastering consistency.

Week 1: Laying the Foundation

Understanding Your "Why"

Before diving into strategies, platform decisions, or detailed marketing tactics, pause and reflect deeply on this fundamental question:

Why do I want to make music?

Your "why" acts as your anchor, grounding you when progress feels slow and motivating you during challenging times. Take some quiet moments to genuinely reflect on your core motivation:

• Are you driven by a deep desire for self-expression, storytelling, or personal therapy?

• Do you aspire to significantly impact your local community or elevate a particular music genre?

• Is your primary goal artistic fulfillment, financial stability, or a balanced pursuit of both?

Having a clear "why" profoundly influences every strategic choice, from your brand positioning to audience targeting and interaction. This reflection creates a firm foundation for authenticity and long-term engagement.

Setting Realistic Goals

While dreaming big fuels creativity, turning those dreams into reality requires pragmatic, structured goals. Replace broad aspirations with SMART goals (Specific, Measurable, Achievable, Relevant, Time-bound). Here's how you can effectively frame your objectives:

• Bad Goal: “I want a huge fanbase.”

• Good Goal: “Within three months, I will release my debut single and attract 500 engaged listeners through targeted social media campaigns.”

• Bad Goal: “I want to become a full-time musician.”

• Good: “I will generate $500 monthly from music activities such as streaming, merchandise sales, and performances by December 2024.”

Clear, actionable goals will provide clarity, direction, and measurable markers to gauge your progress and refine your approach.

Staying Consistent

Consistency often triumphs over raw talent alone. The artists who achieve sustained success aren't always the most talented, they are typically the most disciplined and persistent. Here’s how to ensure you remain consistent:

• Establish a Clear Routine: Schedule fixed, dedicated times each week for music creation, content production, and active audience engagement.

• Batch Your Tasks: Maximize productivity by recording several songs, designing multiple social media posts, or producing visual content in batches during dedicated sessions.

• Regular Progress Tracking: Maintain a simple log documenting weekly accomplishments, which can motivate you by clearly visualizing your achievements.

• Maintain Flexibility: Being consistent does not mean rigidly sticking to ineffective practices, be open to adjusting your approach when necessary to optimize your results.

Developing disciplined habits in these areas early on significantly increases your chances of long-term success.

Building Early Habits

Strong habits formed at the beginning of your career provide a solid foundation for future success. Schedule regular reflection sessions to analyze your progress, identify opportunities for improvement, and recalibrate your strategy. Actively seek feedback from peers or mentors to gain fresh perspectives and avoid stagnation.

Leveraging Your Unique Strengths

Identifying and leveraging your unique strengths is critical for distinguishing yourself in a crowded field. Determine your core strengths, whether it's lyrical ability, production quality, engaging visuals, or charismatic performances and strategically use these strengths to build your brand. Amplifying your distinct talents ensures you authentically resonate with your audience and solidifies your artistic identity.

Final Thoughts

This is just the beginning of your exciting journey. Building a successful music career requires patience, dedication, and strategic actions. By clearly defining your “why,” setting actionable goals, and cultivating disciplined consistency, you're establishing a robust foundation for sustainable success. Remember, every renowned artist was once exactly where you stand today—take purposeful steps, continually learn, and adapt courageously.

In our next post, we'll dive deeper into branding basics, how to craft a powerful, authentic identity that deeply resonates with your listeners.

Let’s build greatness together.

Mekhi Fayson – A Sound of Transformation & Becoming

Some artists are in search of their sound,Mekhi Fayson is in search of truth. His music has always been more than just a reflection of where he is; it’s an evolving sonic and spiritual manifestation of self-discovery, lineage, and identity.

After the introspective journey of Coastlands, Mekhi’s next project represents a shift in consciousness. The opposing forces of Sadiq Nasty and Mekhi Fayson, two identities that once battled for dominance—are now unified. Through indigenous rituals, astral traveling, and shadow work, he has transformed both as an artist and as a person.

But this is just the beginning. His new music is cosmic, meditative, and psychedelic, pushing sound into new dimensions. Inspired by artists like Dean Blunt, The Lijadu Sisters, and Panda Bear, and fueled by an immersive dive into independent film, ego deaths, and self-acceptance, this album isn’t just a continuation of Coastlands—it’s a manifestation of everything he’s been working toward.

In this exclusive interview, Mekhi speaks about the balance of intention and spontaneity in his creative process, the evolution of his writing and production, and why this next project is the most important thing he’s ever made. Read on as we step into his world.

Last time, you introduced us to Sadiq Nasty and Mekhi Fayson as two opposing forces. Have their stories continued in your new music? Are you building upon that world, or have you moved toward a different narrative?

Sadiq Nasty represented the ego. Mekhi Fayson has evolved past his own ego and realized the answer to his ego. I have continued their stories on my upcoming album, however they aren't opposing forces anymore. They are now one and live in harmony within my spirit. Outside of music, intertwining them became a big transformation for me. I wasn’t aligned or educated enough to understand the two co-existing. it was hard at first but internal shadow work & indigenous rituals changed everything for me.

Sonically, where are you pushing yourself now? Are there any new influences—musical, literary, or visual—that have reshaped your approach to creating?

Well after “Coastlands” I felt very tied up in where to go. Even going back to take inspiration from my older work. It was a process for me to understand how i wanted things sonically to sound in my head. I already had sonics in mind, i just needed to dig deeper. 2023-2024, i was beginning my work in IFA (Isese), Reading more and Watching a lot of films. Listening to a lot of Panda Bear, Dean Blunt, The Lijadu Sisters, Micheal Jackson & Stevie Wonder. A lot of rituals, meditation, astral traveling & ego deaths. Coastlands was about me learning & searching for my lineage. This project is about embracing said culture and becoming. I also have a blog now where i’ve create a world for others to live in. pyritetears.tumblr.com is where you can explore it all. My influences. My day to day thoughts. May even upload a demo on just because i feel like it. Helps bring people into my world.

Coastlands explored themes of identity, lineage, and self-discovery. Has your perspective on these themes changed since that album? How are you exploring them differently in your new work?

No they haven’t. They just developed deeper into my day to day. Realizing more and more these projects serve as a chapter of my life either beginning or ending. They serve as a piece of my identity being exploited to the world. It is my choice on how i’d like to display my identity. I’d say though, these days it has becoming more easier to convey them creatively and sonically. A lot of the exploration is discovered with intuitive writing, the correct choice of melody & execution. If none of those align… i probably won’t even go through with recording the song. Sometimes it may even feel like a ancestors is using me as a outlet for said creative messages. i just flow with it if it feels aligned.

What’s changed about the way you write and produce music? Do you find yourself being more intentional in the process, or do you still allow spontaneity to lead the way

Both Honestly. One day I wanna write a Ballad then the next i wanna make Pop or Shoegaze . It still has to have some form of structure. some foundation to live upon instead of clouded ideas. I play the piano consistently, so a lot of my songs now started with chords & melody before I begin to the song. Drums and programming come after. ”Handsome” was intentional as far as writing. However it feels very raw to me. formless. I didn’t add ad libs because it was a demo for someone else. then i said F*ck it I’m going to just put it out. Leaked it on Sound-Cloud. Have fun with intention.

Your music has always had a cinematic quality, pulling inspiration from films like ATL and Boyz N the Hood. Are there any new films or visual aesthetics influencing your storytelling today?

I’ve watched over 100 films or more this year with my girl. No lie, I really can’t tell you guys haha. Let’s just say I’ve been watching a lot of indie films this year & I love them so much. I love big releases but its something about indie films having small budgets, They have kinda have a lot of room for failure, growth, and more to prove as a film. Maybe one day i’ll put out a list of the movies that influence my creative process.

How do you decide who to collaborate with? Are there any specific artists or producers you’ve worked with recently that brought out something new in you?

I never really narrow down who exactly I want to work with. Somethings really do happen. Alignment basically. Outside of my close friends in my team, The record with Mike Hector was new for me. I felt like i was writing something from my child-hood. Turnt up but elegant. Raw. If it wasn’t for Shal Brenta, the record wouldn’t exist. We have another collaboration as well. The world will eventually hear it.

How has performing your music changed your relationship with it? Have you learned anything about yourself from seeing how audiences react to your work in a live setting?

I Performed a lot in 2022-2023 and have not been on stage since. I think with Coastlands, i was very rap heavy with my stage performance. Which was cool but i totally lacked stage presence. I was shy & sometimes spiritually not on stage. Felt soul-less. It will be exciting doing the new songs live though. Thinking about incorporating live instruments this time or playing things myself now that I’m singing more. A lot of practicing at home been helping. I have a vocal coach now haha.

Without giving too much away, what can you tell us about the themes or emotions you’re exploring in your next project? How does it contrast with what you’ve done before?

Cosmic. Meditative. Indigenous. Psychedelic. Nostalgic. & Celestial. It what I was aiming for in “Coastlands.” however I couldn’t create the exact textures & landscape I truly wanted without experience. Like i said before, if “Coastlands” was the research, this album is the true manifestation of it. Without that experience, I’d still be searching and creating.

If someone were to discover your music five years from now, what do you hope they take away from it? What’s the lasting imprint you want to leave with your work?

That I was aiming for forever & not perfection. perfectionism is ill-ness I experience. Of course my art will live beyond me. Maybe it won’t. Use me as a inspiration tho. Influence. Teacher. Student. Whatever. Just consider me in the eye of forever. A True wizard who lived forever.

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This marks the second time we’ve had the opportunity to feature Mekhi Fayson on our platform, and once again, he’s given us a glimpse into an artistic journey that’s as introspective as it is boundary-pushing. His evolution, from the lineage-exploring themes of Coastlands to the cosmic, meditative, and psychedelic world of his upcoming project, shows an artist fully stepping into his vision. It’s clear that Mekhi isn’t just making music; he’s creating an experience, a world, a sound that exists outside of time. We’re honored to share his story and can’t wait to see how this next chapter unfolds.

If you want to stay tapped in with Mekhi and keep up with his upcoming project, be sure to follow him on Instagram, Twitter, Tumblr and Spotify.

For those looking to stay up to date with Nefarious Supply, follow us on Instagram, Spotify and Twitter and sign up for our newsletter to stay locked in with our latest artist features, interviews, and exclusive content.

If you’re an artist looking to be featured, you can submit your music for consideration here. A huge thank you to Mekhi Fayson for returning to the platform and continuing to share his creative journey with us. We’re looking forward to everything he has in store, and we’ll be watching, and listening every step of the way.

Why We’re Reimagining Nefarious Supply

The underground has always been the foundation of creativity and cultural revolution. It’s where raw expression thrives, free from the constraints of mainstream trends. It’s not tied to one genre or medium but embodies the spirit of innovation, individuality, and risk. Yet as underground culture gains visibility in today’s digital world, it faces a critical challenge: maintaining its authenticity in an age dominated by algorithms, fleeting trends, and surface-level engagement.

At Nefarious Supply, we’ve spent some time reflecting on what it means to preserve and amplify underground culture. To us, the underground is more than a creative scene—it’s the pulse of culture itself. It’s a rhythm of voices, ideas, and untold stories that deserve to be celebrated, not diluted. Our mission isn’t just to protect this essence but to elevate it, ensuring it remains untamed, impactful, and connected to its roots while embracing new possibilities.

Why the Underground Needs Reimagining

Too often, underground culture is reduced to a stereotype: raw, gritty, and waiting to "make it." This narrative misses the point. The underground isn’t a stepping stone—it’s a destination, a thriving ecosystem where creators redefine culture and audiences find deeper, more meaningful connections.

By reimagining the underground, we’re not changing its core—we’re building on its foundation to unlock its full potential. We’re creating a space where creativity flourishes, unbound by trends or constraints, and where collaboration is a driving force for progress. This is about celebrating what’s real while fostering growth and evolution.

Our Mission

Nefarious Supply is committed to supporting and amplifying underground culture in every form. Here’s how we’re doing it:

1. Creating Opportunities for Creators: From curated submissions to artist spotlights and collaborative projects, we’re equipping artists with tools to connect meaningfully with audiences who value their vision.

2. Fostering a Collaborative Community: The underground thrives when creators and fans unite. Our platform is designed to inspire collaboration, spark dialogue, and fuel sustainable growth.

3. Delivering Quality Without Compromise: Every choice we make reflects our commitment to excellence—whether it’s the artists we feature, the stories we tell, or the content we produce.

This mission is bigger than us. It’s about a collective belief in the power of underground culture to shape the future of creativity.

What Reimagining Means for You

Reimagining the underground is about creating an inclusive space where everyone has a role to play. For creators, it means finding a platform that respects your vision and amplifies your art without compromising its authenticity. For fans, it’s about discovering work that resonates deeply and connecting with a community that values genuine expression. For the culture, it’s about ensuring underground creativity remains vibrant and impactful for generations.

Every submission, every conversation, and every collaboration pushes us closer to the future we’re building together. Let’s make it happen.

Join us. Submit your work or subscribe to stay connected, and let’s reimagine the underground together.

Reintroducing Nefarious Supply - The Underground Heartbeat

What is Nefarious Supply: The Underground Heartbeat

In a world where underground culture serves as the foundation of authentic creativity but often goes unrecognized, Nefarious Supply stands as a transformative force, championing the artists and innovators who give it life. We are not just a brand; we are a movement—an audacious disruptor challenging norms, amplifying untamed artistry, and redefining the underground as an expansive frontier for collaboration and growth. At Nefarious Supply, we believe that creativity thrives at the intersection of individuality and collective effort, making community our cornerstone.

Our Mission

Nefarious Supply was created out of a deep appreciation for underground culture and the belief in its potential to shape the future. Our mission is fiercely unapologetic: to dismantle the conventions that restrict creativity and provide a space where artists and visionaries can thrive on their own terms. We amplify the voices that drive change, bridging the gap between raw talent and well-deserved recognition.

More than a mission, this is our commitment to fostering an ecosystem where creators and audiences forge meaningful connections. We aim to inspire innovation while staying true to the underground’s raw and unfiltered energy. By amplifying diverse voices, we’re building a platform that not only empowers artists but also reshapes how the world interacts with culture.

The Evolution of Nefarious Supply

Our transformation is not just about refining our operations; it’s about cultivating a thriving community. At the heart of our evolution is a commitment to bringing creators, fans, and visionaries together into a unified force. By amplifying the voices that drive culture and fostering collaboration, we are redefining what it means to be part of the underground. Nefarious Supply is a space where individuality thrives, but community powers the movement.

Our journey has been marked by constant growth, introspection, and an unyielding commitment to our ideals. Each collaboration, challenge, and success has refined our approach. Today, Nefarious Supply emerges as a reimagined force deeply rooted in the ethos of the underground and more dedicated than ever to our core values:

• Authenticity: Remaining steadfast in supporting the artists and narratives that inspire us.

• Collaboration: Fostering a community where creators elevate each other.

• Excellence: Establishing a benchmark for quality in the underground creative space.

This transformation isn’t just about our journey; it’s about empowering you—the creators, fans, and visionaries who fuel the underground. We’re forging a collective path forward, where every member of our community plays a vital role in shaping what’s next.

A Bold Vision for the Future

Central to our vision is the belief that no movement succeeds in isolation. Nefarious Supply is more than a platform; it is a cultural hub built on the strength of its community. We envision a global network where shared values and mutual support drive creativity forward, creating opportunities for artists to connect, learn, and grow together. This collective spirit is the foundation for everything we do.

Our vision extends beyond the content we create. It’s about curating an experience that enables meaningful collaboration between artists and their audiences. Nefarious Supply is a cultural beacon that celebrates the transformative power of creativity, from intimate artist spotlights to game-changing projects like Euphoric Discography. This playlist will serve as a centerpiece for collaboration—where community recommendations and artist submissions shape its evolution, making it a true reflection of the underground's collective voice.

As we relaunch, we are reinforcing our commitment to:

• Curating content that resonates with the core of underground culture.

• Equipping artists with the tools and opportunities they need to thrive.

• Building a global network united by shared values and a passion for creativity.

• Providing spaces for open dialogue and mutual learning that strengthen the underground community as a whole.

From artist spotlights to curated playlists, we are creating spaces where underground talent connects with audiences who genuinely value their work.

How You Can Join the Movement

We believe the strength of the underground lies in its community. That’s why we’re creating spaces where every voice matters and every contribution fuels the movement. Here’s how you can be part of it:

• Submit Your Work: Are you an artist with a compelling story or unique sound? Submit your music today and let’s amplify your creativity. Your work could shape the future of projects like Euphoric Discography and become a cornerstone of our collaborative spirit.

• Stay Connected: Subscribe to our email list for the latest updates, exclusive content, and opportunities to collaborate. Join a network that thrives on shared knowledge and support.

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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. (=^–^)

~