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

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

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

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

Mýa has always understood the power of reinvention, and "GIVE IT TO YOU" proves that timeless music rarely has an expiration date. Lifted from her long-awaited tenth studio album, Retrospect, the single pairs the Grammy-winning artist with legendary DJ and cultural tastemaker D-Nice for a release that feels both nostalgic and unmistakably current. D-Nice sets the tone with a charismatic spoken introduction that transports listeners straight into the spirit of 1985. References to roller skates, block parties, funk, and soul establish the track's vintage foundation before Mýa steps in with effortless confidence. Rather than relying on over-the-top production or forced nostalgia, "GIVE IT TO YOU" thrives on groove, warm instrumentation, and Mýa's smooth vocal delivery, which remains as polished as ever. What makes the single especially compelling is its story. Originally written and recorded a decade ago, the song demonstrates just how enduring strong songwriting can be. Instead of sounding dated, it feels refreshingly authentic, capturing an era-inspired sound without becoming a parody of it. Mýa delivers every lyric with playful self-assurance, embracing a woman who knows exactly what she wants and isn't afraid to say it. The accompanying music video strengthens that vision. Filmed against the vibrant backdrop of Venice Beach, it channels the colorful energy of Prince-era Minneapolis funk while incorporating grainy, cinematic textures reminiscent of Breakin'. References to icons like Vanity 6, Mary Jane Girls, and Lisa Lisa & Cult Jam are woven naturally throughout the styling, creating a visual experience that celebrates the '80s without feeling trapped by it. Following recent releases like "Just a Little Bit" and "ASAP," "GIVE IT TO YOU" continues to build momentum around Retrospect while showcasing an artist who has never stopped evolving. Mýa isn't simply revisiting the past; she's reminding listeners why her artistry has remained relevant across generations. With infectious charm, polished visuals, and undeniable charisma, "GIVE IT TO YOU" feels less like a comeback and more like the next confident chapter in an already remarkable career.

Some songs explore heartbreak through confrontation. Robbie Kaye's latest release, "Nothing Left To Say," takes a far more understated approach, finding emotional depth in the quiet acceptance that comes after every difficult conversation has already happened. The accomplished songwriter, composer, and former Warner Chappell Music staff writer continues her tradition of pairing intimate storytelling with cinematic production, delivering a release that feels equally suited for late-night reflection and the big screen. Produced by Joel Jacks and featuring an evocative vocal performance from STORY, "Nothing Left To Say" gradually unfolds from delicate vulnerability into an expansive emotional crescendo. Rather than relying on dramatic moments, the song allows its restraint to become its greatest strength, capturing the complicated peace that follows finally letting go. Elizabeth Gill's expressive cello work further enhances the song's emotional landscape, adding warmth and texture without ever overwhelming its quiet intimacy. Lyrically, Robbie Kaye avoids easy resolutions. Instead, she embraces the uncomfortable reality that not every relationship can be repaired and not every ending requires one final conversation. It's a mature perspective that extends beyond romance, resonating with anyone learning when to stop fighting for something that no longer serves them. That emotional honesty has become a defining characteristic of Kaye's songwriting career. Whether composing for listeners or creating music for film and television, she consistently prioritizes authenticity over spectacle. "Nothing Left To Say" continues that artistic philosophy, offering a song that trusts its audience to sit with difficult emotions rather than rushing toward closure. In a musical landscape often driven by louder production and bigger hooks, Robbie Kaye reminds listeners that sometimes the most powerful statement comes after the words have run out. "Nothing Left To Say" is a beautifully restrained meditation on acceptance, resilience, and the quiet courage it takes to move forward. "Nothing Left To Say" explores the moment when acceptance replaces the need for another conversation. Was there a personal experience that inspired this perspective, or did the song evolve through the writing process? The song actually began with a very specific experience and the emotions surrounding it. I found myself at a point where I realized that another conversation wasn't going to change the outcome or bring the closure I thought I needed. As I continued writing, the song expanded beyond that moment and became more universal. I think most people eventually reach a place where they understand that acceptance isn't giving up—it's making peace with what is. In that sense, the song evolved from a personal experience into something larger about letting go, healing, and moving forward - a sweet surrender. You've spent years writing for film, television, and other artists. How does writing a song for your own artistic vision differ from creating music for sync or collaborative projects? Although I haven't spent decades writing exclusively for sync, I've always been drawn to storytelling in music. Writing for myself usually begins with a personal question, memory, or feeling I'm trying to understand, while songs created with sync in mind often start with story, character, or emotional function. Over time, those approaches have begun to overlap. I still want my songs to come from an authentic place, but I've also become increasingly aware of what makes a song adaptable and useful for storytelling. At their best, my songs become a hybrid of personal expression and cinematic sensibility. The production builds from quiet intimacy into a cinematic emotional release. How important was it for the music itself to mirror the emotional journey of letting go? Very important. I've always been drawn to music that unfolds emotionally. In life, acceptance rarely arrives all at once; it happens gradually. I wanted the arrangement to reflect that progression, beginning in a very intimate place and slowly opening up into something more expansive and cinematic, almost like taking a deep breath after holding it in for a long time. Your songwriting often embraces vulnerability without becoming overly dramatic. Why do you think restraint can sometimes communicate emotion more powerfully than intensity? I've learned that listeners often bring their own experiences into a song. Leaving some space allows people to find themselves in it…to relate to it in a way that touches them. I try not to over-tell; it's important to me to leave room for interpretation. Sometimes the quietest line carries the greatest weight because it invites reflection rather than telling someone exactly what to feel. I think vulnerability and restraint can coexist beautifully. After decades in the music industry, what continues to inspire you creatively, and what do you hope listeners discover about Robbie Kaye through "Nothing Left To Say" that they may not have heard before? Curiosity still inspires me. I love that songwriting continues to surprise me, even after many years of doing it. There are always new perspectives, new collaborations, and new ways to tell a story. Through Nothing Left To Say, I hope listeners hear an artist who is comfortable with complexity, honesty, and vulnerability—someone who understands that endings can be sad but also healing, and that there can be both beauty and strength in finally making peace with what cannot be changed.

As Fior continues building excitement for his upcoming album Songs from the Graveyard, his latest single, "See Me (Summer Solstice Mix)," shows another side of his evolving sound. Blending alternative pop, rock, and electronic music, the track is a bright, feel-good release that fits perfectly into the soundtrack of summer. At its heart, "See Me" is about wanting someone to look beyond the surface. Inspired by a real-life crush that never became more than a physical relationship, Fior turns those emotions into a song that's hopeful instead of sad. It's about believing you have something real to offer if someone would simply take the time to know you. That honest message makes the song easy to connect with, whether you've experienced unrequited love or simply wanted someone to see your true self. The production keeps the energy high from beginning to end. Beats from Los Angeles DJs TilDusk create a danceable groove, while Cork James' guitar adds a rock edge that gives the song extra personality. The mix of electronic sounds and live instruments feels natural, making the track equally suited for headphones, road trips, or summer parties. One of the song's biggest strengths is its balance. While the lyrics come from a personal place, the music never feels heavy. Instead, Fior keeps things light and upbeat, proving that meaningful songs don't always have to slow the mood down. The catchy chorus sticks with you long after the song ends. With each new release, Fior continues to grow as both a songwriter and producer. "See Me (Summer Solstice Mix)" is another strong step toward Songs from the Graveyard, showing that honest storytelling, memorable hooks, and infectious energy can all exist in the same song. It's a fun summer release with enough heart to keep listeners coming back long after the season ends. "See Me (Summer Solstice Mix)" was inspired by a real crush. At what point did you realize that experience had turned into a song you needed to write? Most of the time, when I write a song, I don't really decide to write it. It just overcomes me. I had known this particular crush for quite some time, but we had recently reconnected, and I was starting to catch feelings. I can't recall exactly when, but I do remember one afternoon being overcome with this overwhelming need to sit at the piano and write. The song just kind of poured out of me, and I instantly knew what it was about. Your music has evolved from piano-driven alternative rock to a blend of electronic and rock influences. How does "See Me" represent where you are creatively right now? Interestingly, "See Me" represents more of where I was a few albums ago. Songs from the Graveyard is conceptually about an artist who has given up on their music. The album is a funeral for that music, a farewell. In the same way that at a visitation or celebration of life you'll see photographs that represent someone's life journey, I wanted this album to include moments that reflect my own musical journey. This song represents the point when I first started fusing my rock influences with electronic dance music on an album called Tarot of the Witches. "See Me" does lean more into electronic dance, with DJs TilDusk programming the beats, which is more representative of where I am creatively right now. But it’s more of a nostalgia piece. The song is about wanting someone to truly see who you are. Do you think that's something people struggle with even more in today's dating and social media culture? OMG, ABSOLUTELY. Without a doubt. Clapping fingers. Yes. It's sad that so many people treat dating like ordering a pizza now, like the apps are menus. It's hard to get your humanity across when so many people have forgotten what that even is. Being online can be very isolating, so I can see people relating to this song from that perspective. "See Me" has an upbeat, danceable sound while telling a very personal story. Why do you enjoy pairing emotional lyrics with music that makes people want to move? It wasn't intentional. It just happens organically. I've always gravitated toward upbeat, danceable music that has a thematic core reflective of real human emotional pain. Others may see it as a contradiction, but for me, it pairs perfectly. There is something cathartic about expressing your emotional pain through music in the same way that there is something incredibly cathartic about moving your body to music and dancing. It's a release of tension. I would say I enjoy that release. With Songs from the Graveyard on the way, what does "See Me (Summer Solstice Mix)" reveal about the bigger story or themes listeners can expect from the album? My previous album, The Gates of Paititi, was about believing in yourself and finding success. Songs from the Graveyard is about giving up on yourself and failure. It's about walking away from yourself. "See Me" represents that part of you that still wants to be validated even though you are walking away, the part of yourself that doesn't want to give up. It's a plea for validation and recognition, which is a part of the struggle any artist faces when contemplating their own failures. As an artist, no matter how frustrated you get or how badly you may want to throw in the towel in today's bleak music industry hellscape, there will always be that part of you that doesn't want to let go. Songs from the Graveyard is a journey through failure.

Following an award-winning breakthrough year, Ontario artist Kailan McGee returns with her most ambitious work yet. Lady of the Moon abandons autobiographical songwriting in favor of a fully imagined progressive folk-rock universe inspired by the mysterious Black Forest of southwestern Germany. Structured around the eight phases of the moon, the concept album introduces original mythological characters, supernatural folklore, and interconnected storylines that span eight cinematic tracks. Backed by more than 70 pages of world-building, poetry, and character development, McGee proves herself to be as much a storyteller as a songwriter, creating an immersive listening experience that rewards curiosity from beginning to end. After the success of your debut album, what inspired you to move away from personal songwriting and fully commit to building an original fictional universe for Lady of the Moon? For me, art shouldn't be comfortable. When I look back at my career and discography one day, I want to see that every album challenged me to do something different. I want to dig into the deepest depths of my creative abilities. How else can we discover what we're truly capable of without stepping outside our comfort zones? Artists, especially female artists, often talk about the need to reinvent themselves, but for me, that has always come naturally. The music industry has shifted so heavily toward playlists and algorithms that much songwriting has become formulaic. There's absolutely nothing wrong with using a formula if it works for you, but I've watched these industry changes happen in real time. The only constant is change, and another shift could occur tomorrow, making today's strategies irrelevant. Authenticity, though, never goes out of style. When you write for yourself first, you get to witness your own growth, and I believe that's the strongest foundation any career can have. One quote from David Bowie completely shaped my perspective on creativity. He said, "I think it is terribly dangerous for an artist to fulfill other people's expectations... if you feel safe in an area that you're working in, then you're not working in the right area. Always go a little further into the water than you feel that you're capable of being in." That philosophy has stayed with me ever since. After writing 21 songs rooted in deeply personal experiences, I felt it was time to move forward. I've always admired concept albums, so I wanted to challenge myself by creating one. Being an artist is special because we can take everything we love and turn it into something uniquely our own. I wanted to test my imagination while making the kind of music I wish existed in the world. Lady of the Moon was inspired by Tusk and Mirage-era Fleetwood Mac, Stevie Nicks' Bella Donna, Alice Hoffman's Practical Magic novels, Iron Maiden's storytelling, and spooky German folklore. You developed over 70 pages of lore, poetry, and character backstories for this project. Were there any stories or characters that didn't make the final album but could return in future releases? That's a great question! Actually, yes. The opening track, The Black Forest (represented by the new moon phase 🌑), introduces the characters, landscapes, and mythology that appear throughout the album. It references fairies, witches, sirens, and ghostly shape-shifting spectral figures. As the album evolved, it began with a brighter folk sound before gradually taking a darker progressive turn. Along the way, listeners meet: Phaedora, a centuries-old siren who longs for love but is cursed to lure men to their deaths through song in order to survive within the Black Forest. The Ghost of Eryndor, who engulfs her victims in hellfire and steals their souls in the hope of one day being resurrected. The sinister witches of the Black Forest, whose presence shapes much of the album's darkness. Bellflower, perhaps the album's most tragic figure, who gives her child to the witches in exchange for youth and magical powers after being consumed by heartbreak. As I continued writing, the tragedy surrounding these characters became so emotionally heavy that I ultimately decided to remove the fairies from the story. I had already begun developing fairy characters named Seriphina, Niamh, and Florimel, but unfortunately they didn't make the final cut. As for whether they'll return someday... stay tuned. The album follows the phases of the moon instead of a traditional track order. How important is it that listeners experience the record in sequence, and what changes if they don't? The idea of sequencing the album by the phases of the moon, rather than by traditional track numbers, came after I decided on the title Lady of the Moon. It honestly felt like a download. The idea appeared in my mind almost instantly, as though it had been gifted to me. I wanted the album to exist within its own cohesive moonlit universe. Sequencing it by the lunar cycle became the pièce de résistance, tying everything together. The journey was designed to: Introduce the world and its mythology. Present the Lady of the Moon as the listener's guide through the Black Forest. Gradually reveal the characters and the ancient magic that has existed there for centuries. That said, I believe every song is strong enough to stand on its own. I always encourage people to experience art however they feel most connected to it, because art is ultimately subjective. Recording at Chalet Studio, where legendary Canadian artists like Rush and Blue Rodeo have worked, must have been a special experience. How did that environment shape the creative process? I'm very familiar with Chalet Studio because it's where we record all of our music. In fact, I married my husband and producer in Chalet Studio's A Room, so what was already a magical place became even more meaningful to me. The owners and their entire family are outstanding people who genuinely support artists. They do so much to advocate for the Canadian music community. Between the peaceful scenery, warm hospitality, and incredible atmosphere, it's a place where creativity naturally flourishes. If you're ever in the area, they even have an Airbnb. And if you're a musician looking to record, I honestly believe you'll discover some of the best work you've ever created there. Chalet Studio is a true catalyst for creativity. Having already earned major recognition for your debut, including Country Artist of the Year at the New Music Awards, how does Lady of the Moon redefine what listeners should expect from Kailan McGee going forward? As I mentioned earlier, I always want to keep testing myself. I want to continue exploring unfamiliar territory so I can discover the full extent of my creative abilities. Lady of the Moon really awakened the storyteller within me, and that's something I plan to continue exploring. I can also give you a little preview of what's next. My next album is already fully written and currently in pre-production. I wrote the entire record in just two and a half weeks back in January 2026. It's another concept album, but in a completely different way. While Lady of the Moon was driven by imagination and fantasy, this next project examines villains, monsters, and misunderstood figures from Greek mythology through a more sympathetic lens. I wanted to explore why these characters came to be viewed as they have over centuries of retellings and to present their stories from a new perspective. The writing is filled with unusual, epic language, and I'm incredibly excited to share more when the time is right. Stay tuned to my socials for more details on the next chapter.

Some songs entertain. Others challenge. Sgt. Splendor's latest single, "Brave, Rough, and Ready to Go," manages to do both at once. Built on swaggering rock instrumentation, cinematic tension, and a healthy dose of dark humor, the track feels like a lost scene from an outlaw western reimagined for modern times. Kate Vargas and Eric McFadden lean fully into the theatrical nature of their songwriting, creating a world populated by larger-than-life characters, surreal imagery, and a sense of impending chaos. Yet beneath the spectacle lies a surprisingly timely message. At its core, "Brave, Rough, and Ready to Go" examines the idea of bravery itself. Rather than celebrating lone heroes, the song questions who gets asked to be brave, who watches from the sidelines, and what happens when collective action becomes more important than individual glory. It's a message that gives the track emotional weight without sacrificing its entertainment value. Musically, the duo thrives in the space between classic rock grit and modern storytelling. Vargas and McFadden's chemistry feels effortless, blending years of experience into a sound that is adventurous without becoming self-indulgent. The song moves with confidence, balancing groove, tension, and release while maintaining the rebellious spirit that has become a hallmark of Sgt. Splendor's work. The accompanying video elevates the experience even further. Set against the backdrop of San Francisco's historic Barbary Coast, the visual embraces circus aesthetics, old-world spectacle, and immersive storytelling, creating a world that feels both nostalgic and fantastical. It's easy to see why the clip has already earned recognition on the festival circuit. With "Brave, Rough, and Ready to Go," Sgt. Splendor prove that rock music can still be playful, provocative, and purposeful all at once. It's a bold introduction to the next chapter of the band's evolution and an exciting preview of what's to come on their upcoming album, Electric Idol. What inspired “Brave, Rough, and Ready to Go,” and what were you hoping to say with the song? We were witnessing this tendency we, the people, have of publicly putting someone on a pedestal, cheering them on, and then watching them fall. Humans seem to love that stuff. And there's such a focus on individualism, particularly in this country, that feels quite counterproductive to building a healthy, happy, functioning society. Songwriting is interesting because songwriters hope to say all sorts of things, but ultimately what's heard matters. The song has a bold, theatrical energy while still touching on serious ideas. How do you balance humor, drama, and meaning in your songwriting? It's important to us that Sgt. Splendor doesn't take itself too seriously. But we want to write about big heavy things! And we're self-centered musicians! This is a practice. We have to remind ourselves, as our friend Falcon Greenwell says, "it's only music." And also music is life. Sgt. Splendor has a strong visual and performance-driven side. How important are live performance, storytelling, and imagery to the band? We love recording and being in the studio, but live performance is incredibly important with this band. Sgt. Splendor's first tour was performing with a traveling circus, so that is in our band DNA. We have a color scheme, we have an aesthetic, we have mystical band lore - performance, storytelling, and imagery are the big 3. Kate and Eric each bring different musical backgrounds to Sgt. Splendor. How do your different strengths shape the sound and creative direction of the band? We were fans of each other first and have a deep appreciation for what the other does. After doing our solo music for so long, it's fun for each of us to have another sound to play with. We can write things we wouldn't have been able to pull off before. But we also push each other. In a fun way! Play is an important part of Sgt. Splendor. How does “Brave, Rough, and Ready to Go” fit into the upcoming album, Electric Idol, and what can fans expect from this next chapter? Brave, Rough, and Ready to Go is off our previously released album Isotopia. It was featured in The Soiled Dove show that we did last year and are doing again this year. This is a riotous, wonder-filled interactive circus show under a giant big top tent in Alameda, California. Sgt. Splendor is the live soundtrack to incredible circus, aerial, and burlesque performers. So you can see the mind-blowing act that this song accompanies again starting August 7th, but the new show will also feature songs from Electric Idol. The show runs for 3 months, every Friday and Saturday, and tickets are available at https://www.thesoileddove.com

Grief rarely moves in a straight line, and Eva Cassel's latest single, "Martyr," captures one of its most emotionally complex stages with remarkable honesty. Serving as the second release from an upcoming project inspired by the stages of grief through the changing seasons, the indie-folk track explores the fragile space between holding on and finally accepting that some relationships cannot be saved. Rather than focusing on heartbreak itself, "Martyr" examines the bargaining stage, where the mind endlessly rewrites the past in search of a different outcome. Cassel transforms those intrusive "what if" questions into poetic lyricism, allowing listeners to sit inside the emotional push and pull without offering easy answers. The result feels deeply personal while remaining universally relatable. Musically, "Martyr" stands apart through its rich, jazz-influenced arrangements. Lush harmonies, understated grooves, and atmospheric production create a dreamlike backdrop that mirrors the blurred line between fantasy and reality. The track opens with the striking contrast of Alcatraz prison doors slamming shut before fading into birdsong recorded in Nashville at golden hour, immediately establishing the emotional tension between feeling trapped by the past and longing for freedom. Cassel's crystalline vocals remain the centerpiece throughout. She delivers each lyric with quiet restraint, allowing the emotion to build naturally instead of relying on dramatic vocal moments. That subtle approach makes the song's emotional weight even more powerful, drawing listeners into every line. What makes "Martyr" especially compelling is its authenticity. Co-written with her father during the height of her own grief and entirely self-produced from her East Nashville home studio, the song never feels polished for the sake of perfection. Instead, it embraces vulnerability as its greatest strength. With "Martyr," Eva Cassel proves that healing isn't always about finding closure. Sometimes it's about allowing yourself to fully experience the emotions that come before acceptance. Beautifully written, thoughtfully produced, and emotionally fearless, the single is a captivating glimpse into what promises to be an unforgettable body of work.