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In a music industry often defined by meticulous production and calculated releases, The Campbell Apartment's latest album " 510 " stands as a refreshing testament to creative spontaneity. Frontman Ari Vais, whose songwriting journey spans over three decades and 120 songs, embraced an unusually impromptu approach for this collection—some tracks were written mere hours (or even half an hour) before recording. The result is a raw, emotionally charged album that captures the essence of Vais's newfound East Bay home and his evolution as an artist. We sat down with Ari to discuss how sobriety, fatherhood, and finally finding a place to call home have shaped this powerful new chapter in The Campbell Apartment's musical story. Your new album 510 was written and recorded with an unusual level of spontaneity—some songs were crafted mere hours before recording. How did this process shape the sound and emotional intensity of the album compared to your previous work? In some cases, half an hour! I think it suited me and, more importantly, the songs, really well. It’s a bit hard to explain this, but emotional richness comes with a raw honesty that can only be created if one does not labor over the track. Not going back to edit the words other than maybe a once-over allowed for that honesty to be extra powerful. Some of these tracks are too emotional even for me to listen to without losing it a little.  As to the sound, the production sounds both really rich and raw, but as far as the writing, I have fewer bizarre chord changes and breaking of patterns within the songs than usual - which also probably gives this album more general appeal, I wasn’t worried about making the songs impossible to figure out how to play in order to impress other, future musicians so there’s - not a simplicity - kind of an everyman feeling about them al. Also, having thought about this more, the simple explanation is that I am a lazy lazy man. So my producer (Chris Dunn) and I agreed on a deadline with Mint 400, to submit the record by the end of ‘24, and set out to work sometime after labor day, as we were both unemployed again at the same time (as was the case with our previous release, Under The Influence Of Love, which came out in January of last year). And this reminds me of college, when I’d wait til the last possible chunk of time to write and submit the essay, which always turned out quite good, because I seemed almost incapable of acting on it or anything else without a real deadline looming - not just looming but approaching extremely rapidly where procrastination was no longer an option. And so, with (510), digging through old voice memo ideas, scraps of lyrics, but mostly just sitting down at the piano or with a guitar with no more time to waste, and a piece of paper + pen, literally just before it was time to record that song, was how I wrote them and why I like them so much.  I could do this with my sleep with real deadlines but without them I’m fairly useless.  The songs are in me though.   The title "510" marks a significant personal milestone, referencing your home in Oakland after a lifetime of movement. How has settling in the East Bay influenced your songwriting, and do you feel a stronger sense of identity in your music because of it? I don’t know about that exactly, but for very many years I was called a New Yorker by other Bay Area people. NYC certainly informed my music and I had almost a schism about writing at least one song per album about NJ since moving out west.  Also, for the longest time, I couldn’t answer the question “where are you from” or “where’s home” since I’ve moved around so much: Moscow, Rome, Vienna, West Hollywood, Boston, Amherst, NYC (4 separate stints!), Richmond VA, London, SF and now the East Bay.  But I’ve lived here long enough and can’t really leave for the next 12 years - that I’ve actually become a part of the local music scene, something I have not had since the mid-late ‘90s when I was playing in Northampton, MA.  You don’t know how much you miss and need something until it reappears in your life. My approach to writing hasn’t and won’t change, in its essence - it’s not like I have any choice in the matter - the melodies and words just come to me. Chris Collingwood and Rolling Stone have both praised your ability to consistently deliver sharp, filler-free songwriting. After more than 30 years and 120 songs, what drives you to keep pushing your craft forward, and what excites you most about this album? Oh I will never stop writing, just like McCartney will probably never stop touring, this is who and what I am.  So another reason is because constantly doing something that you are good at to begin with - like our drummer being as incredible as he is still takes drum lessons because you can never be too good at something without further improvement, ever - constantly doing it your whole life, it’ll get better and better, so stopping is not an option as far as cranially, my brain would dry up if I stopped, competitively, though I hate to admit this it does feel pretty awesome to outdo myself with each record/song, and wow people and make people I don’t even know feel stuff.  It’s a rush.  I’m the most excited about this album because of the production, listen and you will hear what I mean, Chris Dunn should and will be world famous as a producer, and because the songs are unfussy and as such there is a real intimacy to them.  The angry songs are palpably angry, almost scary, the Life On An Oil Rig track, really about isolation, is so lonely it made one of my kids weep, the love songs (for my kids) make me emotional frankly, and the ones that are word salad, kind of like What’s Goin On and Alone in the Bar, still have meaning and feeling even though the words were literally used because they fit syllabically and the sounds sounded good together - a sort of magic!  I guess that’s called the subconscious.   I love the brevity of it, it’s under 30 minutes and those 11 tracks pack a wallop, so I guess it is an improvement on all the things I do well, but without any tricks up my sleeve, it’s purely pouring my heart out but still being cheeky lest something be too melancholy, infusing a bit of humor if something might seem too serious or self important, although Words With Birds is pure emotion, zero irony, and probably the best song on the album.  Words with Birds is a reference of what I used to kill time with when my kids were away - as I have them just half the time and they are incredible, smart, adorable, loving and hilarious 6 year old identical twin girls - Words With Friends and dating apps on my phone (birds meaning girls in British slang), it just came to me but I guess the title is deceptively whimsical/silly so that the emotional power of the song is even more devastating - though none of this was premeditated, nor even thought about much before I quickly wrote the stuff. Fatherhood, isolation, addiction, and love are central themes in 510. Was there a particular moment or experience that sparked the writing of "30,000 Days", and how does it set the tone for the rest of the album? Like with What’s Goin On, and all those quirky animal factoids, which was due to my watching animal documentaries (when you no longer follow the news as of Jan. 19, animal shows serve as a very zen replacement), 30,000 Days was based on some article I read about that being the average length of a lifetime.  I riffed around with my friend Karen who liked the idea of how I measure time, like with weekly garbage night and said I should come up with a string of those, and the rest just poured out of me.  Since it is about life, I did not want it to be too profound so - like much of the album - it sounds a bit like Wings or solo John - I made it playful and poppy, but it has a deeper meaning, although plenty of John-like words like “Don’t leave me alone because I’m so tired of bein alone, on the other hand it’s good to be on your own”, kind of reminds me of It’s getting better all the times, it couldn’t get much worse.  Giving oneself the freedom to just write and sing whatever comes to you without worrying whether it makes sense, the end result makes the most sense possible, I’ve found.  But the sequencing was done not in the order in which the songs were written.  I just has What’s Goin On, and came into the studio with it, the magic was there again but tenfold, since this was the 2nd record Chris and I did together, so we decided to make an LP and let Mint 400 know, and then just worked really hard and quickly with levity, to create it.  As it was ending, just like with a great novel, I missed the process of creating (510) already. This is your fifth release with Mint 400 Records, a label known for championing indie artists. How has that partnership shaped your career, and what does 510 represent in your evolution as a songwriter and bandleader? I guess it represents a confidence I never knew I had before, surprising myself in my ability to write these songs almost on the spot.  When you’ve been doing it since the freaking 1980s, eventually there comes a time when the not giving a fuckery plateaus and crests and some of the best art is made possible. We’ll see how this new album shapes my career but I certainly have high hopes.  This is all me and Chris Dunn, as well as Steve Mathews on drums - although now I’ve assembled a group that wants to play live loads, with Marky Pena on drums and Chris Greasen on bass.  As a band leader?  I’m even more devoted to letting the producer produce, the players play, without giving any guidance or request as to how my compositions should be played or produced.  Being hands off makes everyone deliver their best results possible, makes everyone engaged, and makes everyone as much a part of the project as I am.  Without collaboration, I’d just resume oil painting full time. As to Mint 400, you know, just the validation of being on a label, and frankly getting sober back in 2020, I take this whole music thing way more seriously (without my writing being too serious because bleh! Zero irony is why I can’t “do” Pearl Jam or most any other modern rock band that is not indie rock), and professionally.  Having maintained, somehow, an incredibly wasted lifestyle for my entire adult life til my 5th decade on this marble, the music was still good, but now that my soul is pure and clean, the music is elevated accordingly.  Being on a label, other than liking the whole arrangement of creative carte blanche that I get with Neil, gives me accountability as a writer, but also the confidence to have more fun with the whole thing - I’m kind of not trying anymore to be a star or whatever - which is just SO good for the music, that it’s like a real job, but the most dreamy, idealistic, utopian job ever.  Living the dream.

Hip-hop artist Terry Jones is back and tearing up the pavement with his electrifying new single, “ Swervin Like Swayze .” Fueled by high-speed energy and cinematic swagger, this track isn’t just a song—it’s a movement. Inspired by the effortless cool of Hollywood legend Patrick Swayze, Jones channels that same untouchable confidence, weaving through each verse with precision, style, and an unshakable presence. Produced by Xyber Beats, the mastermind behind both “Swervin Like Swayze” and Jones’ previous hit “10PM in Thunder Bay”, the production is nothing short of hypnotic. Hard-hitting drums, sleek synths, and a pulsating bassline create the perfect backdrop for Jones’ razor-sharp flow, mirroring the intensity and thrill of a high-speed chase. The beat doesn’t just set the pace—it commands it. “This track is all about being in your lane—moving confidently, making bold moves, and never looking back,” says Jones. “Patrick Swayze had this way of making everything look effortless, whether it was in Ghost , Road House , or Point Break —he owned every scene. That’s the energy I wanted to bring into this record.” The “Swervin Like Swayze” music video takes the listener on a visual adrenaline rush. It features high-performance cars, sweeping aerial shots, and an open-road aesthetic that screams freedom. Unlike the shadowy tones of “10PM in Thunder Bay,” this visual embraces daylight, motion, and limitless possibilities, perfectly mirroring the song’s unstoppable drive. Terry Jones has built a reputation for blending cinematic storytelling with immersive soundscapes, and “Swervin Like Swayze” further proves he’s carving his lane in hip-hop—full speed ahead. With Xyber Beats steering the production, this release is an undeniable statement: Terry Jones isn’t just here to ride—he’s here to take over. In " Swervin Like Swayze , you channel Patrick Swayze’s effortless cool and confidence. What was it about Swayze’s presence that inspired you, and how did you personally connect with that energy when creating the song?" Patrick Swayze was the ULTIMATE man. One of my favorite movies that is just pure toxic machismo is Roadhouse. What made Swayze special was his ability to adapt; he was able to star in Roadhouse, Ghost, Dirty Dancing, Point Break, and Too Wong Fu. He played football, did martial arts, and danced ballet and traditional all while living in Houston, Texas, with no one batting an eye. He was confident and never had to prove his masculinity by doing so many cool things, which is a big inspiration to me. He could also sing, and ‘She’s Like the Wind’ is a banger. Swayze also stood firm for Whoopi Goldberg to play a specific role and said he would not play in the film unless she was cast, leading to her winning an Oscar. He was a stand-up guy, R.I.P. to a G.O.A.T. You have this unique ability to mix humor with deep, reflective storytelling in your music. How do you personally balance those elements in your songs, and what do you hope listeners take away from that mix in " Swervin Like Swayze "? Super interesting observation! So, I was in stand-up comedy for a long time, and the pandemic kind of ruined comedy. So, I started making music as an outlet, and people said I was good, so I kept going. I think just like those multifaceted comedians before me who made music, we have a way of using our comedic talents and natural humor in our lyrics. For example, if someone laughs while listening to a few lyrics, it’s most likely designed to make you laugh. Childish Gambino and Jamie Foxx are good at doing the same thing. I honestly hope people just take a good vibe from the song, no deep thinking, just fun and something to blast in their car with the windows down for spring and summer. I felt like this is a more mainstream type song next to my song “They Call Me El Guapo.” "Looking back at your musical journey, from your earlier tracks to now, how would you describe your personal growth as an artist? And when you listen to  Swervin Like Swayze , what does it say about where you are right now?" I would say taking risks has been the biggest growth. I remember a blog owner who telling me I should take more risks. So, taking that advice, one of my favorite artists, Dashius Clay, whom I was a fan of before getting into music. I approached him; I had just met the phenomenal young producer Xyber Beats, who heard my song “Roomful” feat. $avvy and Mayce and reached out. He posted the beat that is now “They Call Me El Guapo,” and I hit up Dashius about it. He agreed to do the song with me, and I went and recorded my part, and he got excited. The song changed everything for me, it was a Latin blend track. We ended up doing an EP together and it made me push my boundaries. All the music and future music I have is produced by Xyber Beats and mixed and mastered by Dashius Clay, that pushes my skill set.   So, when I listen to ‘Swervin Like Swayze’ it just shows me pushing myself with different sounds, flows, and topics. You can hear elements of songs I started creating early, blending into my unique sound. I want people to hear me and say, “That’s Terry’s signature flow and sound.”  Pittsburgh is such a key part of your identity and music. How has the city shaped not only your sound but also the way you approach life and music? I’m actually the complete opposite of Pittsburgh artists, while I joke and enjoy my Steelers. The city molded me in the sense of wanting to be more cultured. Pittsburgh is such a black and white city that taught me survival. I grew up seeing so many parts, so many hoods, and some nice suburbs. I didn’t want Pittsburgh to be my identity, like a lot of artists from here, so that I could get bigger opportunities. I always wanted people to hear me as an artist. A lot of Pittsburgh music all sounds the same because of the accent and dialect. I think I rap about a lot of my experiences of life, seeing traumatic things as a kid, experiences with love and women, and family. When I was strictly doing comedy and making parody songs, I would perform and host hip-hop shows. I remember meeting Mac Miller when he was a teen, and I still have the first mixtape he gave me. We would do a lot of hip hop shows together and see each other. It was amazing watching him and Wiz blow up from Pittsburgh. Mac had a unique sound that transcended the city. So, my city experience is more about life experiences; I don’t even like mentioning the city in my music. My identity is bigger than one place; I want the world to love me and receive my music.   The idea of 'owning your lane' is central to  Swervin Like Swayze . How do you make sure to stay true to yourself in an industry that often pushes artists to follow trends? And now that  Swervin Like Swayze  is out, what’s next for you on your journey?" I think maturity has a lot to do with identity; I sent my music over to a really good A&R so it really helped me know my music sounded good. The thing is, I am who I am, and I am proud of it. I fought long and hard to be myself. I feel like a lot of pressure comes from social media telling you what to do and be. It’s the reason so much music sounds the same; everyone has the same flows, hooks, style, accents, etc. I love being myself. Even what I post online, that’s me, and I want people to know me. I am a dad first and everything else next; I am proud of that, which is why my kids do small ad-libs in my songs. So many people try so hard to follow trends, hoping to be seen or heard in the trend, but trends fade while souls last forever. We live in a day and age where you used to listen to music and want to know if the artist was cool.  Instead, people have to like you as a person first to decide if they want to even listen to your music. So, I like to be upfront; stay or don’t, the choice is yours. But I have found people support and appreciate me as a person, so it makes them support the art. Always be yourself. My uncle once told me, “Always be yourself and the world will love you for it, because I do.” That has been my Mantra.   My last singles, “10 pm in Thunder Bay” and “Swervin’ Like Swayze,” are part of an Upcoming six-track EP. I am excited to be releasing more singles soon. I look forward to people hearing it; I am also releasing a live EP / live online concert. I am looking forward to releasing more art. Also, I have a film I’m in coming out this year and another called Bigfoot the Movie; The Sequel (Bigfoot: The Movie 1 is on Tubi now) out now on Fandango, YouTube Movies, and Tubi soon. I look forward to “Swervin Like Swayze” all 2025.

If you weren’t already in the mood to two-step your way into a honky-tonk weekend, Kenya Reese is here to fix that with her brand-new single, Get A Little Country . The rising country starlet, fresh off the heels of her 2024 breakout, has just dropped what can only be described as the ultimate feel-good anthem for every cowboy, cowgirl, and country-loving soul in between. From the opening chords, Get A Little Country  pulls you right into the heart of small-town celebrations and backroad adventures. The track is packed with boot-stomping energy, sing-along melodies, and lyrics that capture the spirit of rural living: dirt roads, cold drinks, and the undeniable magic of a starry night. Kenya Reese's vocals shine with a balance of youthful enthusiasm and seasoned confidence, making it clear that, at just 18, she’s already carved out her own space in country music. Her delivery is playful yet powerful, the kind that makes you want to roll your windows down and let loose. Reese isn’t just making music—she’s making waves. With a growing resume that includes major rodeo performances, PRCA events, and opening slots for country favorites like George Birge and Matt Stell, her trajectory is as promising as the chorus of her latest hit. If Get A Little Country  is any indication of what’s to come, her upcoming debut album (set to release in late spring 2025) is going to be one for the books. Country music thrives on authenticity, and Kenya Reese delivers it in spades. Get A Little Country  is more than just a fun track—it’s a reminder to embrace the wild and free moments, to soak in the beauty of simple pleasures, and to never shy away from a good time. So, whether you’re a die-hard country fan or just looking for your next feel-good jam, do yourself a favor and turn this one up. Reese isn’t just inviting you to Get A Little Country —she’s making it impossible not to.

New York City’s own SkyFVLLS is back with a track that practically drips with anticipation. His latest release, Saving You For Later , featuring P.A. On The Track blends pop and R&B elements into a silky, thought-provoking soundscape that’s as seductive as it is mysterious. From the very first note, Saving You For Later  feels like a slow burn, wrapping listeners in velvety melodies and intimate lyricism. SkyFVLLS doesn’t just flirt with suggestion—he masterfully constructs a sonic experience that leaves just enough to the imagination. The track is a sultry confessional, where restraint and desire dance in tandem. It’s the kind of song that lingers in your mind long after the last note fades, much like the subject it teases. SkyFVLLS’s smooth vocals glide effortlessly over a lush, minimalist beat, creating an atmospheric vibe that’s both immersive and deeply personal. Each lyric is delivered with an understated intensity, making the listener feel like they’re eavesdropping on a secret—one that’s not quite ready to be told in full. The production, rich with R&B textures and subtle electronic flourishes, complements the track’s thematic depth, proving that sometimes, less is undeniably more. But what truly sets Saving You For Later  apart is its ability to invite listeners into SkyFVLLS’s world without revealing too much. In his own words, “I hope that the intimacy of this song leaves you with a wild imagination of being saved for later.” And trust us—mission accomplished. Whether you’re playing this song on a late-night drive, setting the mood, or simply getting lost in the evocative lyricism, Saving You For Later  is an intoxicating listen that keeps you pressing replay. SkyFVLLS is carving out his space in the pop/R&B landscape, and if this track is any indication, he’s an artist worth saving for later.

Lotti’s latest single, Bring It Out of Me , isn’t just a song—it’s a confessional booth wrapped in hypnotic production, an intimate dance between vulnerability and the kind of power that only comes from embracing what lurks in the shadows. From the moment the track begins, Lotti lures us in with a voice that’s equal parts silk and storm—smooth enough to seduce, but carrying an undercurrent of raw, untamed emotion. The melody moves like a whispered secret, weaving through a soundscape that’s as dreamy as it is dangerous. One second, you’re floating; the next, you’re spiraling into something deeper than you expected. Lyrically, Bring It Out of Me is a slow-burning revelation. It speaks to the parts of ourselves we’d rather keep tucked away—the instincts, the desires, the truths we think are better left unspoken. But as Lotti reminds us, repression is an illusion. What we hide doesn’t disappear—it lingers, it festers, and eventually, it demands to be seen. And let’s talk about that production! With a beat that pulses like a heartbeat just on the edge of quickening, the track builds an intoxicating tension. It’s got that late-night allure—the kind that makes you want to sink into its rhythm and surrender to the moment. There’s a duality at play here by Jackson Wise: it’s smooth but sharp, sultry but aching, controlled yet teetering on the brink of something wild. But beyond the sonics, Bring It Out of Me carries a message that’s deeply personal—and universally resonant. Lotti hopes listeners walk away from this track with permission. Permission to feel. To embrace the messy, the unfiltered, the shadowy parts of ourselves that we often try to suppress. Because maybe—just maybe—those parts were never meant to be hidden in the first place. This song is all about embracing what we usually suppress. Was there a defining moment in your life when you realized you needed to stop holding things in? Absolutely. Growing up in a not only conservative but also Mormon household in the Philippines, I was taught to hold things in. Don’t make a scene. Don’t let your emotions get too loud. Don’t disturb the peace. But over time, I realized that suppressing emotions doesn’t make them go away—it just makes them louder in my own head. I feel so much better when I live honestly, when I don’t bottle up the big feelings—not just grief, sadness, or guilt, but also joy, excitement, and love. That’s where Bring It Out of Me comes from—giving those emotions a space to exist instead of shutting them down. When you were writing Bring It Out of Me , did you have a specific person, memory, or feeling in mind that triggered the lyrics? Oh yeah. The song pulls from different moments where I felt like I was pushing things down too much. I have this roommate—we get along for the most part, no real bad blood. But damn, sometimes her nitpicking and interesting take on personal space test my patience. Even little things, like how much she hates the smell of onions when I cook, can set me off in ways I didn’t expect. And then there was my ex—someone who triggered me in ways I wasn’t even fully aware of. I kept telling myself “I’m fine,” but really, I had just gotten good at bottling everything up. Until something small would happen, and suddenly, I wasn’t fine at all. This song is about recognizing those emotions instead of pretending they don’t exist. Some people bring out anger and irritation, others bring out love and openness—and both sides deserve to be seen. Your music carries a mix of seduction and emotional unraveling. Do you think that duality reflects who you are as a person too? Haha, first of all—thank you! I don’t know if I would call myself seductive exactly, but I do think there’s something powerful about embracing feminine energy. I’ve spent a lot of time trying to contain my emotions, my intensity, my presence. But lately, I’ve been leaning into the full spectrum of who I am—the softness, the power, the messiness, the depth. So I guess the duality you hear in my music is really just me learning to exist fully in my own skin. What part of Bring It Out of Me —whether a lyric, melody, or moment in the song—feels the most personal to you, like a direct window into your soul? For me, it’s definitely the verses. They almost feel biblical in a way. As I said previously, I grew up in a Mormon home where scripture was a huge part of my life, and I think that influence made its way into my writing without me even realizing it. Lines like "Forty days and forty nights, through the desert, through the storm..." —they feel like something I would’ve read growing up, except now, I’m reclaiming that language for my own story. It’s about endurance, questioning, and survival, but also about being honest with yourself about what you can and can’t hold in anymore. I also just love the second prechorus all the way to the chorus to the end. Just~ it makes me feel like I can let go and shake out my head and limbs in a way that feels good! There’s something freeing about that moment in the song—it feels like a physical release, like I’m allowing my body to move the way my emotions want to. If you could play Bring It Out of Me for a past version of yourself, at what point in your life would you want to hear it, and what would you hope that younger you takes from it? I’d play it for 7-year-old me, just to see her reaction! hehe. That'd be so precious <3 I’d want her to know that she’s not boring! And in fact, she’s a gem. That we are growing into someone who doesn’t have to shrink herself down, who gets to express everything she feels. What's next for you? My first-ever EP is coming this March! Haha, it’s been a long time coming, and I’m so glad we’re finally getting close to the release. But honestly, this is just the beginning, and that’s the most exciting part—I can’t wait for everything that comes next. <3 <3 <3

Kendyle Paige isn’t just serving music; she’s serving empowerment on a silver platter. Her latest single, Butter , featuring Madison Frometa , is as smooth and rich as the name suggests—but don’t be fooled. This track is no simple ballad; it’s an emotional rollercoaster wrapped in addictive indie-pop beats. The song is part of Kendyle’s upcoming Ladybird: Birds in Flight Edition , a re-release of her acclaimed album Ladybird with three new tracks. But Butter isn’t just another addition; it’s a game-changer. With themes of desire, emotional complexity, and self-reclamation, the song is a battle cry for anyone who’s ever been caught in the push-and-pull of love. From Sweet to Savvy The track opens with Kendyle’s signature silky vocals, drawing listeners into a story of a connection that went sour. Her introspective lyrics dive deep into vulnerability while maintaining a magnetic allure. Just when you think the song is all about heartbreak, Madison Frometa’s verse flips the script with unapologetic energy, calling out loneliness and reclaiming control. Together, their voices create a dynamic interplay, balancing sweetness and danger, softness and strength. The song’s production—courtesy of Brandon Lee Richardson—pairs infectious beats with textured layers, making it both an emotional and sonic masterpiece.| What makes Butter even more special is its role in Kendyle’s larger artistic evolution. With over 88 million streams for her single Cravin , Kendyle has already proven she’s a force to be reckoned with in indie pop. But with Ladybird and its Birds in Flight Edition , she’s diving deeper into complex emotions and pushing the boundaries of her sound. “Butter is about owning your strength, embracing your complexities, and taking back your power,” says Kendyle. And that message resonates, making the track not just a bop but an anthem for anyone finding their footing in the chaos of love and life. Kendyle Paige’s Butter isn’t just a song; it’s a mood, a mantra, and a movement. Whether you’re in the throes of heartbreak or rediscovering your inner strength, this track will leave you feeling empowered, like you just walked out of an emotional spa.

Hailing from the DC Metro area, Poppidizzy isn’t just making music—he’s crafting narratives, channeling emotion, and paying homage to the legends who shaped his sound. With Too Little Too Late , his latest release, the rising lyricist flexes his ability to blend introspection with melody, giving listeners a taste of hip-hop infused with gospel, jazz, R&B, and soul. From the jump, Too Little Too Late sets itself apart as more than just a rap album—it reflects Poppidizzy’s personal and musical journey. Having been drawn to the power of music as early as five years old, inspired by the likes of Michael Jackson , James Brown , Stevie Wonder , and Mary J. Blige , it’s no wonder his delivery carries an old-school soul with a modern flow. Every verse is delivered with precision, and every hook is designed to stay with you long after the song ends. As a self-proclaimed lyricist, Poppidizzy makes it clear that wordplay is his weapon of choice. His ability to balance deeply introspective themes with infectious melodies speaks volumes about the dedication he’s put into his craft over the past 11 years. His music doesn’t just ride the beat—it converses with it, blending seamlessly into the production while keeping the listener locked into his storytelling. Since officially putting his music on streaming platforms in 2020, Poppidizzy has steadily gained traction, proving that raw talent and persistence can break through without mainstream recognition. Too Little Too Late is a testament to his journey, capturing the emotions of resilience, self-reflection, and the ever-present grind of an artist perfecting his sound. Too Little Too Late is a must-listen for hip-hop lovers who appreciate substance. Poppidizzy isn’t just dropping bars—he’s building a legacy. And with how he weaves his influences into his work, this is only the beginning. You’ve been crafting your sound for over a decade, blending hip-hop with gospel, jazz, R&B, and soul. How has your style evolved over the years, and what aspects of your early influences still shine through in your music today? I think the way it’s evolved is I pushed my sound to a deeper degree sometimes dark but very beautiful I like to create things that not only people understand but feel inside one thing that’s never changed is how I mesh all the different genres into projects and how well I select the beat selections and what to rap over these genres I push to blend still shine in my music today my soul has never left my music but only has gotten stronger. Your album Too Little Too Late carries a strong sense of introspection and storytelling. What inspired this project, and is there a particular track that feels the most personal to you? What inspired too little too late was after my first album recovery mode I had started to feel like after I recovered from the all the traumas and pain and bad parts of my life what effect it took on me the people I once trusted and loved teamed up with others to go against me and I knew once it was my turn to talk about it it was too little too late for anybody to do anything like I’m here this is the final level I’m the boss what you attempted did not work for you. As a self-proclaimed lyricist, you take great pride in balancing intricate wordplay with melodies. What’s your writing process like, and do you have any rituals or methods that help you tap into creativity? When I write I got to study a beat good to match my flow and lyrics so I could listen to a beat 50 times before I decide to start writing because of the mood and atmosphere I’m trying to create I tend to use daily life as inspiration but also digging in my past to speak about things I never said or I held on to which is why I can never run out of material and things to rap about. Breaking into the industry without mainstream recognition can be a grind. Since putting your music on streaming platforms in 2020, what have been some of your biggest challenges and victories as an independent artist? My biggest challenge id say is just separating myself from others id say proving with my music I can stand with the best of them I can go bar for bar song for song but I don’t do music for money or fame it’s the art that intrigues me I love creating art and I love when people appreciate good solid bodies of work. With Too Little Too Late out now, what’s next for Poppidizzy? Are there any upcoming projects, collaborations, or goals you’re excited to share? I do have a video coming out for the first song on the album called Keep It P I will be doing shows throughout the year and some on the radar type of visuals and I do have a few collaborations coming up so this year since the album is done aside from promoting the album writing new music I am tapping back into my love of reading and taking care of my health physically mentally spiritually and emotionally and taking care of my three children.

Emerging from the snow-covered slopes of Revelstoke, Pickle Juice is turning up the heat with their debut release, Cheeky EP—a riotous, high-energy blast of punk rock chaos. This five-piece crew, hailing from Canada, Australia, and England, proves they're more than just a bunch of snow-season misfits. They're a force to be reckoned with. The band's raw, unfiltered energy fuels each track, packing in raucous guitars, razor-sharp lyrics, and anthemic choruses that demand to be shouted at full volume. The lead single, "Curbstomp," embodies this reckless spirit, thrashing through searing guitar hooks and unrelenting drum beats while frontman Tim van der Krogt delivers vocals dripping with attitude. Tracks like "Toxic and Sweet" and "Caught in a Lie" further cement Pickle Juice's signature sound—a mix of classic punk grit and modern alt-rock swagger. Their music has an unpolished charm reminiscent of basement jam sessions and beer-soaked dive bars, yet their chemistry and sharp songwriting keep everything tight and infectious. With a Western Canada tour on the horizon and their buzz growing fast, Pickle Juice is proving that they're here to shake things up. Cheeky EP is just the beginning—so strap in, turn up the volume, and get ready for a wild ride. "Cheeky EP" is a high-energy, no-holds-barred punk rock ride. What was the creative process like putting this record together, and how does it represent where Pickle Juice is now? In a way, it’s like any debut project—rather than capturing a single moment in time, this EP is more of a journey through our early days as a band. It includes songs we wrote within the first few months of playing together and tracks we were still working on when we started recording. Even the recording process reflects that. We recorded the first two singles six months before the rest of the EP, mostly because, as an indie rock band made up of five guys who hardly work for half the year and snowboard for the other half, it took us a while to raise the funds to finish the project exactly how we wanted. Creatively, our process has always been the same: I (Tim van der Krogt) write the melody and a rough skeleton of a song, and then we refine it together as a unit. It works really well because it lets everyone write their own parts and bring in their own influences. We’re a band of guys from the UK, Australia, and Canada, and we all grew up playing in different music scenes and listening to different styles of music. That mix of influences is something we think makes us unique—it allows every song to have its own stamp from each of us. It’s also taken our music in directions we wouldn’t have considered if we all had the same background. We recorded the EP with David Ziehr, who was amazing to work with. Going into the studio, we still weren’t entirely sure what Pickle Juice was. The songs were all different, and we weren’t sure how they’d sit together. But with David’s help, we figured it out. Even though the tracks vary stylistically, you can tell they all come from the same band. So, this EP represents us knowing who we are now—which is exciting, because moving forward, we’ll be stepping into the studio with confidence in what we are and what we want to be. Your music combines influences from Canada, Australia, and England. How do those different musical backgrounds shape the band's sound and energy? It’s really just a case of exposure. I’m not sure we consciously try to sound like anyone in particular—when you write, you subconsciously include the sounds and styles you’ve been exposed to, right? Being from different places means we’re all bringing a little bit of what we were hearing at the time into our music. For example, Josh and Ben grew up in Australia, listening to Triple J. They soaked up Aussie surf rock and even some of those poppier vibes from bands like Spacey Jane or San Cisco—even if they don’t claim to be huge fans, that sound lives in them. I grew up between Canada and Australia, so I’m a bit of a hybrid too. The difference is, thanks to CanCon laws, I heard a lot of Canadian music. Then there’s Tom, who grew up on skater punk, practically turning his nose up at the radio. He might bring a bit of that Canadian pop-punk sound from the 2000s into our mix, even though he’s a Brit. But even then He was telling me just the other day how bands like The Kooks and The Wombats were inescapable in his world. And for Pete, he was tuned into BBC Radio Four and steeped in that distinct British rock sound. Plus, he had an extra edge from playing in a band called Hazels and hitting the gig circuit alongside acts like Pale White and Catfish and the Battlement which brings a direct, person-to-person influence forward. In the end, all these different backgrounds blend together, creating something uniquely our own. We were also a product of our time. With MTV and Kerrang! we were exposed to a lot of other scenes, and we could download whatever we wanted on Limewire, but at the same time, the radio was inescapable—it was just everywhere. I’m not sure that kind of experience exists nowadays. Kids can hop on Spotify, dive into an obscure Mongolian throat singing echo chamber, and never hear anything else. "Curbstomp" is a standout track on the EP—raw, aggressive, and full of attitude. Can you tell us the story behind the song and what it means to you? don’t really love telling people what a song is about—I don’t always believe a song is about anything specific. But I went through a rough patch a few years ago that changed a lot for me. I suffered a concussion, and the effects lasted for about two years. It was one of the hardest things I’ve ever had to work through, and to make matters worse, my house burned down while I was in the middle of it all. Every day, you wake up hoping to feel better, but the pain and uncertainty just linger. You can’t do any of the things you love, and even something as simple as grocery shopping turns into one of the most anxiety-inducing experiences imaginable. On the outside, people might see you as perfectly normal, but inside, you’re injured and broken, and it feels like nobody truly understands you. I had to do a lot of soul searching—figuring out who was important to me and who was dragging me down. I had to let go of a lot of people in the process. I was left feeling angry, hateful, frustrated, depressed, anxious, and, honestly, dead inside. "Curbstomp," isn’t entirely about that experience but I’d say that I tapped into all of those raw emotions while I was writing it. The boys got ahold of it and turned that energy into something beautiful—a track that’s dynamic with reflective verses and aggressive choruses. It’s one of my favorite songs on the EP, though honestly, they’ve all been my favourite at different points. I’m convinced now the concussion was one of the best things that’s ever happened to me. I mean, no head injury, no PICKLE JUICE. From jamming in a basement to gearing up for a Western Canada tour, how has this journey been for you as a band? What's been the most unexpected part of it all? I’m not sure there’s been one specific unexpected moment because our existence, in its own way, was kind of unexpected. When we first started playing, our biggest goal was to maybe one day play an open mic night together. Within a month, we were headlining and selling out our local music venue. Now, it’s not a huge deal since we’re from a small town, but still—none of us expected the band to become what it has. We’ve had momentum from day one, and we’ve just been fueled by it ever since. Some of the biggest highlights for us were things like our first out-of-town show. We played at Big White, a ski resort a couple of hours from Revelstoke, and the bar reached capacity. We were able to get the crowd moving and singing along, and it was the moment we looked around and thought, "Okay, this is more than just our friends coming out to support us. Maybe we’ve got something here." I also remember after our first studio session when David played back the unmixed, unmastered tracks. The stoke in the room was so high and we recorded the recording on our phones. We drove back seven hours through the night, listening to those voice memo recordings on repeat. That was the moment when some of the guys really realized that we can write our own stuff, and it can be catchy and it can sound good. And more recently, we played another out-of-town show where people were singing our lyrics back to us. After the show, I asked a group if they’d seen us before, and they hadn’t—they’d just discovered us through Spotify and Instagram. That was a special moment for me because it really hit home that our music can connect with people. For me, songwriting started as the ultimate form of procrastination, so it’s crazy to see where it’s taken us. If someone's about to hit play on "Cheeky EP" for the first time, how would you describe the experience they're about to have in just three words? I’d say Get ready for an earful of sound—it’s in your face right from the start and it’s going to get stuck in your head. I might be a tad biased, but I genuinely believe every song on the EP could stand on its own; each track has something that tickles you in a different way, whether it’s a baseline, a guitar melody, or the chorus, there’s an ear worm in each tune. We set out to create an EP full of bangers, with no filler tracks, and I like to think we pulled it off—but ultimately, it’s up to each listener to decide. One thing I’ll say is that, in just five songs, the EP progresses a long way from where it starts. It moves through a few different styles and it really represents who we are as a band. We don’t want to pigeonhole ourselves. If we’re working on a tune that feels right and shows potential, we follow that feeling, even if it doesn’t fit neatly into “our sound”. We ultimately want who we are as musicians to dictate our sound so that it speaks for itself.

Stewart Taylor has officially pressed “Start” on his next era with “ EVEN ,” a bouncy synth-pop anthem that takes listeners straight into an 80s-inspired video game fever dream. But don’t let the bright neon and addictive beat fool you—there’s more than just fun and games here. Taylor’s track is a rollercoaster ride through the emotional chaos of a love that’s turned toxic. Right out of the gate, “EVEN” hooks you with vibrant, earworm-worthy synths courtesy of producer MADS (whose tracks have already dominated global playlists). It’s got that classic MTV vibe—think Prince meets Madonna at a retro-futuristic arcade. But underneath the infectious groove, Taylor tells a story many of us know too well: a relationship where every little disagreement turns into an all-out boss battle. He paints a vivid picture of being stuck in a maddening loop, stacking "ammunition" for arguments instead of building bridges. It’s a tale as old as time, but with a joystick in hand. And then, the real plot twist: instead of continuing the endless fight, Taylor does what most of us only fantasize about—he chooses peace. The song’s chorus hits like a power-up, as Stewart sings about freezing those sweet, rose-tinted memories in time and stepping away with grace. The message is clear: sometimes the biggest win is knowing when to say “Game Over” and walk away. But wait—there’s more! The “EVEN” music video is a full sensory overload in the best way possible. Collaborating with director Benjamin Farren and choreographer Julie Vegliante, Stewart brings his love of retro aesthetics to life with dazzling animations, high-octane choreography, and cinematic drama. Each scene feels like a level from a different game, from battling an animalistic ex in a glowing virtual arena to desperately chasing echoes of happier times. And let’s not forget that iconic Game Over jacket designed by Joseph Auren—fashion and storytelling collide in true Stewart Taylor style. The choreography slaps, the visuals dazzle, and Stewart himself shines as the ultimate player one—singer, songwriter, dancer, and designer all in one unstoppable package. Yet, what truly sets “EVEN” apart is its heart. Beneath the pulsating beats and pixelated flair is a powerful message about resilience, self-worth, and the courage to move on from relationships that no longer serve you. So, if you’re looking for a track that’ll get your heart racing and your feet moving, “EVEN” is your anthem. It’s pop music at its finest: bold, authentic, and layered with emotional depth. Stewart Taylor is here to remind us all—when it comes to love, sometimes the best move is to level up and leave the game behind. "EVEN" blends nostalgic 80s synth-pop with a modern twist. What drew you to that retro sound, and how do you see it connecting with today’s listeners? My music and visuals are definitely back to the future-style with a twist. I’ve always loved retro music, especially from the eighties. I grew up watching a lot of music documentaries on VH1 and seeking out the music on whatever vinyl or CD I could get my hands on. Everyone relates to nostalgia in some way, and something magical happens when you mix dream-pop synthesizers with nostalgic lyrics.  In the song, you explore the idea of breaking free from toxic cycles. Was there a specific moment or relationship that inspired this narrative? There was a collection of moments that inspired this narrative. I was actually going through old voicemails from my ex the other day and it was a rollercoaster ride! The fights, the apologies, the high highs and extreme lows all became part of a really unhealthy cycle for us. Some people aren’t meant to be together, no matter how hard you try and make it work. The music video is such a visual spectacle! Can you tell us about the creative process behind the video and how the video game concept came to life? Thank you! Creating the visuals for my songs is one of my favorite parts of the creative process. Because my ex and I were stuck in a really toxic cycle of fighting and making up, our relationship turned into a series of mind games. When I sat down to write the treatment for the EVEN music video, I knew I wanted to make it like a virtual video game. Every level takes us through different levels of mind games where we fight to establish dominance. I worked with my director Benjamin Farren to bring all of the visuals to life. I creative directed everything alongside my choreographer Julie Vegliante and my makeup artist Kályd Odeh. Then I styled all of the video looks with my German designer Joseph Auren.  You’ve mentioned being inspired by pop legends like Prince, Michael Jackson, and Madonna. How do their influences shape your music and performances today? I would not be the artist I am today without the absolute legends that came before me. As a kid, I sang along to The Jackson 5, The Temptations, and Christina Aguilera. I am one hundred percent certain that’s where I get my soulful sound from. When I discovered VH1 and MTV, I constantly blasted Prince, MJ, Madonna, Janet Jackson, Paula Abdul, as well as Britney Spears' music videos from my TV. All of these icons lit such a fire under me and inspired me to get up and dance onstage and off.  Your lyrics often dive deep into themes of love, self-discovery, and growth. How do you balance making emotionally raw music while keeping it fun and danceable? As long as I’m coming from an honest place and I connect with what I’m writing and singing about, the possibilities are endless. All of my songs start off very organically with lyrics and melody. If you still have a great song with only vocals and piano, then you’ll have something great to build a track around. Having strong chemistry with my producers helps a lot too!

Photo: George Pak In the age of digital music, streaming platforms have revolutionized how we consume tunes. However, these platforms often feel more like a double-edged sword for many independent artists than a golden ticket. Let's dive into the numbers and see if streaming giants truly exploit indie artists or if it's just a case of misaligned expectations. How Much Do Streaming Platforms Pay? Let's start with the basics: how much do these streaming services pay per stream? The rates vary significantly across platforms. Here's a breakdown: Spotify Approximately $0.003 to $0.005 per stream. Apple Music Around $0.0061 per stream. Amazon Music Approximately $0.00402 per stream. TIDAL Around $0.0078 per stream. Deezer Approximately $0.007 per stream. As you can see, the per-stream payouts are relatively low across the board. For instance, to earn $1,000 on Spotify, an artist would need approximately 200,000 streams. This is a significant challenge for indie artists without a massive following. The Complex Web of Royalties: Who Gets What? The journey from stream to paycheck is a convoluted one. Platforms like Spotify don't pay artists directly; instead, they pay rights holders, which often include record labels, distributors, and publishers. This means the amount an artist receives can be a fraction of the total payout. Moreover, the exact amount can vary based on factors like the listener's country, subscription tier (free or premium), and specific agreements between the artists and labels or distributors. The Illusion of Exposure: More Streams, More Problems? While streaming platforms offer indie artists unprecedented exposure, this doesn't always translate into substantial income. Many artists report that streaming royalties constitute a minimal portion of their earnings. For example, a survey by the Musicians' Union found that 92% of respondents said streaming is responsible for less than 5% of their income. Artists often rely on distributors to get their music on these platforms, which can charge fees or take a percentage of earnings. This further reduces the already slim margins from streaming royalties. Additionally, the time and resources spent promoting music on these platforms can be significant, often without a guaranteed return on investment. Streaming's Impact on the Music Industry The low payouts and complex royalty structures have sparked debates about the sustainability of the current streaming model. Some argue that streaming platforms prioritize quantity over quality, leading to a devaluation of music and making it harder for indie artists to earn a living. This has led many to question whether streaming giants truly support artists or merely capitalize on their work. While streaming platforms have democratized music access, they have also introduced challenges for indie artists, particularly concerning fair compensation. The numbers suggest that streaming giants may not be as artist-friendly as they claim. For indie artists, diversifying income streams and exploring alternative revenue models may be essential to achieving financial sustainability in the digital age.