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Some debut projects introduce an artist. Others introduce a perspective. On You Can Call Me Mattie: Season One, indie pop-rock artist Matteson Gregory accomplishes both, delivering a heartfelt collection of songs that embraces uncertainty instead of trying to outrun it. Rooted in the emotional honesty of '90s-inspired pop-rock, the EP feels less like a polished destination and more like an invitation into the first chapter of an unfolding story. Built around Gregory's concept of "Season One," the project explores the often-overlooked beauty of early adulthood. Rather than portraying success as a straight line, these songs acknowledge the awkwardness of balancing ambition, relationships, career expectations, and self-discovery. It's a refreshing perspective in an era where social media often rewards perfection over authenticity. Gregory's songwriting shines through its ability to transform deeply personal experiences into universally relatable moments. There's an openness throughout the EP that makes every lyric feel lived-in, whether she's reflecting on changing friendships, evolving priorities, or the courage it takes to begin again. The result is a collection that feels cinematic without losing its intimacy. You Can Call Me Mattie: Season One blends shimmering indie pop melodies with rock influences that recall the emotional directness of '90s singer-songwriters while maintaining a modern, hook-driven sensibility. Gregory demonstrates an instinct for memorable choruses without sacrificing the storytelling that gives each song its emotional weight. The project's themes are perhaps best summarized in Gregory's own words: "I hope people will take away that they aren't behind, they're just in season one." That message resonates throughout the EP, encouraging listeners to embrace life's unfinished chapters instead of viewing them as failures. Gregory has already begun building impressive momentum, with previous single "Stayed" featured on Netflix's The Ultimatum: Marry or Move On, recent acceptance into Grammy U, and "21 Ain't So Fun" earning placement on the organization's May Mixtape playlist. Those accomplishments make this debut EP feel less like a starting point and more like the foundation of a promising career. "Season One" is such a compelling concept. At what point did you realize your debut project needed to tell a larger story rather than simply collect songs? I think it was because, really, it felt like these songs were the beginning of something. The best way I can describe it is like the beginning of a sitcom or a rom-com, where it’s a little messy, but you see the characters starting to find themselves and living life being unapologetically them. And that’s how I was starting to feel as an artist. I felt like I finally found the artist I’ve dreamt of being and started becoming her. I think, really, Season One, the whole concept, is about embracing the beginning of your story, even if it seems like you’re starting later than everybody else or, you know, it’s a little messy, or it doesn’t look perfect. I think that’s something that not a lot of people shed a lot of light on, so I want Season One to be the moment where you start to unapologetically be yourself and begin that story. Your music embraces imperfection in a culture that often celebrates polished success. Was it ever difficult to be this vulnerable in your songwriting? When I first started, it was very hard to be vulnerable. Or more so, be myself. When I first started, I was following what everyone else was doing or what was popular at the time. Love songs are popular, great! I’ll write love songs even though I’ve never been in love. As time has gone on, I’ve decided to stop trying to chase what everyone wants to hear and just start chasing what I feel is real. I started writing what I know. I’ve also been a very big perfectionist, which is something I’m trying to overcome. We live in such a culture where we try to prioritize perfection, and as I’ve gotten older, I’ve realized that some of the most beautiful things are in the imperfections. It’s a lot easier said than done, but I’m getting there. You balanced building this project while working a full-time career. How did those experiences shape both the lyrics and the perspective behind the EP? To be honest, I think it really was a big part of this project. A lot of the Season One world that I’ve built centers around the very beginning of the story, where maybe you’re not in the place where you want to be yet. My dream goal is to be touring and to be headlining my own shows and not having to work a day job, or at least do something maybe part-time if I had to. And I’m not there. I’ve talked to so many other artists, and even just other people in general who have dreams or ambitions, and it’s hard when you see other people in a place where you’re not. But you can’t compare your Season One to someone else’s Season Five. I have to realize that everything is happening as it’s meant to happen. It’s also inspired me to write music about topics that I feel sometimes don’t get talked about enough. For example, my song “21 Ain’t So Fun” was inspired by a line Chandler Bing said. “We’re not sad. We’re just not 21 anymore.” We’ve also stereotyped getting older with having less fun or the end of it all when I don’t think that's real. I think just the way you have fun changes, and that’s okay. Having already earned a Netflix sync placement and recognition from Grammy U before releasing your debut EP, how have those milestones influenced your confidence as an independent artist? It has definitely made me feel like a thousand times more confident. I know this journey as an artist is gonna have its ups and its downs, but these recognitions have just really made me feel like, “Oh, I am good enough to do this.”It’s also made me wanna work harder and just continue working on developing my craft and building my world as an artist. I want to keep getting better and keep going. If You Can Call Me Mattie: Season One is only the first chapter; what do your hope listeners discover alongside you as the story continues? I hope that listeners feel like they can relate to seeing themselves in the songs. I want them to be inspired to live the life that they want to live and to ignore others’ opinions. One of the biggest pieces of advice my parents have given me is that everybody’s always gonna have their opinion on how you should live your life, but the biggest thing you have to do is what you want and what you feel is right. Their love story and what they taught me inspired one of the songs on the EP “Phoenix in the 90’s”. That song encompasses what the Season One world is all about.

Whether listeners are willing to separate the artist from the controversy surrounding him or not, one thing remains difficult to deny: Tory Lanez has always been one of the most versatile musicians of his generation. Made You Think I Was Gone...But doubles down on that reputation, delivering a sprawling project that moves between hard-edged rap, melodic hooks, bruised reflection, and unmistakable Toronto energy. The album wastes no time establishing its tone. “Revenge of Fargo” opens with confidence before moving into hard-hitting cuts like “Crodie From The 9 // Guy In My City,” “Jalen Brunson,” and “Heartbreak From Cell 210.” The production leans into dark, cinematic soundscapes, booming 808s, and cold melodies that have long defined Lanez’s signature. There’s a larger-than-life energy throughout the album, carrying the confidence and spectacle of a Victoria’s Secret runway while never losing sight of its gritty Toronto roots. That contrast is what gives the project its strongest moments. Lanez can sound confrontational one minute and emotionally exposed the next, shifting between razor-sharp bars, melodic flows, and polished hooks without making the transitions feel forced. “Hasty Market // Toronto” featuring HollywoodSos reinforces the hometown identity, while “Many Men Pt. 2” channels themes of resilience, pressure, and paranoia through a modern lens. Elsewhere, tracks like “Penthouse Blue,” “GYMR,” and “9Side Bodmon” keep the pacing aggressive and focused. Even when the subject matter circles familiar territory, Lanez’s delivery gives the material enough personality to remain engaging. At times, the album’s length works against it. Some ideas could have been trimmed, and a tighter sequence may have made the strongest songs hit even harder. Still, the ambition is undeniable. Made You Think I Was Gone...But it is not interested in restraint. It wants to sound defiant, wounded, and untouchable all at once. The title says everything. Lanez is presenting himself as an artist who refuses to disappear creatively, regardless of the headlines surrounding him. The album will not end the conversation around Tory Lanez, but it proves he still knows how to command one.

After years of building a career that has spanned music, film, fashion, and independent artistry, Martin Luther McCoy is stepping back into the spotlight with renewed purpose. His latest single, "Welcome Back Love," serves as the title track for his album, offering a powerful reminder that timeless soul music still has something meaningful to say. Rather than chasing trends, McCoy leans into the qualities that have defined the greatest soul records for generations: honesty, conviction, and emotional depth. From the opening moments, "Welcome Back Love" feels less like a comeback single and more like a statement of intent. His unmistakable vocals carry both wisdom and vulnerability, creating a performance that reflects decades of lived experience without ever feeling weighed down by it. The song arrives after a transformative period marked by marriage, personal loss, and years of navigating the music industry as a fiercely independent artist. Those experiences give the record an unmistakable authenticity. Instead of dwelling on hardship, McCoy channels those chapters into a message centered on healing, resilience, and rediscovering the transformative power of love. Musically, "Welcome Back Love" blends classic soul with touches of gospel, funk, and modern production, allowing the song to feel rooted in tradition while remaining completely relevant today. The arrangement never overshadows the message, giving McCoy's songwriting room to breathe as every lyric lands with purpose. What makes the single particularly compelling is its sincerity. In an era where vulnerability can sometimes feel performative, McCoy delivers something refreshingly genuine. His belief that love is an active force rather than simply an emotion resonates throughout every verse and chorus, inviting listeners to reconnect with themselves as much as the music. "Welcome Back Love" is more than a strong introduction to McCoy's upcoming album. It's a reminder that soul music continues to thrive when it's built on truth, lived experience, and fearless storytelling. For longtime fans and first-time listeners alike, Martin Luther McCoy's return feels both timely and deeply earned. Welcome Back Love arrives after a significant chapter of your life. How did experiences like marriage, loss, and personal growth shape both the message and the sound of this song? Everything on this record was lived before it was written. Marriage taught me that love isn't just the fireworks alone, but more the daily practice of showing up. Ten years in with my wife Jeanne, I've learned that the vow is renewed every morning, not just spoken once. And losing people who built me reordered my full understanding of time. My family has been on Third Street in Bayview-Hunters Point for over forty years. When you carry that kind of legacy, you stop writing songs to impress people and start writing songs to tell the truth. Sonically, that meant stripping away anything decorative. The guitar breathes more. The vocal sits closer to you. I wanted the record to feel like a conversation at the kitchen table, not a performance from a stage. Growth, for me, sounded like restraint. Throughout your career, you've blended soul, gospel, funk, rock, and hip-hop into what you call Rebel Soul Music. How does Welcome Back Love represent where that vision is today? Rebel Soul was never a genre, as much as I have tried to make it so. It's a refusal to be fenced in. I came up on gospel conviction, funk rhythm, rock volume, and hip-hop truth-telling, and I never accepted that I had to choose one lane. Welcome Back Love is that vision matured. Early on, the blend was about proving all those languages could live in one body. Now it's not a statement anymore. It's just how I speak. You'll hear the church in the vocal stacks, Prince in the rhythm guitar, the psychedelic textures I've been chasing my whole life, and lyrics that carry weight the way the best MCs taught me words should. The difference today is intention. Every choice on this record serves the story. Rebel Soul at this stage isn't rebellion for its own sake as much as sovereignty. Owning the sound, owning the masters, owning the message. You've collaborated with incredible artists and built a career across music, film, and visual art. What inspired you to return with this song now, and why did this feel like the right moment to reintroduce yourself? I never left, but I did go further than before, more inward. I've been blessed to share stages from Montreux to Royal Albert Hall, tour with The Roots, SFJAZZ Collective, Too Short, Children of Production, etc., and step into film with Across the Universe. Those experiences taught me what excellence demands. But somewhere in there, I realized I'd been pouring into everything except my own vessel. The past few years I've been building my label, my art practice, roots in my neighborhood, and a life with my wife. This song came out of that building. Why now? Because the world feels starved for the real thing. We're drowning in content and thirsty for connection. Welcome Back Love isn't just me reintroducing myself. It's a homecoming. It's an invitation. Love went somewhere for a lot of us. This is me holding the door open and saying, "It's over here. Come back in." Love is often written about as a feeling, but you've described it more as a discipline and a source of truth. What do you hope listeners understand about love after hearing Welcome Back Love? We are living in quite perilous times. For some, things are fluid, flowing, and amazing. For the rest, there's a grave sense of exhaustion. There isn't enough air, fresh, clean air with a spirit of upliftment or overcomance. There's rampant, unchecked greed and plenty of inspired notions prompting people to just pop off without thought to consequences. Sometimes, love hurts, hits, and checks that unbridled tongue. Living with discipline is true love of self. Acceptance of shortcomings and working out our differences and difficulties in an effort to improve individually, as well as for the collective, is that same love. Love is responsibility toward people who do and do not look like you. I want listeners to understand themselves, to put it simply. This human experience is varied and wide-ranging, so I cannot hope or wish for one listener more than I would want for another. I have listened to my heart and my mind, and my childlike creativity still soars in my mind's sky, and that is what I am sharing to the brave. I'm not offering vanilla pudding or popsicles of the sameness you can find anywhere all day. I have challenged myself as a thinker, writer, producer, engineer, and performer. I only want those fearless enough to be themselves to take a hard look and listen. It's not too deep, but it's far enough from the shore, this message and this music. You've remained fiercely independent throughout your career. Looking back, how has taking the longer road influenced the artist and storyteller you've become on this release? The longer road cost me some speed and gave me everything else. Independence means every mistake is yours, but so is every master, every decision, every ounce of the vision. I founded Rebel Soul Records because I watched too many brilliant artists sign away their voice for a faster elevator. I chose the stairs. And climbing the stairs, you meet people. You learn the building. You develop legs. This release is proof of what that patience produces: a record with no committee fingerprints on it, pressed on vinyl by my own label, built from my own neighborhood outward. The storyteller I've become is somebody who doesn't need permission and doesn't perform urgency. I move when the work is ready. Forty-plus years of family history on one block taught me that. Institutions aren't built in a quarter. Neither is an artist. The long road is part of the story, and Welcome Back Love (currently) is where it's led. What's next is even more exciting, as it is completely unknown.

After spending years shaping the sound of some of pop's biggest names, GRAMMY-nominated singer, songwriter, and producer Tenroc is finally stepping into center stage. His debut album 'God Is A Person' marks a defining moment for the New York City native, whose fingerprints can already be found across billions of streams and collaborations with artists including Rihanna, the Jonas Brothers, Renee Rapp, Julia Michaels, Jon Bellion, and Jon Batiste. Most recently, Tenroc gave listeners a preview of what's to come with "Mourning 2 Dancing" alongside Tori Kelly and Jon Keith, showcasing the emotional songwriting and polished production that have become his signature. With two GRAMMY nominations, over 3.6 billion collective streams, and a career built behind the scenes, this album represents more than a debut. It's the arrival of an artist ready to tell his own story after helping so many others tell theirs. We caught up with Tenroc ahead of release day to discuss the journey. After helping shape records for artists like Rihanna, Reneé Rapp, and the Jonas Brothers, what made this the right moment to release your own debut album? So, on a long drive one day, I felt God talk to me and tell me to make an album. He told me to make an album that was explicitly about him. And after I got that command, I just decided to follow it. It wasn't necessarily something that I desired, but it was more just obedience. Your production work has reached more than 3.6 billion streams. How did creating music for other artists influence the way you approached writing songs that represent Tenroc as an artist? Working with all the amazing artists I've worked with, I kind of keep in my back pocket their processes and their methods of storytelling, of production—things that they've picked up over the years. I keep those, and throughout my album, I'm just kind of pulling from each of those things wherever I see fit. "Mourning 2 Dancing" with Tori Kelly and Jon Batiste offered listeners a glimpse into this new chapter. How does that song set the tone for the rest of the album? I think sonically it tells the story of how I want to bring something fresh and new to Christian music. Respect to everybody that's already in the genre, but sonically, I wanted to bring something that was insanely exciting, insanely catchy. And I think that record did that for me. You've been making music since childhood, learning multiple instruments at a young age before building a successful career as a producer. Looking back, how has that journey shaped the artist you've become today? Looking back on that journey, I would always write songs—really short, unfinished things that I thought were cool. And I always thought to myself, maybe one day I would release something like a single or an album somehow. My desire to do that decreased over the years, but I think especially when I was younger, it was something I thought about. And so, to be doing it now is awesome. It's just really a fulfillment of that, of when I was a kid. As someone who spent years behind the scenes creating hit records, what do you hope listeners discover about you when they hear your debut album from start to finish? I hope that they can hear some of my influences in my music. I feel like with all the things that I've produced, you don't necessarily get a full scope of what I'm into, of the different styles that have influenced me and the different artists that have influenced me over the years. And so, I think with my album, you do get a really good scope of all the people that I listen to and all the different genres.

After stepping away from the traditional music industry model and spending five years rebuilding her artistic identity from the ground up, Ana Golja returns with a statement of purpose. Her new single, "Can't Walk All Over Me," marks the beginning of a new era defined by creative independence, emotional honesty, and the courage to choose self-respect over approval. Best known to many as an actress, Ana Golja proves that music has always been at the core of her creative identity. Drawing inspiration from timeless soul influences like Amy Winehouse, Etta James, and Nina Simone, she delivers a performance that feels both classic and refreshingly personal. Her vocals carry conviction, allowing every lyric to land with authenticity rather than melodrama. Rather than positioning itself as another breakup anthem, "Can't Walk All Over Me" explores the moment when patience gives way to self-worth. It's a song about recognizing unhealthy patterns, setting boundaries, and understanding that love should never require sacrificing your own value. That perspective gives the single an emotional maturity that extends well beyond romantic relationships, making its message universally relatable. What makes the release especially compelling is the story behind it. While initially inspired by a personal relationship, Ana Golja later realized the song also reflected her decision to leave her former management team and take full ownership of her career. That parallel gives the track an added layer of meaning, transforming it into both a personal declaration and an artistic mission statement. As the first release from an upcoming project centered on self-care, "Can't Walk All Over Me" establishes an exciting foundation for what's to come. Honest, soulful, and unapologetically self-assured, Ana Golja's latest single isn't about looking back. It's about finally moving forward on her own terms. After stepping away from your management team and spending five years rebuilding your music independently, what did you rediscover about yourself as both an artist and a person? I rediscovered my own voice. For a long time I was looking outside myself for permission—for validation, for direction, for someone else to tell me what the right next step was. Walking away meant I had to trust my instincts again, and that wasn’t easy. It forced me to ask, “What kind of artist am I when no one else is making those decisions for me?” The answer was surprisingly simple. I’m drawn to honest songwriting, soulful melodies, and music that doesn’t chase trends. Those are the records that made me fall in love with music in the first place, and coming back to that has felt like coming home. On a personal level, I also learned that choosing yourself isn’t selfish. Sometimes it’s the healthiest decision you can make, and everything I’ve written since then has come from that place. “Can’t Walk All Over Me” is rooted in self-respect rather than heartbreak. Why was it important for you to frame the song as empowerment instead of simply moving on from a relationship? Because the real turning point isn’t when someone leaves your life—it’s when you decide how you’ll allow people to treat you. The song started as a conversation about a romantic relationship, but over time I realized it reflected so many areas of my life, including my career. It’s about recognizing your worth and understanding that love, respect, and partnership should never require you to shrink yourself. I wanted people to walk away feeling stronger, not sad. We’ve all experienced relationships where we gave more than we received, whether that’s with a partner, a friend, or even professionally. I hope the song reminds people that setting boundaries isn’t about pushing people away—it’s about making room for the relationships that genuinely value you. This single is the first chapter in an album centered around self-care. How does “Can’t Walk All Over Me” establish the emotional foundation for the songs that follow? To me, self-care isn’t just face masks and spa days—it’s making the difficult choices that protect your peace. Sometimes self-care looks like saying no. Sometimes it means walking away from something that no longer serves you, even if it’s scary. “Can’t Walk All Over Me” is the moment where you reclaim your voice. The rest of the album explores what happens after that—learning to trust yourself again, finding joy, embracing vulnerability, and discovering that taking care of yourself can actually make you more open to loving other people. It’s really an album about coming back to yourself. You’ve had successful careers in both acting and music. Has your experience portraying characters on screen influenced the way you tell deeply personal stories through your songwriting? Absolutely. Acting taught me empathy. Every character has their own truth, and your job is to understand why they make the choices they do without judging them. I think that perspective naturally found its way into my songwriting. The difference is that music doesn’t let me hide behind a character. As an actor, I can tell someone else’s story. As a songwriter, I have to tell my own. That honesty can be much more vulnerable, but acting gave me the confidence to explore emotions deeply and trust that if something feels specific to me, it’ll probably feel universal to someone else. Your new music marks a return to the soulful influences that first inspired you while embracing complete creative independence. What do you hope listeners hear in this new era that sets it apart from everything you’ve released before? I hope they hear confidence—not perfection, but confidence in knowing exactly who I am. This music isn’t trying to fit into a moment; it’s trying to create one that lasts. Artists like Adele, Amy Winehouse, Olivia Dean, and RAYE have always inspired me because their music feels timeless. That’s what I wanted to create—songs that people can come back to years from now because they’re rooted in honest emotion rather than trends. More than anything, I hope people hear freedom. Every decision on this project came from trusting my instincts (along with my production team) and I think there’s something incredibly powerful about creating from that place. If these songs encourage someone else to choose themselves, set healthier boundaries, or simply believe in their own voice a little more, then I’ve accomplished exactly what I hoped to.

Some songs chase nostalgia. Atticus Roness' "Wives' Tale" sounds like it was pulled straight from rock's golden era while still carrying enough energy to feel completely alive in 2026. Serving as a preview of his upcoming album Rock 'N' Roll Hit Parade, the single is an unapologetic celebration of the genre's biggest strengths: soaring vocals, arena-ready guitars, and melodies that refuse to leave your head. From the opening moments, "Wives' Tale" wastes no time making its intentions clear. Thunderous drums, gritty guitar riffs, and a larger-than-life vocal performance create a sound that channels the spirit of classic '70s rock without feeling like a simple imitation. Instead, Roness captures the excitement and swagger that made the genre timeless in the first place. The song's greatest strength lies in its confidence. Rather than overcomplicating the formula, Roness leans into powerful hooks and dynamic instrumentation, allowing each section to build naturally toward an explosive chorus. It's the kind of track that feels tailor-made for live performances, inviting listeners to turn the volume up rather than overanalyze every lyric. While many modern rock releases experiment with genre fusion, "Wives' Tale" succeeds by fully committing to its identity. There's an authenticity behind the performance that suggests Roness isn't trying to recreate the past for novelty's sake. Instead, he's reminding listeners why rock music became such a cultural force to begin with. As anticipation builds for Rock 'N' Roll Hit Parade, "Wives' Tale" offers an exciting glimpse into what's ahead. Combined with Roness' growing audience and upcoming "This Tour Is Rock 'N' Roll" run, the single arrives at a pivotal moment in his career. For fans craving big riffs, memorable choruses, and the kind of rock music built to fill stages rather than playlists, "Wives' Tale" delivers exactly what's promised. Atticus Roness isn't reinventing rock and roll; he's reigniting its spirit with conviction, charisma, and enough energy to make it feel brand new once again.

With Take Me Back, Warped Moogie delivers more than a nostalgic rock record. The nine-track album is a thoughtfully sequenced journey through memory, melody, and the enduring influence of classic rock, proving that timeless songwriting never goes out of style. The album opens with "Faded Analog," immediately immersing listeners in warm guitar tones and vintage production that feel lifted from the golden era of late-'60s and '70s rock. Rather than imitating the past, the track establishes the project's identity: reflective, melodic, and rooted in authentic musicianship. That momentum carries into "Tore Like A Ceiling," where layered instrumentation and understated hooks continue building the album's rich retro atmosphere. The title track, "Take Me Back," serves as the emotional centerpiece. Barnes reflects on the passage of time with sincerity rather than sentimentality, capturing the bittersweet feeling of looking back on life's defining moments without becoming trapped by them. It's a song that anchors the record's themes while remaining universally relatable. As the album unfolds, Warped Moogie balances introspection with moments of levity. "Grooving In Smashville" injects a playful energy into the tracklist, while "Warble" explores textured arrangements that showcase the project's willingness to stretch beyond straightforward classic rock formulas. Songs like "Tiestick and Listerine" and "Sam The Record Man" continue painting vivid snapshots of another era, drawing from personal experiences while inviting listeners to connect through their own memories. Closing tracks "Vapors" and "Concorde Boulevard" provide a fitting conclusion, slowing the pace without losing the warmth that defines the album. Rather than ending on a dramatic statement, the record fades out with quiet reflection, reinforcing its central message that some memories grow more meaningful with time. What makes Take Me Back particularly compelling is the balance between old and new. Created by veteran drummer Ian Barnes, the album embraces modern production tools, including neural synthesis, while remaining firmly rooted in classic songwriting. Barnes handled the lyrics, musical vision, track separation, and remastering himself, resulting in a project that feels deeply personal despite incorporating contemporary technology. Take Me Back isn't trying to reinvent classic rock, and that's precisely where its strength lies. Warped Moogie understands that great records are built on memorable songs, honest storytelling, and musicianship that stands the test of time. The result is an album that feels both familiar and refreshingly genuine, inviting listeners to slow down, revisit the past, and appreciate the music that continues to connect generations. After spending five decades as a rock drummer, what inspired you to finally create Take Me Back, and why did now feel like the right moment to tell these stories? I have a lot of memories of feelings, sounds, places, and people from over the years that formed stories in my head. I recently found myself thinking that finally I could create the entire sound myself, and inject my memories into them. The reality is that assembling the capable players, studio time, equipment, and space needed to make the record I heard in my head was no longer practical for me. Neural synthesis finally gave me an instrument broad enough to create that musical world myself. Your album combines classic ’70s rock influences with modern neural synthesis technology. How do you balance honoring the past while embracing new creative tools? I don’t see neural synthesis as replacing the past; I see it as an instrument that allows me to express what five decades of playing and listening have taught me. The technology can provide possibilities, but it doesn’t have my memories, my taste, or my understanding of how rock music should feel. Those decisions still come from me. I’m not interested in pretending these tools don’t exist, because there is no going backward. But new technology should still be guided by human experience. The machine can help construct the sound, but it can't decide why or if the song needs to exist. Many of the songs reflect on your experiences growing up in the late ’60s and ’70s. Was there one memory or moment that became the emotional foundation for the entire album? There wasn't one dramatic event. It was an overall feeling of freedom. If I had to put that feeling into a couple of scenes, it would probably be walking to elementary school in 1973 along Concorde Boulevard when we were kids, and everything we would see and experience. Also in high school in 1978, going to my friend's house after school and hanging out in his basement listening to albums or FM radio (MAGIC 92 from Rochester), smoking cigarettes, and talking. We had no cellphones, no schedule, and nobody tracking where we were every minute. All the experiences were separate small movies that are embedded in my memory banks. You handled nearly every aspect of the project yourself, from songwriting and production to track separation and remastering. What was the biggest challenge and the biggest reward of having that level of creative control? The only real challenge was the time it took to craft the sound I needed using this tool and to remaster the tracks. As well as being a drummer, I am well-versed in sound, tempo, rhythm, dynamics, feel, etc. I love guitar, bass, keyboards, and synthesizers as much as I do the drums. I have taught myself how to craft the sound that I want using this new tool. I still have to recognize what belongs, reject what doesn’t, separate the individual elements, repair problems, shape the dynamics, and keep remastering until each track feels like one performance instead of a collection of parts. The reward is a few things. The first is that the final record is exactly what is true to my memories and feelings. The second is that I still believe in the album format that you listen to from start to finish, as we did back in the day. It's like a series of stories in a book, meant to be listened to that way. The third thing is that I think the album sounds amazing, and I do this for myself. If it resonates with other people, that's a bonus. You’ve spoken about how the music industry has changed over the years. Looking ahead, what do you hope the next generation of artists can learn from both the classic era of rock and the rapidly evolving world of AI-assisted music? From the classic era, I hope they learn that feel matters more than perfection. Listen to complete albums. Learn dynamics, arrangement, restraint, and how to make a groove breathe. Understand the musicians who came before you, not so you can imitate them, but so you know what foundation you are building on. And play live whenever possible, because live music is a human exchange that recorded music and technology cannot replace. From AI-assisted music, I hope they learn to treat technology as a tool rather than an identity or a shortcut. Be transparent, develop your own point of view, and take responsibility for everything released under your name. I also believe artists whose past work helped train these systems deserve fair compensation. Technology is going to continue moving forward. The question is whether artists use it to make more disposable content or to tell stories they otherwise could not tell. The tools may be new, but judgment, honesty, and purpose still belong to the artist.

Novaphasefive continues expanding his cinematic universe with "The Queen of Stars," a release that feels less like a standalone single and more like the next chapter in an evolving story. Serving as a direct continuation of Passion in the Afterlife, the track shifts away from the album's intense dark romance and instead embraces a gentler meditation on beauty, healing, and quiet acceptance. Built on layers of atmospheric production, shimmering dream-pop textures, and subtle electronic flourishes, the song creates an immersive environment rather than chasing conventional hooks. It's music designed to be experienced as much as heard. Novaphasefive blends alternative pop with hints of electronica and fantasy-inspired worldbuilding, resulting in a sound that feels cinematic without becoming overly theatrical. Lyrically, The Queen of Stars reframes the idea of a "queen" as a symbol for life itself rather than a person. Throughout the song, scars become reminders of growth, and darkness transforms into something to be appreciated rather than feared. That perspective gives the release its emotional core, inviting listeners to find comfort in imperfection rather than escape from it. What makes this single particularly compelling is its restraint. Rather than overwhelming listeners with dramatic climaxes, Novaphasefive allows space for reflection, letting every synth, vocal layer, and lyric breathe naturally. The result is calming without feeling passive, dreamy without losing its emotional weight. As Novaphasefive continues building the expansive soundscape of his Vass audio world, The Queen of Stars feels like an inviting doorway into the next phase of his artistic vision, proving that some of life's brightest moments are discovered within its quietest shadows. The Queen of Desolate Stars continues the story from Passion in the Afterlife. When did you realize this world had more to say beyond the album? So I realized pretty much after some heavy feedback regarding how "ending" heavy the album sounded; people were saying, like Hey? Is this like the last project? Or they were like Afterlife? What's going on? So, in actual response, came this finishing touch of the queen of desolate stars , to show an outro of a season while bringing in a pre-intro into a more enlightened horizon of sound. You describe the "queen" as representing life itself rather than a person. How did that metaphor evolve during the writing process? The queen metaphor became more dominant for representing life, as you never really realize what you have till it's gone, in the comparison of so many life lessons learned after you have endured many hardships, whether it's friendships, romantic partnerships, or family. Lineage of beauty bestows those before the after and thus after. Your music consistently blends alternative pop, electronica, fantasy, and cinematic storytelling. How do you balance those influences without losing your identity? I balance the genres as the phases of life we go through; as one ends, another begins. As one begins, another seed is plotted, growing along the current. Novaphasefive is the phase itself. Novaphasefive is similar to water. You often reference the phrase "beauty in the dark." Has your own understanding of that idea changed since releasing Passion in the Afterlife? Yes, through my creative journey, I have come to realize that "the beauty in the dark" is atone for more than harsh, alluding endeavors....the concept itself has subtle aura, pastel notes, vibrant and, well, beautiful moments; not all perspectives are just outright dread. You describe entering the Vass audio world as "observing without disturbing." What can listeners expect as they continue following this new creative era? More vibrant melancholy, more depth, and at the same time, subtle and delicate atmospheres. This awaits a future still sprouting.

For more than three decades, AWOL One has occupied a corner of underground hip-hop that remains entirely his own. Never one to chase trends or soften his approach, the Los Angeles veteran returns with The Punkrock Drumachines, a nine-track album that thrives on distortion, unpredictability, and unapologetic individuality. From the opening moments of "The Machines Are Taking Over," the album establishes its gritty, dystopian atmosphere. Mechanical drum patterns and blown-out production create a restless energy that never fully settles, setting the tone for what's to come. Rather than polishing away imperfections, AWOL One embraces them, allowing every crackle, distortion, and rough edge to become part of the record's identity. That punk mentality runs throughout the project. "Punk Drum Machine" featuring N8NOFACE doubles down on abrasive production and rebellious attitude, while "Super Creepy" leans into AWOL One's signature blend of dark humor and surreal storytelling. His unmistakable gravelly delivery remains the album's driving force, balancing absurdity with surprisingly sharp observations. Collaboration has always been part of AWOL One's creative DNA, and The Punkrock Drumachines assembles an impressive cast without sacrificing cohesion. Codefendants appear on the opening track and return for the infectious "No Fighting on the Dance Floor," while Open Mike Eagle and Demrick bring fresh perspectives to "Get Bored Real Easy Machine." Snake Mountain injects even more personality into the delightfully offbeat "Pizza Pizza Pizza," and Gel Roc adds another layer of underground credibility on "Who is The PRDM." Every feature feels intentional, expanding the album's world instead of pulling attention away from its central voice. As the record progresses, it finds moments of reflection beneath its chaotic exterior. "Everything all the Time" slows the pace without losing intensity, before "Tomorrow I'll Be Clean Again" closes the album on a surprisingly introspective note. It's a fitting ending for a project that's constantly balancing humor, discomfort, rebellion, and vulnerability. What makes The Punkrock Drumachines compelling isn't flawless production or radio-ready songwriting. It's the confidence to remain completely authentic in an era where so much music feels optimized for algorithms. AWOL One continues creating without compromise, delivering an album that celebrates experimentation over perfection and personality over predictability. For longtime fans, The Punkrock Drumachines is another worthy addition to one of underground hip-hop's most distinctive catalogs. For newcomers, it's an invitation into the wonderfully strange world of an artist who's spent decades proving that the most original voices are usually the ones refusing to follow the rules. The Punkrock Drumachines refuses to fit neatly into one genre. Was there ever a moment where you considered making a more conventional hip-hop record, or has breaking expectations always been the goal? Ha well... I always approach my production in a hip-hop way, mostly drums first, but it always somehow morphs into something else. I'm always super open to experimenting with music, no pressure. The worst thing that could happen is we scrap it. But normally if I wake up and something is still ringing in my head, then I think I might have something worth keeping. I grew up in L.A and all over So Cal, so there was always a presence of hip hop and punk. When the album started forming, it felt kinda like Le Tigre meets Atari Teenage Riot in a Shape-shifting lightning storm. After more than 30 years in underground hip-hop, what keeps you creatively hungry when so many artists eventually settle into a formula? I don't know....I guess because most of my friends make music and rap, that's just what we do. I'm just kinda always making something, without expectation. I get inspired by other people's works, so maybe something I do will inspire someone else. It's not a race or a competition, more like a shared experience. Everyone should bring their own unique flavors to the potluck. I kinda feel like I haven't made my best stuff yet. The album features an impressive range of collaborators. How did you decide who belonged on this project, and what did each artist bring to the overall vision? As the album started feeling cohesive, it just kinda came together; these are all people that I dig their energy, it just felt appropriate. Codefendants are good homies of mine, so that's how I know N8. I have known Open Mike Eagle forever from being part of the Project Blowed collective along with Gel Roc, my great friend from The Cloaks. Demrick is the homie who I know through DJ Hoppa and Xzibit. I kinda have a vision for every project, but at the same time I'm open to change. I just wanted to make a gritty but catchy West Coast-sounding mixtape. You're also an accomplished graphic artist and screen printer. How do your visual art and music influence one another during the creative process? I enjoy collaborating with others as well as making art by myself. I'm a visual thinker and kinda see music like puzzle pieces, so I guess they bounce off each other. I enjoy screen printing and started my journey in that over fifteen years ago. I feel truly blessed and grateful to be able to have so many interests. I can get gloomy at times, but I try to focus on the good stuff. I trip out that I have either met or worked with most of my creative heroes. You said you hope this album inspires people to "make whatever they feel like creating." What's one piece of advice you'd give to artists who are afraid of making something that doesn't fit the current landscape? I would say if you like what you're making, that's good enough. As long as you're putting out some interpretation of yourself, that is fine. Not every piece of art is for everyone. People find their audience and hold close to what makes them feel a certain way. Enjoy diversity. Grab a beer or a coffee, maybe have a smoke, turn off your phone, close your eyes, and go on a journey. Music should be an adventure.

Summer anthems often rely on catchy hooks and polished production, but the best ones also capture a feeling listeners want to revisit long after the season ends. With her latest single, "Out of Control," Hamilton singer-songwriter Isabella Chiarini delivers exactly that, blending bright pop melodies with an infectious sense of optimism that feels tailor-made for open roads, warm nights, and carefree memories. Built around vibrant production and an effortlessly upbeat energy, "Out of Control" explores how the right relationship can reveal new parts of yourself you never expected. Rather than focusing on the uncertainty that often comes with falling in love, Chiarini leans into the excitement of embracing change. It's a refreshing perspective that celebrates vulnerability as something empowering rather than intimidating. Vocally, Chiarini strikes a balance between polished pop precision and genuine personality. Her performance feels confident without becoming overproduced, allowing the song's joyful message to remain front and center. That authenticity has become one of her defining qualities as an artist, shaped by years of songwriting inspired by her own experiences and a desire to encourage listeners to believe in themselves. The production also deserves recognition. Recorded with Toronto engineer Tal Vaisman before being completed by Vancouver producer Gabe Gallucci, the collaboration gives "Out of Control" a fresh sonic identity that expands Chiarini's sound while maintaining the approachable pop style her audience has come to expect. The result feels modern, radio-ready, and effortlessly fun. More than anything, "Out of Control" succeeds because it never tries too hard. It's a song designed to make people smile, sing along, and forget their worries for a few minutes. Chiarini set out to create a soundtrack for summer happiness, and she accomplishes exactly that. Sometimes the simplest goal is also the most effective, and "Out of Control" proves that pure joy can still be one of pop music's greatest strengths. "Out of Control" captures the excitement of discovering new sides of yourself through love. What personal experience inspired that message? This song came to be by pure accident. I walked into my writing session with some song titles and basically let whatever happened happen! All I knew I wanted from this song was for it to be a summer banger everyone could have fun listening to, and that's exactly what it became! You worked with Tal Vaisman in Toronto and Gabe Gallucci in Vancouver on this release. How did collaborating across two cities influence the final sound? I think working with Tal and Gabe made this song pure magic! Being able to collaborate with such talented producers helped me achieve that polished, professional sound that really hits hard. They're both incredibly talented, so working with them was a no-brainer. Your music consistently carries uplifting themes. Why is it important for you to create songs that leave listeners feeling empowered? I love when people listen to my music and find joy in it! If someone can finish one of my songs with a smile on their face, then I've done my job. That's what matters most to me. Having started your career through PCG Universal in Nashville, how do you feel your songwriting has evolved since those early releases? When I started with PCG, I was only 14, so my writing was naturally very youthful because I hadn't experienced much of life yet. As I've grown up, experienced more, and had the chance to experiment with my music, my sound and the messages in my songs have evolved too. I'm sure as I continue to grow as a person, my music will keep evolving right alongside me. If "Out of Control" became the soundtrack to one perfect summer moment, what scene do you hope fans picture when they hear it? I picture people in the car with their friends, driving down the highway with the windows down, singing along at the top of their lungs and just having the best time. I would absolutely love to see that!