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Marcus Porter is stepping into his power and bringing his listeners with him. His latest release, " My Season ," is more than just a song; it's a battle cry for ambition, a soundtrack for those ready to claim their moment. Blending hip-hop's raw lyricism with the smooth essence of R&B, Porter crafts an undeniable anthem of perseverance, backed by an infectious hook and a charged-up feature from BOBdAHIPPIE. From the jump, "My Season" radiates confidence. The production is polished and hard-hitting, seamlessly merging deep basslines with melodic elements that elevate the track's energy. Porter's delivery is commanding—his verses drip with self-assurance, urging listeners to push past doubt and seize their opportunities. The track's anthemic nature makes it feel tailor-made for workout playlists, pre-game hype-ups, and anyone needing that extra push toward their goals. BOBdAHIPPIE's feature adds a dynamic contrast, bringing an electric energy that complements Porter's smooth yet powerful flow. Their chemistry makes the track even more compelling, reinforcing the theme of relentless ambition. "My Season" is a testament to Marcus Porter's evolving artistry—equally inspiring and sonically captivating. It's the kind of track that doesn't just play in the background; it fuels movement, reminding us that success isn't just about timing—it's about stepping up when your moment arrives. "My Season" carries a strong message of empowerment and ambition. What inspired you to create this track, and was there a specific moment that sparked the concept? I was working on the beat in the studio and the energy from it was electric. I had to deliver a message that was positive but also just me talking real life and feeling like I was coming into a groove as a creative. You collaborated with BOBdAHIPPIE on this song. How did that partnership come about, and what was the creative process like working together? I have worked with BOBdAHIPPIE before on some of his music as his engineer, and as I was working on the song, I knew I needed another sound and gear for it. I called BOB and asked him to come to the studio, played him the song, and saw the fire in his eyes as he said yes! He wrote the chorus right there and recorded it in the same time span. It was amazing and gave the song the missing touch! The track has a powerful energy that feels like an anthem for motivation. How do you want listeners to feel when they hear "My Season," and what do you hope they take away from it? I want listeners to feel like it is their season for sure and to walk into that energy and vibe. Everyone has a season it may not be now but might as well try to be prepared for it and go as if it is now because it will be theirs quicker than they know. As an artist who wears many hats—rapper, singer, producer, and engineer—how does having full creative control impact your music's final sound and message? I always go back to the quote “Jack of all trades, master of none, but oftentimes better than a master of one” Having full creative control is fun and kinda stressful because I know the message I am trying to convey with each and sometimes it doesn’t always play out that way. I have scrapped 1000s of ideas but also have come up with some of the most memorable things as well. I also trust that it will sound good, especially because school helped me refine these skills and make my art the best possible way I can. Looking at your journey from The Perception to now, how has your sound and message evolved, and what can fans expect from you moving forward? The Perception was the seed that started the growth. I always wanted to make music that had relatability, strong messages and a sound that wasn’t dated but different. So fans can expect more music looking to drop an EP and LP this year with more singles and videos!

If you’ve ever wrestled with life-altering choices—or simply debated whether to binge-watch another series or go to bed—you’ll find a kindred spirit in Hudson Thames ’ “ Wrong. ” This pop-rock gem is a raw, emotional exploration of the bittersweet tug-of-war between love, ambition, and the fear of making the wrong call. Spoiler alert: the decision doesn’t get any easier by the end of the track, and that’s precisely why it resonates. Hudson Thames sings “Wrong” like a man standing on the edge of a precipice, peering into the infinite “what ifs.” The song radiates with desperation, vulnerability, and a touch of defiant humor—an emotional cocktail that feels as relatable as it is poignant. Each lyric seems to wrestle with the guilt of neglecting one thing to pursue another, a feeling amplified by his raw, heartfelt delivery. By the time the last note fades, you’re not just listening to a song—you’re living through Thames’ internal storm. Artistry Meets Acting It’s no surprise Thames brings such vivid emotion to his music—he’s a seasoned actor with appearances on Mad Men and Ghosts. That theatrical background shines in “Wrong,” where every line feels like a scene in a play. His phrasing, strategic pauses, and inflections are more than just vocal techniques; they’re storytelling tools that make his protagonist’s indecision all the more palpable. Thames doesn’t just sing the song—he inhabits it. The Visual Symphony The accompanying video for “Wrong,” directed by Taylor Gray and featuring the graceful Camila Arana, is a cinematic masterpiece in its own right. It’s a surreal odyssey through choices personified: white doors, each leading to a different version of life. Is one door the right one? That’s the lingering question. The set design is steeped in shadow and intrigue, evoking an atmosphere that feels equal parts dream and purgatory. Whether Thames is serenading a lover, basking in a fleeting moment of stardom, or confronting the void behind the microphone, each vignette feels carefully choreographed, yet tinged with chaos. The standout moment? Watching Thames shift from one scene to another with growing desperation, as if the doors represent not just opportunities but obligations. It’s haunting, beautiful, and just ambiguous enough to leave viewers reflecting on their own choices—or lack thereof. “Wrong” isn’t just a song for musicians or creatives; it’s a universal anthem for anyone who’s felt the weight of life’s crossroads. The heartbreak of not being able to have it all is something we all grapple with, whether we’re deciding on career moves, relationships, or simply how to spend our Saturday night. Thames captures that universal ache and turns it into art.

Photo by: John Taran Music is evolving faster than ever, thanks to rapid advancements in technology. The rigid lines that once separated genres are blurring, leading to innovative and unexpected sounds. Today’s producers are using artificial intelligence, sophisticated digital audio workstations (DAWs), and new production techniques to craft music that defies categorization. Whether it’s blending classical with hip-hop, weaving elements of rock into EDM, or morphing acoustic instruments into electronic beats, modern technology is making it easier, and more exciting, to push creative boundaries. The Evolution of Genre-Blending in Music Genre-blending is nothing new. In the 1970s, artists like David Bowie and Prince merged rock, funk, and pop to create entirely new sonic identities. Hip-hop producers of the 1990s sampled jazz and soul records to build the backbone of rap music. But historically, genre fusion relied on personal experimentation and manual sound manipulation. The digital revolution changed that. Today, producers can access massive libraries of sounds and loops, experiment with intricate effects, and collaborate remotely with artists around the world. Streaming platforms have also played a huge role in this shift. Listeners are no longer confined to radio stations that rigidly define genres. Instead, curated playlists and algorithm-driven recommendations introduce audiences to diverse styles effortlessly. This has fueled a broader acceptance of hybrid music styles. The Role of AI and Technology in Genre Blending Artificial intelligence is providing musicians with unprecedented creative tools. AI-driven software can assist in composing melodies, suggesting harmonies, and even remixing tracks. Neural networks are particularly impactful in sound design, helping producers generate unique textures that wouldn’t be possible otherwise. One of the biggest advantages of AI is how it accelerates the creative process. Traditionally, composing a song meant hours of trial and error. Now, AI-powered tools can suggest chord progressions, mimic instrumental performances, and even provide real-time feedback on compositions. These technologies are fundamentally changing how producers approach production, allowing them to focus more on creative expression than technical obstacles. AI Stem Splitters: Deconstructing and Rebuilding Songs A powerful tool in modern production is the AI stem splitter , which allows producers to break down a song into its separate components: vocals, bass, melody, drums, and more. This makes it possible to remix, rearrange, or even completely reinvent tracks.   For example, a producer might extract an acoustic guitar riff from a folk song and reshape it into a synthetic pad for an electronic track. By isolating and modifying stems from various genres, producers can create seamless blends of traditionally incompatible styles. A DJ could take a jazz vocal line, layer it over a trap beat, and add funk-inspired basslines—all within minutes using stem-splitting technology. AI Chord Progression Generators: Reimagining Harmonic Structures Another major breakthrough for producers is the AI chord progression generator . Chord structures define the emotional tone of a song, and AI-powered generators help musicians explore harmonics they might not have considered.   Producers can input a mood or key, and the AI will generate fresh chord progressions suited to that vibe. This is particularly helpful in breaking traditional genre molds. A producer composing an electronic track might use an AI-generated jazz-inspired progression to add harmonic depth. Meanwhile, a rock musician could integrate R&B-style chords into their guitars for a smoother, more expressive sound. By merging AI suggestions with human creativity, producers are unlocking new musical possibilities. DAWs and the Modern Producer: Blending Genres in FL Studio and Logic Pro Photo by: Yasin Aydin Digital audio workstations (DAWs) like FL Studio and Logic Pro have revolutionized music creation. These platforms give producers the power to combine elements from multiple genres within a single track. Layering electronic synths with live instruments, manipulating drum patterns, and experimenting with vocal effects have all become standard practices.   Producers usually start by shaping the chords and melody. AI tools help tweak chord progressions to fit various genres by suggesting alternative harmonies. Next, they build the bassline, perhaps merging an 808 sub-bass with a funky plucked bass guitar. Drums add another dimension. A producer might mix the tight hi-hats of a trap beat with the live swing of rock percussion. Lastly, vocals get innovative treatments through autotune, distortion, or reverb, depending on the desired sound.   Artists like Kaytranada, Flume, and Tame Impala frequently use DAWs to cross genre boundaries, blending hip-hop, electronic, and psychedelic elements in ways that challenge traditional structures. The Creative Process in the Age of AI and Technological Innovation A major benefit of AI-driven tools is their ability to break creative blocks. Producers who feel stuck on a track can use AI to generate new ideas, whether through chord progressions, drum patterns, or melody suggestions. This allows for a more fluid, exploratory creative process.   However, reliance on AI in music production sparks debate. While technology enhances creativity, it raises questions about artistic authenticity. Some argue that AI compositions lack the emotional depth that comes from human experience. The challenge for modern producers is finding the right balance: using AI as a tool without replacing emotional and intentional artistry. The Future of Genre Fusion in Music As AI and production technologies continue evolving, the future of music looks increasingly fluid. Virtual instruments, real-time collaboration software, and voice model synthesis will allow even deeper exploration of genre blending.   Moreover, accessibility is expanding. High-quality production tools that once required expensive studio equipment are now available as affordable and sometimes free software. This democratization of music production means more artists from diverse backgrounds can experiment and redefine musical norms.   AI is also learning from millions of existing songs, generating new musical interactions that may not yet exist in human compositions. As these capabilities improve, we may hear styles emerge that completely redefine genre classification as we know it. Final Thoughts Music is no longer confined by rigid categories. The combination of AI and human creativity is unlocking limitless possibilities, allowing producers to merge sounds in ways that were unimaginable a decade ago.   It’s an exciting time for music creators. Whether through AI-powered composition tools, DAWs like FL Studio and Logic Pro, or advanced stem splitters and chord progression generators, the opportunities to innovate are boundless. Technology isn't replacing musicians, it’s empowering them to reimagine what music can be.

With a mix of humor, charm, and razor-sharp wit, Michael J Babb delivers a refreshingly fun and undeniably catchy new single, “ Smarter Than Me .” This clever track looks lightheartedly at our ever-growing attachment to technology and the inevitable jealousy it can spark in relationships. Babb’s storytelling shines through with a playful narrative that resonates with anyone competing with a glowing screen for their partner’s attention. The lyrics are sharp and engaging, paired with an infectious melody that makes this song an instant earworm. The production is crisp, blending elements of classic country, pop, and folk, creating a timeless and modern sound. Drawing inspiration from icons like Dolly Parton, The Beatles, and The Rolling Stones while incorporating the contemporary flair of Ed Sheeran and Taylor Swift, Babb crafts a song that appeals to a wide audience. His effortless delivery and signature warmth make “Smarter Than Me” a standout addition to his growing discography. With international success already under his belt and a knack for blending humor with heartfelt storytelling, Babb once again proves his ability to connect with listeners. “Smarter Than Me” is a must-listen—clever, relatable, and guaranteed to leave you smiling. Your new single, “Smarter Than Me,” takes a humorous approach to our modern relationship with technology. What inspired you to write this song, and was there a specific moment that sparked the idea? We (John Colgin, Reid Brannon and I) had just sat down for a writing session. I am not sure which one of us said it, but as we put our phones away at the start of the session, someone said "everyone is in love with their smartphone". We all looked at each other, chuckled and the song seems to have written itself. No AI and that ain't no lie. The song blends country, pop, and folk elements seamlessly. How did you approach the production to achieve that timeless yet contemporary sound? DR FORD, aka Daniel Ford, produces all genres easily and magically. When we first went over the song, there was discussion about folk in a Jimmy Buffett style, then we played it through as Country. We didn't aim to include flavors of pop, but they seemed to work well. The end result was a good blend and an easy listen. You’ve cited influences ranging from Dolly Parton and The Beatles to Taylor Swift and Ed Sheeran. How did those artists shape the songwriting and storytelling in this track? Putting real life situations to lyric and melody have a certain art and science about them. I am amazed at the works these artists have brought to the masses. It is a challenge to make the story flow and be married to the melody. A worthy goal of any songwriter. Humor and wit play a big role in “Smarter Than Me.” Do you find it challenging to balance comedy and emotional depth in your music? Well, John, Reid and I have a chemistry that seems to spontaneously produce songs that are fun and nuanced. Love with your heart and laugh with your gut. You can't go wrong with those ingredients. With your growing international success, what do you hope listeners take away from this song, and how does it fit into the bigger picture of your evolving artistry? My goal is to keep writing songs that help people find a small amount of time to forget about troubles and enjoy a few moments of life. Laughter is good medicine and I intend to keep writing songs using the pharmacy of fun and laughter for as long as I can.

During a period of political upheaval and uncertainty, Gardenia found themselves translating national disillusionment into "Lana Del Rey," a track that cleverly disguises social commentary as a breakup anthem. Balancing raw energy in their notoriously unpredictable live shows with thoughtful storytelling, the band moves seamlessly between suit-wearing composure and chaotic performances. Working with rock producer Jack Shirley to capture their "punchy and thrashy wall of sound," Gardenia creates songs in the tradition of Outkast's deceptively upbeat "Hey Ya!"—music that rewards both casual listeners and those paying closer attention. We sat down to talk about American nostalgia as propaganda, improvised setlists, and finding warmth amid the noise. "Lana Del Rey" is a song that explores the complicated relationship with a country that has let you down. Can you talk about the moment or realization that sparked the idea for this track? Was there a specific event or personal experience that influenced the lyrics? - I wrote this song in the lead-up to the election. One candidate for president had been shot, and the other one stepped down from running again. Things felt super unstable. All I really wanted to say was, "You really like this place? Okay I guess." So many are disenfranchised right now, and I wanted to write about how they're being beaten down by this stuff, but I didn't want it to sound too preachy. That's why I went the route of writing the song as though it were about a toxic relationship. That's a little easier to get into for most people I think, including myself. Your music blends raw, improvised energy with deeply introspective storytelling. How do you strike a balance between chaotic, high-energy performances and crafting thoughtful, emotionally driven lyrics?   I've always liked the idea of there being two shows going on at the same time. There's like the surface-level show of seeing what we do at face value, like screaming and throwing our instruments around, and the ferocity of all that. But then I think there's another show within where we're actually telling stories that aren't hidden in any kind of difficult way. I wanted to make songs that you can just hear AND listen closer to. Outkast's 'Hey Ya!' always comes to mind as a reference. It was this super fun track from my childhood that everybody would dance to. Meanwhile, it's all about feeling eternally stuck in an unhealthy relationship. The song draws inspiration from Lana Del Rey’s depiction of Americana—both its beauty and its contradictions. How do you think nostalgia shapes the way people perceive and critique the present? The past always looks cleaner than it actually was. We're always using this idealized version of the past (and even the future) to shape how we handle the present, as opposed to just appreciating it for how it is. Nostalgia can be propaganda too though, and it's been weaponized for quite a while now in this country. The idea that somehow, things will revert back to this idealized point in time that never existed. Yet, it gives people peace of mind. I think we should actually be less sentimental about things, it sucks to dwell. Working with producer Jack Shirley, who’s well known for his work in rock music, must have brought a unique dynamic to your sound. What was the recording process like, and how did he help shape the vision for ‘Lana Del Rey’? Working with Jack was so exciting for us. When we were in the studio recording, we didn't have anyone lined up yet to mix the songs. However, we kept referencing songs from Jeff Rosenstock that he worked on, like 'We Begged 2 Explode' and 'Nausea'. Separately, I also heard his work on Gouge Away and was like, "wow, this is exactly how I want us to sound.". Jack has a really signature style, he makes you feel like you're in the room as the listener. He and our engineer DJ O'Loane really helped capture the essence of our dynamic and lay it on the track. We've always had this punchy and thrashy wall of sound, and yet they make it sound so warm and full.  Y our live shows are described as unpredictable and very high-energy, with elements like suit-clad performances and instrument destruction. How does your stage presence reflect the themes in your music, and what do you want audiences to take away from your shows?   Our live shows do get dicey sometimes! We improvise every setlist in real time, so every show is a truly unique performance. Tamir and I are always having so much fun onstage, and my favorite thing to see is when people go from looking too cool to care to fully losing their minds. The suits are fun because they make us look more put-together, so when the chaos kicks in, it looks even more messy.

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