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In an era where music releases often begin and end with a playlist placement, Landyn Zane is thinking much bigger. On his fifth EP, Coming Attractions, the Iowa-based DIY artist delivers six tracks that blur the line between pop record and cinematic experience, pairing theatrical songwriting with ambitious world-building that extends far beyond the music itself. The concept is immediately compelling. Borrowing its title from the familiar phrase shown before a film begins, Coming Attractions explores the uncertainty of waiting for life's next chapter, whether that's love, purpose, stability, or simply the feeling that something better is still ahead. Each song acts as its own "movie trailer," offering a different emotional perspective while contributing to the EP's larger narrative. Musically, Zane confidently blends synth-pop, funk, soft rock, indie pop, and vintage '70s and '80s influences into a polished, theatrical sound. Tracks like "Died on the Vine" wrestle with the fear of dreams slipping away before they ever arrive, while "How Much For Your Love?" transforms emotional desperation into an irresistibly catchy pop anthem. Elsewhere, "Talking to the Dead" reflects on modern isolation, and "Sleep in the Backyard" closes the project with a nostalgic look back at childhood and imagined futures that never came to be. What makes Coming Attractions especially impressive is the scale of Zane's independent vision. Every aspect of the project was created in-house, from the songwriting, production, and instrumentation to the artwork, styling, photography, and creative direction. Each single even received its own fictional movie poster, original character, handmade costume, and collectible memorabilia, reinforcing the EP's immersive concept. Rather than chasing trends, Landyn Zane has created a fully realized artistic world that rewards listeners willing to step inside it. Coming Attractions proves that independent pop can still feel grand, imaginative, and deeply personal, making it his most complete and compelling release to date. You've built Coming Attractions around the idea of movie trailers and imagined futures. When did that concept first click, and how did it shape the way you wrote the EP? The full concept for Coming Attractions came with the title. I knew this was going to be my final EP before I made and released my debut album, so I wanted the name to allude to the fact that it was its own full project while also leading into something larger. For a while, the title was Amuse Bouche, but that title never fully grabbed me. Once I thought of Coming Attractions, it all came together very quickly. It felt like the perfect way to suggest that even more was coming after it, while also allowing me to show how much of a cinephile I am. I spent most of my adolescence thinking I was going to be a screenwriter, actor, and director before I found music. Framing the EP as a collection of fictional movies allowed me to blend everything I'd learned before into the release. Knowing the title while I was writing also made me think more visually and theatrically. I leaned into storytelling and tried creating fully realized worlds you could live in with each song. I wanted the song titles to immediately spark an image in someone's mind, and I used that to inspire the movie posters, outfits, and visuals surrounding each release. The title also reflects the mood of the EP. Much of it is about waiting for life to change and hoping for things like love, happiness, success, stability, and peace while wrestling with the fear that they may never arrive. The concept didn't change the themes of the songs, but it helped me understand how they all fit together and pushed me to make this my most cinematic and cohesive project yet. You're a completely DIY artist, handling everything from songwriting and production to styling, artwork, and visuals. Which part of the creative process challenged you the most on this project, and why? There wasn't one specific creative task that stood out above the others. The biggest challenge was carrying the weight of every responsibility myself. I wrote, recorded, produced, mixed, and mastered the EP in my apartment. I also built the visual worlds, designed the artwork, planned and executed the photo shoots, styled every character, customized the outfits, handled the release strategy, managed distribution, contacted press, stayed active on social media, and organized the entire postcard campaign. The most demanding parts were probably creating the visuals and mailing the postcards. The hand-painted jean outfit for "Strange Love" took hours of designing and painting, while the suit for "Sleep in the Backyard" required attaching dozens of individually painted roses by hand. I also personally signed, numbered, stamped, and mailed more than 3,000 ticket-stub postcards, even handwriting names and addresses on many of them before finally switching to labels after developing carpal tunnel. Looking back, those challenges became the most rewarding part of the project. Every creative and financial risk came directly from me, and seeing those decisions pay off after years of dedication has been incredibly fulfilling. Each song has its own fictional movie poster, character, and visual identity. How important is world-building to your artistry, and what do those visuals allow you to express that the music alone can't? World-building is essential to everything I create. The artists who inspired me didn't just make great songs. They created characters, mythology, imagery, performances, and entire worlds that people could immerse themselves in. That's always been what draws me to art. I also think world-building extends far beyond music. Countries, brands, religions, and communities all use symbols, traditions, and storytelling to create shared identities. It's one of the most fundamental ways people connect with each other. That's why I don't just make music. I want to give people visuals, characters, outfits, and experiences that deepen their connection to the songs. The movie posters for Coming Attractions gave each track another layer of meaning, from the adventurous spirit of "Died on the Vine" to the neon nostalgia of "Strange Love" and the romantic dreamscape of "Sleep in the Backyard." To me, world-building is how artists become part of history. It's what turns music into memories, communities, and cultural moments that people carry with them for years. The EP explores themes of love, loneliness, uncertainty, and growing older. Looking back, what did creating Coming Attractions teach you about yourself both as an artist and as a person? I didn't fully realize it while making the EP, but I've come to understand that almost everything I've created has been driven by a search for understanding and hope. Writing has always been my way of processing life. At the same time, I've spent much of my life overthinking every possible outcome, which often left me feeling anxious and melancholic. Even though that mindset has caused me pain, it has also fueled my imagination and my belief that life could eventually become something better. When I moved to Los Angeles in 2024, I thought being close to the music industry would accelerate my career. Instead, I experienced intense isolation, financial hardship, and times when I couldn't consistently afford food. Even then, I held onto the belief that things could improve if I kept working. After eventually moving back to Iowa, I continued chasing that hope, and a year later I've achieved things I once only dreamed about. Making Coming Attractions helped me realize that every song asks the same question: How do you hold onto hope when you have no guarantee that what you're hoping for will ever happen? I didn't know I'd been asking myself that question my entire life until I finished this project. You've already released more than 40 original songs while building a dedicated fan community through the Zaniac Fan Club. As Coming Attractions marks another major milestone, what do you hope listeners take with them into the next chapter of your journey? More than anything, I hope people feel less alone in the uncertainty of their own lives. This EP is about wanting love, happiness, stability, success, and a better future without any guarantee that those things are coming. I hope people realize they aren't alone in those feelings, and that the best path forward is to hold onto hope while continuing to make difficult decisions that move them toward the life they want. I also hope Coming Attractions reminds people that pop music can still be theatrical, personal, and deeply human. It can be more than a short clip on social media. It can have characters, handcrafted details, visual worlds, memories, and genuine relationships between artists and fans. That's the reason I created the postcard campaign and the Zaniac Fan Club. After mailing more than 3,000 postcards, I realized people are craving meaningful connections beyond social media. I want fans to feel like they aren't simply watching my journey from a distance, but that they're helping build it alongside me.

Some songs offer answers, while others encourage listeners to sit with life’s uncertainties. Amalia Fleming’s latest single, Can’t Fight the Future, belongs firmly in the latter category. The Nashville-based singer-songwriter delivers a heartfelt folk-pop anthem that explores the bittersweet reality that every season of life, both joyful and difficult, is temporary. Rather than resisting change, Fleming encourages listeners to embrace the present before it slips away. Built around warm, understated production and Fleming’s effortlessly soothing vocals, Can’t Fight the Future showcases a songwriter who understands that simplicity often carries the greatest emotional weight. Drawing influence from artists like Joni Mitchell, Maggie Rogers, and Lizzy McAlpine, she blends intimate storytelling with accessible melodies, creating a track that feels deeply personal while remaining universally relatable. The song captures the familiar feeling of reaching a meaningful moment, whether it’s a new relationship, a career milestone, or a carefree summer day, only to find yourself worrying about when it will end. Fleming’s lyrics gently challenge that mindset, reminding listeners that focusing too heavily on the future can rob the present of its beauty. It’s a thoughtful message that resonates long after the final chorus fades. The accompanying music video, filmed aboard a boat along California’s scenic Central Coast, perfectly complements the song’s themes of freedom, nostalgia, and embracing life’s natural rhythm. The sweeping visuals reinforce the idea that life is always moving forward, and our greatest choice is deciding to experience it while we can fully. Serving as the first chapter of Fleming’s forthcoming EP centered on growth, transition, and self-discovery, Can’t Fight the Future sets a compelling tone for what’s ahead. It’s an elegant reminder that while change is inevitable, there is comfort in knowing that every chapter, whether joyful or challenging, plays an essential role in shaping who we become. "Can't Fight the Future" explores the tension between appreciating the present and fearing what's next. Was there a specific moment in your life that inspired you to write this song, and how did that experience shape the lyrics? Many moments in my personal and professional life inspired “Can’t Fight The Future.” The week we wrote the song, I was experiencing a season of so much joy and excitement. My music career was growing, my relationships felt fulfilling, and I was stepping into a new chapter. I was preparing to play Live Oak Music Festival on the Central Coast of California, where I had performed my first original song in the talent show at 9 years old, so it all felt like a full-circle moment. Around that same time, I had recently recovered from a tonsillectomy and spent a month on vocal rest, which gave me unexpected time to slow down and reflect on what I wanted my next chapter of music to look like. It became clear to me that it was time to explore new topics in my writing that felt intimidating and vulnerable and be willing to invest in production to create the sound I envisioned. When I walked into the writing room, I told my co-writers how grateful and excited I was for everything happening in my life, but how I also felt this awareness that the moment I was in wouldn’t last forever. What started as a song about trying to hold onto a beautiful moment became a song about surrendering to life’s natural rhythm. It is a reminder for me that impermanence is what makes moments meaningful. The same truth that makes joyful seasons feel fleeting is also what helps us move through the difficult ones. We can’t control what happens, but we can choose to be present for the moments that make life worth living. This single is the first chapter of your upcoming EP centered around growth and change. How does "Can't Fight the Future" lay the emotional foundation for the story you want the rest of the project to tell? For this project, it was important to me to write about experiences that felt honest and relatable to the stage of life I'm in. At first, that was surprisingly difficult because I had the most experience writing songs about heartbreak and the changes I experienced throughout high school and early college. Those emotions had always felt tangible to me, and I found it easy to be vulnerable with those topics. Eventually, I reached a point where they weren't inspiring me anymore and no longer reflected the changes happening in my life. Instead, I was drawn to write about the big transitions that come after college: watching friends move away, navigating changing family dynamics as you become an independent adult, learning to set boundaries, and writing about my female friendships and positive romantic love. My hope for this EP is that it captures a very specific season of life that so many young adults can relate to. "Can't Fight the Future" became an anthem for this chapter of my life, a time filled with incredible highs, difficult lows, and constant change. Your songwriting feels deeply personal while remaining universally relatable. When writing vulnerable songs like this, how do you decide which parts of your own story to share and which to leave open to interpretation? It really comes down to what I'm comfortable with sharing publicly. But being an artist means being willing to be vulnerable in the hope that your story connects with someone else's. I've found with this project that pushing those boundaries has led to more honest, unique music. At the same time, there are songs where I intentionally leave certain details open because I don't want to narrow the listener's experience. I love when a song can mean something distinct to each person. If a lyric can be about romantic love, friendship, or even self-love, it has the opportunity to resonate on a much broader scale. That said, I also think it's important to say the things you're scared to say. Taking that leap of faith is often what creates the deepest connection, because 99% of the time there's someone out there who has felt the same way and thought they were the only one. What I love about "Can't Fight the Future" is that it can be as specific or as open-ended as the listener needs it to be. As I continue shaping the rest of this EP, I'm excited to keep pushing myself creatively, trying new things, and exploring different themes in my songwriting. The music video beautifully reflects the song's themes through its California coastal setting. What was the creative vision behind the visuals, and how important was it for the imagery to reinforce the message of the song? Soon after writing the song and as the production came together, I had clear visuals come to mind of expansive coastal shots. I imagined moments that felt free, cinematic, and full of life. Moments when your head is out the car window, you’re running on the beach, or the ocean spray is cooling your face on a speedboat. I wanted to capture those big, dramatic scenes that represent the highs in life when you feel completely present and ecstatic. Growing up in Morro Bay, California, it was incredibly special to capture the coastline that shaped so much of who I am. The ocean also felt like the perfect visual representation of this song because it is constantly changing, just like our lives and the emotions we experience daily. A huge thank you to Dylan Reiss and Kyle Plummer for helping bring this vision to life. I had a very specific idea of how I wanted the video to feel, so I decided to edit it myself, which became such a hands-on and rewarding process. Dylan helped polish the final product, and Kyle did an incredible job with the color grading. I’m so proud of how everything came together. You've been recognized as an NSAI 'One to Watch' and continue building a distinct voice in the folk-pop space. As you begin this new chapter with your upcoming EP, what do you hope listeners will understand about you as both a songwriter and an artist that they may not have before? This EP reflects a time of growth, change, and learning how to embrace uncertainty. I’ve always been drawn to the emotions that come with change: the nostalgia of looking back, the excitement of moving forward, and the bittersweet awareness that both can exist at the same time. My desire has always been to connect with people through song. To find meaning in both big and small moments and push myself to write about topics that challenge me and reveal new aspects of my life. I am ever-changing as an artist, but my intention to connect and create a space for people to feel understood remains the same and will continue to guide me through each chapter.

Dylan Sherry continues carving out his signature "desert surf" sound with "I WANNA," a reflective indie rock single that trades escapism for self-awareness. Blending the hazy textures of surf rock with '90s alternative grit, folk influences, and introspective songwriting, the San Fernando Valley artist delivers a track that feels both deeply personal and widely relatable. At its core, I WANNA explores the constant pull of instant gratification and the unhealthy habits people often use to silence internal struggles. Rather than presenting addiction or distraction as black-and-white issues, Sherry acknowledges how difficult it can be to protect your peace in a world that seems designed to overwhelm. His lyrics capture the emotional tension between wanting immediate relief and recognizing that lasting change only comes through patience and self-reflection. Musically, the song mirrors that emotional conflict. Warm, sun-soaked guitars drift alongside driving indie rock rhythms, creating an atmosphere that feels equally nostalgic and restless. Sherry's vocal delivery remains grounded and sincere, allowing the vulnerability of the lyrics to take center stage without becoming overly dramatic. One of the most compelling aspects of the release is its origin story. The melody for I WANNA reportedly came to Sherry in a dream, prompting him to wake up and immediately record himself humming the tune. It's a fitting beginning for a song centered on clearing mental clutter and searching for inner peace. With I WANNA, Dylan Sherry proves that some of the strongest indie rock songs don't offer easy answers. Instead, they provide something equally valuable: reassurance that healing is rarely linear, and that taking life one step at a time is enough. You mentioned the melody came to you in a dream. How did that experience shape the finished version of I WANNA? The melody I remembered became the foundation for everything else. It was the genesis of the song and ultimately shaped the finished version entirely. It felt like the idea was a gift, and I knew I needed to take advantage of it. "Desert surf" is such a distinctive description of your sound. What elements make a song feel authentically "desert surf" to you? It's really a narrative in my head. I want my music to feel like the soundtrack to a desert road trip. It's specific, maybe even too specific. Sonically, that means reverb-heavy lead guitars, simple song structures, and catchy melodies. Two of my biggest songwriting influences are classic country and surf music, and I think my sound lives somewhere between those worlds as a desert-inspired folk-rock and surf hybrid. I WANNA touches on addiction, instant gratification, and protecting your peace. Was writing the song itself part of your healing process? I WANNA was actually supposed to come out much earlier this year, but instead of finishing it, I found myself going down a very dark road. The song stayed in the back of my mind through all of it. Now the lyrics feel a little haunting because I truly do want to get my mind off those experiences. I'm hoping that, with everything I've learned since then, the song will become something I can look back on with a healthier perspective. The track balances vulnerable lyrics with uplifting instrumentation. How intentional was that contrast during production? It became a reflection of the gap between idealism and reality. I've often tried to tell stories in my songs without fully opening up about things I'd rather keep hidden. That tension was everywhere I looked, and eventually I felt like I had to write about it to better understand it. The contrast between the music and the lyrics naturally became part of telling that story. As you continue defining your artistic identity, where do you see your sound evolving after I WANNA? I already have another song that's almost finished, and it's unlike anything I've released before. It's called CARRY ON, a full version of a demo that appeared on my last album. It's heavily influenced by '90s rock and shoegaze, two genres I've really connected with over the past year. Moving forward, I want to keep writing about what's relevant to my life while continuing to expand the sound I've been building.

Orange County's live music scene is preparing for a major upgrade. This week, OCVIBE invited media, music industry executives, and partners inside its highly anticipated 5,000-capacity concert hall for the first time, marking a significant construction milestone as the venue officially began installing its first permanent audience seating. Scheduled to open in March 2027, the purpose-built venue will become a centerpiece of the larger $5 billion OCVIBE development in Anaheim, expanding the city's growing reputation as a destination for world-class entertainment beyond the Honda Center. The invitation-only hard-hat tour showcased just how quickly the project is coming together. Visitors explored future artist suites, backstage production areas, hospitality spaces, premium viewing sections, and the main auditorium while getting a firsthand look at the venue's developing fan experience. One of the most talked-about features was the installation of a mature Arbutus 'Marina' tree, which now anchors an indoor-outdoor artist lounge designed to give performers and touring crews a unique backstage retreat unlike nearly any other venue in North America. Designed by globally renowned architecture firm Populous, the team behind iconic venues including Las Vegas' Sphere, Yankee Stadium, and Tottenham Hotspur Stadium; the concert hall has been built with flexibility in mind. While live music remains its primary focus, the venue will also accommodate comedy shows, television productions, award ceremonies, corporate events, and community programming, creating a versatile entertainment destination capable of attracting year-round programming. Rather than competing with existing venues, OCVIBE's concert hall is intended to fill an important gap in Southern California's touring ecosystem. With a 5,000-person capacity, it creates an ideal stop for artists who have outgrown clubs but aren't yet filling arenas, while also providing established acts with an intimate room designed specifically for premium concert experiences. Following the venue walkthrough, guests gathered at Anaheim Regional Transportation Intermodal Center (ARTIC) for a presentation highlighting the broader OCVIBE district, including its future dining destinations, public parks, entertainment spaces, and mixed-use developments. The afternoon concluded with an intimate acoustic performance from Ace Enders of The Early November, offering attendees a preview of the type of live music experiences the venue hopes to deliver once its doors officially open. The concert hall represents just one piece of OCVIBE's ambitious vision. The first phase of the district, expected to debut in early 2027, will also introduce Katella Commons, a 50,000-square-foot chef-driven market hall, and The Weave, Orange County's first mass-timber mixed-use office building. Once fully completed in 2033, the 100-acre development will include more than 2,000 residences, over 35 dining concepts, three entertainment venues, and 20 acres of public open space. For artists, fans, and promoters alike, the venue signals an exciting addition to Southern California's concert landscape. As more permanent features begin taking shape, OCVIBE is quickly evolving from an ambitious concept into what could become one of the region's premier destinations for live music over the next decade.

After years of chasing opportunities, validation, and the elusive feeling of being "chosen," independent pop artist Josh Olsen has arrived at a far more meaningful destination: choosing himself. His latest single, "I Choose Me," transforms a deeply personal realization into an uplifting anthem that feels as therapeutic as it is infectious. Olsen's story adds an extra layer of weight to the song's message. From competing on The X Factor to relocating from Texas to Los Angeles in pursuit of a music career, much of his journey has revolved around seeking opportunities that could change his life. Rather than romanticizing that pursuit, however, "I Choose Me" reflects on the emotional cost of tying self-worth to outside approval. Built around polished pop production with soulful undertones, the single strikes an effective balance between vulnerability and confidence. Olsen's vocals carry both warmth and conviction, allowing the lyrics to feel conversational rather than preachy. His ability to communicate difficult truths without sacrificing melody makes the track instantly relatable. What separates "I Choose Me" from the growing wave of self-empowerment anthems is its honesty. Olsen doesn't present himself as someone who has everything figured out. Instead, he acknowledges that comparison, doubt, and insecurity still exist; they simply no longer control his life. That perspective gives the song authenticity, making its message feel earned rather than manufactured. More than a song about relationships, "I Choose Me" becomes a statement about reclaiming ownership over every aspect of life, from career ambitions to personal growth. It's a reminder that waiting for permission often keeps people standing still. With this release, Josh Olsen isn't just introducing a new single. He's introducing a philosophy that reflects both his artistic evolution and the community he's building around authenticity, resilience, and self-worth.

Chicago producer NerdyB60 continues expanding his genre-bending catalog with "PROGRESSIVE HOUSE SWING," an electrifying release that blends soaring progressive house melodies with infectious dancefloor momentum. Serving as another preview of his forthcoming album BUMBLEBARIAN, the track showcases an artist determined to push beyond traditional EDM formulas while staying rooted in pure feel-good energy. From the opening moments, "PROGRESSIVE HOUSE SWING" wastes no time establishing its atmosphere. Bright synth textures, driving percussion, and steadily building rhythms create the kind of momentum that feels equally suited for festival stages, late-night drives, or solo headphone sessions. Rather than relying on overwhelming drops alone, NerdyB60 focuses on movement, allowing each section to evolve naturally before erupting into an uplifting payoff. The release also reflects the larger creative vision behind BUMBLEBARIAN. Inspired by the buzzing energy of a bumblebee combined with the strength and determination of a barbarian warrior, the album represents making progressive music with purpose. That philosophy shines throughout this single, where confidence and optimism become just as important as the production itself. NerdyB60 has spent the past six years refining his sound across multiple genres, steadily building a reputation for versatility. Along the way, he reached an impressive milestone when his track "DAIRY" landed at No. 83 on the iTunes Top 100 Argentina Singles Chart, proving his music is already resonating with listeners well beyond his hometown. More than just another dance record, "PROGRESSIVE HOUSE SWING" embodies the spirit of perseverance that fuels the entire BUMBLEBARIAN project. It's a reminder that electronic music can be both exhilarating and empowering, leaving listeners with an undeniable urge to keep moving while embracing the confidence to forge their own path. Your upcoming album BUMBLEBARIAN is built around the idea of strength, purpose, and progression. How does "PROGRESSIVE HOUSE SWING" capture the overall vision and energy of the project? PROGRESSIVE HOUSE SWING captures the way my music has improved over the years. I’m really proud of myself. This track in particular was made over a year ago and I was just waiting for the right moment to release it. You've described yourself as a multi-genre producer, yet progressive house plays a major role in this release. What keeps drawing you back to the genre, and how did you make this track stand out from other dance records? Good question! So if you must know, most of my released projects have different styles/genres. Progressive House hasn’t really been explored enough for me. I wanted to create a new sound that incorporated house and other genres. This track stands out more than other dance records because it’s fun, funky, and infectious. PHS will take you to another world. You recently reached the iTunes Top 100 Argentina Singles Chart with "DAIRY." How has that international recognition influenced your confidence and creative direction going into this new era? When I found out that DAIRY was internationally recognized, I was in disbelief. It happens when you least expect it. I was receiving multiple DMs and compliments from people all over the world. Some people even played my song for their parties, IG reels, and workout routines. Still to this day, I receive acknowledgment about DAIRY. That accomplishment alone put that go-getter battery back in my back to do more. You've been producing music for six years and say this is only the beginning. Looking back at your journey, what has been the biggest lesson you've learned about building a career as an independent electronic artist? The biggest lesson that I have learned about this journey is to never get discouraged if you’re not where you want to be. Success will come to those who are patient. As an independent electronic artist, I want to create a distinctive sound that fans will appreciate. You hope BUMBLEBARIAN inspires people to believe in themselves and tune out negativity. What advice would you give to aspiring producers who are trying to find their own sound while navigating criticism and self-doubt? My advice to aspiring producers would be to just create what you feel. Never be boxed into one category and experiment. There’s always going to be haters in the world. If you have haters, then that means you’re doing something right. All you have to do is tune out the negativity and stay on your road to success. Individuality is key.

Few artists have managed to define the carefree chaos of late-2000s pop quite like 3OH!3, and with "MY FRIENDS," the Colorado duo proves they still know exactly how to bottle that feeling. Rather than chasing trends, Sean Foreman and Nathaniel Motte lean into the larger-than-life energy that made them icons while giving it a fresh, feel-good twist fit for 2026. Built around bright electro-pop production, punchy percussion, and an instantly memorable chorus, "MY FRIENDS" is the kind of song designed for road trips, festival crowds, and those nights that somehow turn into unforgettable stories. It's playful without feeling forced, embracing the carefree spirit that's always been at the heart of 3OH!3's music. One of the track's most charming elements comes from its origin story. What began as a family jam session between Motte and his daughter Nico gives the single an authentic warmth beneath its party-ready exterior. That sincerity helps separate "MY FRIENDS" from a typical summer anthem, reminding listeners that the best memories often come from the people around us rather than the party itself. After nearly two decades of hits, 3OH!3 continues to balance nostalgia with forward momentum. Instead of recreating past successes, "MY FRIENDS" feels like a natural evolution that welcomes longtime fans while introducing a new generation to their infectious energy. With festival appearances, a major summer tour alongside Simple Plan and Bowling For Soup, and a chorus destined for singalongs, "MY FRIENDS" arrives exactly when it should. It's carefree, catchy, and impossible not to smile through, everything a summer anthem should be. "MY FRIENDS" was inspired by a songwriting session with your daughter. How did that moment evolve into the anthem fans hear today? My daughter Nico and I were hanging out in our living room, and I was playing guitar, just rapping about her friends and how they go hard! It turned into the hook for our song, and Sean and I took it into the studio to talk about our own friends and how HARD they go! After nearly 20 years together, how do you balance honoring the signature 3OH!3 sound while continuing to evolve creatively? I think we’ve kind of gone full circle on this. When we started, we were so blissfully ignorant of song structure, form, and expectation. Then as we progressed and especially as we started writing and producing for other artists, we started learning our craft. Now we’re trying to combine that craft with that guttural energy that infects all of our first-instinct music. Your songs have found a whole new audience through Emo Nite, social media, and festival culture. What's it been like watching a new generation embrace your music? It’s been amazing. We’ve always been immersed in multigenerational families and social settings in our own private lives, so there’s nothing more special to us than seeing parents and kids rock out. You're heading out with Simple Plan and Bowling For Soup while also playing Riot Fest and Vans Warped Tour. What can fans expect from this next era of your live show? We still focus on the thing we’ve always done - create a party atmosphere where everyone is welcome and where the wall between “bands” and “fans” becomes nebulous and fractured. We’re going to make sure everyone who comes to those sets has a great time because we damn will be having a ball ourselves. Looking back at everything from DONTTRUSTME to "MY FRIENDS," what do you hope people have always taken away from the spirit of 3OH!3? I think people should be free to take whatever they want from our music, our shows, our videos, our social media. We have a lot of fun with all those different facets of our operation, and if some of that fun is infectious for the folks checking it out, we can consider ourselves fortunate.

Life rarely unfolds according to plan, and that's exactly the point of Paper Pools' debut album, Everything. Across nine immersive tracks, songwriter and producer Allen Orr transforms personal upheaval into a deeply rewarding indie rock record that explores parenthood, identity, memory, and the unexpected beauty found in surrendering control. Opening with "A New Path," the album immediately establishes its central theme of embracing change before flowing into one of its strongest moments, "Grey Skies." Inspired by Orr's childhood along the coast of Galway, Ireland, the track pairs driving basslines with dreamy textures as it reflects on family, heritage, and the hope of one day sharing those memories with his children. It's nostalgic without becoming sentimental, balancing warmth with quiet uncertainty. That emotional tension defines much of Everything. Songs like "NightDays" and "Gentian" blur the lines between dream pop and alternative rock, layering shimmering guitars over darker electronic textures that occasionally recall shoegaze and industrial influences. Meanwhile, "Forever" and "This Light" offer moments of optimism that shine through the album's introspective atmosphere. Perhaps the emotional centerpiece arrives with "A Field of Poppy," a heartfelt tribute to Orr's daughter. Its sincerity never feels forced, instead capturing the overwhelming mix of joy, vulnerability, and responsibility that comes with parenthood. Closing tracks "25 Years" and the title song "Everything" leave listeners with a sense of acceptance rather than resolution, suggesting that life's uncertainty isn't something to overcome but something to embrace. What makes Everything especially compelling is its sonic ambition. Orr recorded, produced, and mixed nearly the entire album himself, using experimental techniques that continuously reshape familiar sounds into something unexpected. The result is an album that feels expansive without losing its intimacy. With Everything, Paper Pools delivers far more than a debut full-length. It's a thoughtful exploration of growth, change, and the emotional contradictions that define adulthood. Rich in atmosphere and anchored by honest songwriting, the album rewards listeners willing to sit with its questions rather than search for easy answers. Much of Everything was written during a period of major personal change, including becoming a father. How did that experience reshape both your songwriting and your perspective on uncertainty? When my wife was pregnant with our twins, I set the album aside rather than rush it out, and I'm glad I did — when I came back, a lot of the older songs felt like a previous version of me, so I rewrote them to reflect the life I was actually in. Having two kids at once shows you how little control you have over anything; all you can do is stay present and take one thing at a time. That turned out to be a gift, because uncertainty forces you into the present, and that's often where the best work comes from. The album blends dream pop, indie rock, shoegaze, and industrial textures in a way that feels incredibly organic. How did you know when to push a song into unexpected territory versus keeping it simple? I wanted to tap into what first inspired me as a kid — Slowdive, Ride, the Stone Roses, Nine Inch Nails — but there's a fine line between being inspired by something and trying to sound like it, so I let those influences stay a loose framework and kept the focus on sounding like me. With every song, there's a constant battle to simplify until it's the truest version of what you're writing. I keep it simple with a clear point of view, but always look for one or two unexpected things — sometimes they arrive immediately, sometimes after five rewrites. Tracks like "Grey Skies" and "A Field of Poppy" are deeply personal while still feeling universal. How do you decide which moments from your own life are worth turning into songs? "Grey Skies" came from wanting to one day take my children back to where I grew up, on the west coast of Ireland in Galway; I wrote it in Los Angeles, but it was really me traveling back in time and channeling that place into the present. "A Field of Poppy" I wrote about my daughter before I knew who she was — this dreamlike sense of floating above a field, looking down at a person I'd come to know over time. The moments worth turning into songs are the ones you keep going back to — the defining ones, not the everyday. You recorded, produced, and mixed almost the entire album yourself, experimenting with tape machines, amps, and unconventional production techniques. What was the most surprising sound or creative breakthrough that emerged during those sessions? The textures on "25 Years" really stood out. What pulled it together was the intro — layers of synths run through multiple tape machines, plus hundred-year-old samples from a symphony, all processed through analog tape — until it forms a texture where you can't quite tell where the sound came from or what's making it. The album ends on a note of acceptance rather than certainty. After living with these songs for so long, what has Everything ultimately taught you about embracing life's unpredictability? You never know where life will go, but that's exactly what makes it incredible — if you can stay present enough each day to enjoy the ups and downs. All you can do is guide your part as best you can and hopefully end up with something meaningful. For me, that's my family, and this album — Everything.

With the release of "Things Don't Last," The Star Prairie Project has delivered more than another rock single. Led by songwriter Nolen R. Chew Jr., the project continues its mission of pairing classic rock musicianship with thoughtful storytelling that encourages listeners to look beyond the surface. Featuring powerhouse vocals from Marcello Vieira and dynamic guitar work from Ricardo Dikk, the track explores themes of impermanence, personal responsibility, and the influences that shape how we think and live. Rather than offering simple conclusions, the song invites listeners to question their own perspectives while delivering the kind of energetic performance that makes it just as enjoyable to crank up the volume as it is to dissect every lyric. We caught up with The Star Prairie Project to dive deeper into the creative process behind Things Don't Last, the collaboration that brought it to life, and what the band hopes audiences take away from one of its most thought-provoking releases to date. "Things Don't Last" balances high-energy rock with some deeply philosophical themes. What sparked the original idea for the song, and how did that concept evolve during the writing process? “Things Don’t Last” was the last song we wrote for the album. I came up with the lyrics and sent them to Marcello, and he and Dikk wrote the music around the story. The lyrics came out of the political climate of the time, which unfortunately is still with us. I felt huge frustration at how people could vote against their own interests and fall victim to a charismatic cult leader who hated the same people they hated and gave them license to behave at the basest level just to see their enemies suffer. I remember thinking at the time. We’re on a fricking extinction path, and this can’t last very long. The song uses the image of the "pied piper" as a powerful metaphor. What inspired that symbolism, and why did you feel it was important to include in this release? Yeah, the pied piper figure is clearly Trump. “A mad pied piper who shouts and hollers”, yeah, that’s Trump all the way. He has that mesmerizing effect on a large portion of the country. I think it’s important to reflect on how this came to be, how millions of people can be brought under his spell, so to speak. To have so much power over a group that he becomes a ‘Dear Leader’ figure who must be obeyed and can’t be questioned. To me it’s authoritarianism. Nobody is above reproach in this country. It’s a trip, and I never thought I’d live to see the day in the United States. So I had to write about it even if it upsets some people. It’s my freedom of artistic expression and my free will of choice. Marcello Vieira and Ricardo Dikk both play major creative roles on the track. How did this collaboration shape the final version of "Things Don't Last" compared to your original vision? When I wrote the lyrics, I knew they were emotionally charged. Marcello and Dikk immediately picked up on the energy and fervor of the mood. Marcello’s voice and Dikk’s urgent and intense guitar work blend seamlessly together. When I listen to ‘Things Don’t Last,’ I can’t be still. I have to move with it. It’s impossible not to. ‘Things Don’t Last’ Rocks out all right. Many listeners may enjoy the song's energy, while others will dig into the lyrics. Do you intentionally write music that works on multiple levels, or does that happen naturally? Most of the time it just comes naturally, but sometimes I can feel it build and I try to squeeze out every step in the process. “Things Don’t Last” was a multi-storied building ha! Why would a group of people approve of and protect their pied piper by surrounding him with suspiciously shady characters? I wrote, “crooks and cons and perverts too this is what the people choose.” That might seem hyper-critical, but the pied piper seemed to fit the bill. But in the final analysis, people are free to choose again and make new decisions. It’s up to us individually. Looking beyond this single, how does "Things Don't Last" reflect the broader artistic direction of The Star Prairie Project, and what can listeners expect from what's coming next? We have some real bangers on this album. I think the listeners are going to enjoy what’s in store for them. “Shadows on the Wall” started as a party album, and after a few twists and turns, it became a block party. If you like Rock and roll, there’s something there for everyone. Lots more in store for Star Prairie Project fans. Another album is awaiting on ice and another one in production. Stay Tuned.

Country music has long celebrated the sacrifices made by those who serve, but Wes McClelland shifts the spotlight to the people whose stories are often left untold. On "Military Wife," featuring fellow Southeast Texas native Kree Harrison, McClelland delivers a heartfelt tribute to the spouses and families who quietly carry the weight of military life while their loved ones are deployed. Inspired by a handwritten reflection from McClelland's niece, Elise Burgamy, the song is rooted in genuine lived experience. Rather than relying on sweeping patriotic imagery, "Military Wife" focuses on the intimate realities of separation. Small moments become the emotional anchors of the song, from tracing deployment maps across a kitchen wall to comforting children while quietly carrying the uncertainty of each passing day. Those details make the story feel deeply human, allowing listeners to connect with the emotional toll behind every military family's sacrifice. Musically, the track embraces a modern traditional country sound that values sincerity over spectacle. Warm acoustic instrumentation, tasteful production, and restrained arrangements allow the songwriting to remain the centerpiece. McClelland's rugged vocal performance brings authenticity to every verse, while Kree Harrison adds another layer of emotional depth. Her soulful delivery during the song's climactic prayer serves as the record's defining moment, transforming an already moving ballad into something genuinely unforgettable. Adding even more richness to the recording is the fiddle work of four-time Grammy Award winner Andy Leftwich, whose performance subtly elevates every emotional turn without overwhelming the song's message. Under the guidance of Grammy-winning producer Dave Hagen, the production strikes a careful balance between cinematic scale and personal intimacy. What makes "Military Wife" resonate is its refusal to romanticize hardship. Instead, it recognizes quiet resilience, unwavering faith, and unconditional love as acts of service in their own right. The song reminds listeners that sacrifice extends far beyond the battlefield, reaching into homes where families continue moving forward despite uncertainty and distance. Following the success of his internationally charting single "Ask For Help," Wes McClelland continues building a catalog rooted in meaningful storytelling. With the powerful addition of Kree Harrison's voice, "Military Wife" stands as both a moving country ballad and a heartfelt thank you to the families whose strength often goes unseen. What was your first reaction after reading your niece Elise's original handwritten message, and when did you know it needed to become a song? My first reaction was pure adoration. Seeing her handwritten words on that page and feeling the weight of such raw emotion from someone so young truly touched my heart. The exact moment I knew it had to be a song was when I read it out loud for the first time. The "It's Just A Day In The Life Of A Military Wife" already had an innate cadence, a heavy but beautiful rhythm. It wasn't just a heartfelt note; it was an honest piece of art waiting for a melody to carry it to the military community and the rest of the world. Kree, what made you immediately connect with "Military Wife," and what emotions did you want to bring to your performance? Honestly, the second I heard Wes' voice, I was hooked. His vocals made the song feel grounded in a reality so many people live, yet so few songs truly capture. As a singer, you’re always looking for lyrics that give you room to be vulnerable without being melodramatic, and "Military Wife" has that rare, grounded grace. In my vocal performance, I wanted to capture a mix of quiet resilience and deep longing, while matching Wes' emotion. I wanted listeners to feel the immense strength it takes to keep a household, a family, and your own heart together while the person you love is miles and miles away. It’s love, sacrifice, and steadfast beauty all at once. The song focuses on military spouses rather than soldiers themselves. Why was it important for you to tell that side of the story? We often honor the brave men and women on the front lines—and we absolutely should—but the home front carries its own silent struggles. Military spouses are the quiet anchors. They hold down the fort, manage the uncertainty, put on brave faces for their kids, and carry a constant, ticking anxiety in the back of their minds every single day. Telling this side of the story felt like shining a light into a room that often stays in the dark. We wanted to give those spouses a voice, a moment of validation, and a song that says, "We see you, we honor your sacrifice, and your strength does not go unnoticed." Working alongside Grammy-winning producer Dave Hagen and Andy Leftwich added an incredible musical dimension to the track. What did each collaborator bring to the final recording? It was absolute magic working with them. Dave Hagen has this incredible ear for sonic space—he knows exactly how to build a production that feels large and cinematic without ever crowding the vocal or burying the story. He kept the emotional integrity of the song at the forefront of every mix decision. Andy Leftwich brought a soulfulness that only a musician of his caliber can deliver. When you hear his musicianship, you just know it's him. Andy's playing added texture, warm nostalgia, and an organic ache to the track. Every note he played felt deliberate, elevating "Military Wife" from a simple acoustic story into a rich, timeless piece of music. I remember saying to Andy, "You're the voice of 'Military Wife,'" and he was exactly that. Your comeback has already resonated with audiences through "Ask For Help." How does "Military Wife" continue to reflect the kind of artist you want to be moving forward? If "Ask For Help" was about opening up and allowing yourself to be vulnerable, "Military Wife" is about extending that same empathy outward to honor other people's journeys. My music, songwriting, and overall sound are different from most songs out there. Moving forward, I want my music to serve as a bridge—connecting real human stories, unspoken struggles, and shared healing. I will always create songs that stay with folks long after the track ends, offering comfort, truth, and a genuine connection. "Military Wife" is another step down that authentic path.