VENTS Magazine 146th issue

Olivia O’Neill Photo Credit: Ben Cope

We’re very happy to be speaking today with acclaimed actress Olivia O’Neill; greetings and salutations, Olivia!

Before we dive down the proverbial haunted Q&A pathway, how has the freshly minted autumn of 2023 been treating you?

Ahhh it’s been so great, I love the transition of seasons.

Nothing can be the combo of a pumpkin spice latte and some uggs.

Working with David Gordon Green was like hitting the jackpot. He is such a supportive, collaborative director and he really allowed Katherine to be an open discussion between the two of us. He is the coolest.

You work with such a talented cast in The Exorcist: Believer. What was it like exercising your own considerable acting chops alongside the likes of Leslie Odom Jr?

Major accolades and congratulations on your lead turn in the very anticipated motion picture The Exorcist: Believer! For anyone living under a rock that may have missed the promotions on this follow-up to William Friedkin’s original masterpiece, can you tell folks what The Exorcist: Believer is about and how your character of Katherine figures into the proceedings?

Before I worked on this movie, I grew up in theater. To get to work alongside so many theater veterans was such a pinch-me moment.

Thank you! I am so grateful that I was trusted to be in such an amazing film. The movie is a story about two families, coming from very different backgrounds and beliefs. After my character, Katherine, and her friend, Angela are found after being missing for three days, you quickly realize that something is really wrong with these girls. You really get a good look at how different people from different cultures/religious backgrounds deal with a crisis. Ultimately they are forced to work together for the common good of their children to overcome the situation at hand.

Mental health issues have become such an epidemic and I think it’s such an important topic. I think that we need to fight for better recognition and treatment for those struggling. And that needs to start with us, individually.

Did you know as soon as you saw the script for The Exorcist: Believer that this was a production you wanted to be a part of?

Before even knowing “The Exorcist” name was attached, I fell in love with the story. I actually watched the 1973 movie after my first audition, as Katherine reminded me a lot of Regan. I was so inspired by Linda Blair’s performance and was determined to do whatever I had to do to get to be a part of this. How full circle this has come!

How aware were you of the original The Exorcist when you were offered the role of Katherine in the new film?

I had first watched the 1973 film when I was probably 11 or 12 at a sleepover. I was way too psyched out to ever finish it though. Although, once I came on board the project, the film really didn’t scare me anymore. I merely saw it from an analytical point of view and was just not in the mindset to be scared.

The director of The Exorcist: Believer is David Gordon Green. What was your collaboration process like with David? Is he what some actors might call “an actor’s director”.

Word ‘round industry campfire has it that you’re a tremendous champion of improving mental health in America. Why is this cause important to you?

What differentiates The Exorcist: Believer from the Distinguished Competition on the 2023 movie scene?

I think that there was a lot of hard work put into this film to make it emotionally complex and not just your run-ofthe-mill scary movie. Not only does The Exorcist: Believer keep you on your toes, but it also keeps you thinking and asking yourself questions even after leaving the theater.

At the end of the day what do you hope moviegoers walk away with after watching The Exorcist: Believer?

Ooo, I think there are so many great takeaways from this film but I think my favorite is the idea of community.

In today’s world, all the times of crisis have called for communities to come together. As in The Exorcist Believer, one monumental issue takes a community coming together. It takes people putting aside their differences for the greater good of others. At the end of the day, we are all just people trying to do the best we can with what we’re given. This movie has such an emotional outlook on the need for community.

What do you have coming up after The Exorcist: Believer?

Ah, I’d love to venture into a different genre! A challenge is always what I’m looking for, I never like to get too comfortable

FOGHAT

We’re super-excited and honored to have with us today as special guests the legendary Bryan Bassett of FOGHAT; greetings and salutations, gang! Before we meander down the Q&A musical pathway, could you all say ‘hi’ and introduce yourselves to our ever-inquisitive readers?

BB: Greetings and salutations readers. My name is Bryan Bassett. I’m a professional musician hailing from Pittsburgh, PA and have been in the game since the early ‘70s. For several years I played in the lively club scene in the Pittsburgh, PA and tri-state area. I joined the band Wild Cherry lead by our singer and guitarist Rob Parissi around 1974-75. Together with my band mates, Allen Wentz and Ron Beitle, within the year we recorded the number one hit record “Play That Funky Music.” For several years we toured with some of the most renowned R&B artists of the day, The Average White Band, The Commodores, Earth, Wind & Fire, The Jackson 5, and many more. I then returned to Pittsburgh to form the band Airborne, later known as T-Dice, and had several more successful years on the Pittsburgh club circuit. In the mid-‘80s I relocated to Florida and became an engineer and producer for King Snake records, an independent blues and roots label based in central Florida. We released dozens of albums for many now quite

well-known blues artists. While in Florida, I met Lonesome Dave Peverett of Foghat and we became friends and eventually bandmates, and I toured with him for five years.

Upon Foghat’s reformation with all its original members in 1993, I then joined the southern rock band Molly Hatchet.

I toured extensively around the world for seven years and recorded three albums on the SPV label with Molly Hatchet.

In 1999, I was asked to re-join Foghat as their guitarist and in-house producer and engineer, and I have been in the band ever since. That my dear readers is the short version of the last 50 years of my musical life..haha. Time flies when you’re having fun.

Major kudos and accolades for your forthcoming studio album SONIC MOJO which is set to be released this November 10! Bryan, can you give us the VH1-Behind the Music origin story on what inspired one of the best albums of 2023?

BB: Thank you, every year at the end of our touring season we gather at our studio in Central Florida (we call it “Boogie Motel South”) for rehearsals to prepare songs and the setlist

for the coming year. I also have recording gear set up there so that when we get sparks of new ideas for songs or ideas of cover songs we would like to capture in our Foghat style, it’s very easy for me to hit record and put those songs on tape or these days on hard drive. Once we have a collection of songs that we feel hold together as a package, we begin the process of creating a release, which is what we have done with SONIC MOJO. I take the songs to my home studio for mixing and mastering and Linda Arcello-Earl, our manager and Artistic Director, starts working on the artwork and doing the hard work of preparing various aspects of the release.

Bryan, SONIC MOJO marks the first new album from FOGHAT in seven years. Were there any pre-recording jitters prior to going into the studio to cut the LP, or did it all come together quite smoothly?

BB: We record in our home studio/rehearsal facility, so there were really no recording jitters at all. In fact, it’s quite relaxed.

We play, I record, we have some drinks, we eat (Roger is a fabulous cook), we go hit golf balls in the front yard...pretty laid back really and a great way to record, as opposed to the pressure days of having a tight budget and limited recording studio time.

We’re big fans of the tune She’s a Little Bit of Everything off of the SONIC MOJO album! What’s the story behind this gem?

BB: That is a song that began as a demo sent to us by Kim Simmons of Savoy Brown fame, one of four songs he sent us to work on. Roger and Kim have been lifelong friends since being bandmates in the late ‘60s early ‘70s, and of course Foghat was formed with three members of Savoy Brown in 1971. I’ve known Kim for some years, but in particular got to know him really well when he traveled to Nashville to help us finish our last studio release UNDER THE INFLUENCE. We had hoped for him to join us on this record as a player, but unfortunately his health was failing and he passed away not long after sending us those demos. We are blessed and honored to have some of his last compositions on this record. We chose three of his demos to work on and they turned out really fantastic. “She’s a Little Bit of Everything” is about the wonderful attributes of a man’s significant other.

We believe it was written about his wife, Debbie, a great tribute to her and it has become a fan favorite live as we’ve been playing it recently in concert.

How is SONIC MOJO similar to some of the past music of FOGHAT? How is it different?

BB: This record is similar to all the Foghat records in that Roger’s drumming style is quite unique and the foundation of all the tracks as in all previous Foghat recordings. The rest of us are blues-rock musicians and our personal musical playing style doesn’t vary much from the classic Foghat sound.

Rodney O’Quinn has been with us eight years and spent many years with the great guitarist Pat Travers. Our longtime bassist Craig MacGregor personally selected Rodney as his replacement as they were friends and Craig admired his playing. Scott Holt, our singer and guitarist, is the new factor in our recording. We have known Scott for several years, in fact he participated as a player and writer on UNDER THE

INFLUENCE. When we got together to write some songs, we ended up with so many songs that we created a side project band called “Earl and the Agitators” and released an album under that name, so check it out. There’s quite a few great songs on there. Scott played in blues legend Buddy Guy’s band for over 10 years, so he’s very steeped in the blues tradition and his playing is a great addition to our sound.

Bryan, on the heels of the release of SONIC MOJO this November 10, can fans look forward to catching FOGHAT on the touring/performing circuit?

BB: Most definitely. We tour every year performing 60 to 70 concerts each season, so check foghat.com to see if we’re anywhere near you and come on out and see a show.

Who inspires you musically?

BB: I was very inspired by the British invasion guitarists, particularly those in the blues and blues rock genre. Eric Clapton, Peter Green, Kim Simmonds, Mick Taylor. Listening to those players lead me to discover all the great American blues players that inspired them. B.B. King, Otis Rush, Albert King, Albert Collins, Freddie King, of course Buddy Guy. Jeff Beck was a particularly great inspiration to me though not many people can play like him. Later Jimmy Page, Johnny Winter, David Gilmour, Duane Allman, the untouchable Jimi Hendrix and so many more…I could really go on and on.

What differentiates SONIC MOJO from the Distinguished Competition on the 2023 music scene?

BB: I’m very glad to see classic rock bands continue to make great new music. The best part of that is bands of our era each have their own distinguishable sound, and luckily we have fans that appreciate hearing our new recordings.

SONIC MOJO is being released through the band’s label Foghat Records which is distributed via Select-O-Hits. What makes Select-O-Hits the perfect label for Foghat Records to team up with on this release?

BB: Select-O-Hits has a long and distinguished history supporting blues artists and they totally understand our style of music and how to promote it and get it out into the marketplace for us. Take a deep dive on the Internet to see how far back they go in the history of music. It is something well worth your time.

At the end of the day what do you hope listeners walk away with after giving SONIC MOJO many-a-spin on their respective hi-fi systems?

BB: I hope your listeners walk away, thinking “Well…the boys are still laying down some great music.” I hope they like the new originals and I hope they enjoy our take on some classic covers. Plus, it’s really nice to have this record come out on high-quality vinyl. I’m pleased to see that format have another day in the sun.

All the best …keep rockin’…and we hope to see you out on the road.

Dirty Honey

Jaydon Bean – drummer Jaydon, you joined the band this past January, shortly before you all left for the band’s UK/European headline tour. Was that similar to a “trial by fire,” or “being thrown into the deep-end?”

Well, I wouldn’t necessarily say a trial by fire. It was definitely short notice and a lot of things were happening fast, but I actually go way back with all the members of DH and previously played in the band before the name became Dirty Honey. So it was a pretty easy transition and felt more like hanging with my bros again and playing music rather than a stressful trial by fire situation. I also used to live with John and Justin, so fitting into a situation like living together in a tour bus was pretty smooth since we all know each other so well.

As the newest member of Dirty Honey, what do you feel the band’s biggest strengths are?

In my opinion, it’s a mixture of a couple things. This band has a higher level of musicianship than probably any band in our market right now, coupled with the ability to write great songs. That combination together is what I think sets DH apart from other bands. Everyone is so proficient and creative on their instrument that the delivery at shows is always top notch, and everyone has a great time.

What do think differentiates Can’t Find The Brakes from the ‘Distinguished Competition’ on the 2023 music landscape?

There is a lot of versatility on this record that I think sets us apart. We had a motto in the studio, “be open to infinity” and I think we did our best to do that and still deliver a great record within our sounds and what our fans like to hear. There is everything from acoustic ballads to hard rockers, and I think those who are “album listeners” will really appreciate the journey we take them on with this record.

The first leg of Dirty Honey’s 2023-2024 world tour began in September. How was it working alongside the iconic Guns N’ Roses on this particular stretch?

Guns N’ Roses is one of our favorite bands so being able to open for them was really quite an honor. The crowds all took to us well and the whole Guns camp were all good people, really thankful to them for the opportunity!

Any final thoughts you might like to share with readers about the new Dirty Honey LP Can’t Find The Brakes?

Just give it a listen, you won’t be disappointed! If you like it, share it with your friends and come hang with us at a show!

JohnNotto – bassist Congratulations on your rockin’ and brand-spankin’ new LP Can’t Find The Brakes which is set to premiere worldwide this November 3! John, what served as the inspiration behind one of the best albums of 2023?

The inspiration for the new record, for me, was variety.

I wanted to push our boundaries a little and show that the width of our musical soul is greater than we have shown so far. I wanted this album to be a new chapter in our artistic journey.

Leading up to the November 3 release of Can’t Find The Brakes, Dirty Honey will be embarking on a massive North American tour! Can you give readers a hint or three as to what kind of a show they can expect from Dirty Honey on this highly anticipated tour?

On the Can’t Find the Brakes tour, fans can expect some new songs, some new sounds, and some old favorites. We’re excited to perform some of these new songs that will give the set some variety, and provide even more of an emotional roller coaster for the fans.

How is Can’t Find The Brakes similar to Dirty Honey’s first LP? How is it different?

Can’t Find the Brakesis similar to our first record in that it’s still just rock ‘n’ roll music powered by a love of soul, blues, sexiness, and rhythm. But it’s different in that we’ve entered some musical areas by adding acoustic guitars and piano and background vocals.

This sonic change gives us some new emotional territory that we felt we’ve always had, but just hadn’t explored yet. We are very excited to share it with the world.

Just prior to the “Can’t Find The Brakes” 2023-2024 North American tour starting, the band hit the road in September and played a handful of dates with Guns N’ Roses. How was it working alongside the iconic Guns N’ Roses on this particular stretch?

Opening for Guns N’ Roses in arenas across America was nothing short of inspiring. Every night, from before the first note, to after the very last note, we get to see how real production operates, and how a legendary band puts on a great show night in and night out. It definitely fuels our motivation to keep working hard, and hopefully get to where they are one day.

Any final thoughts you might like to share with readers about the new Dirty Honey LP Can’t Find The Brakes?

I really hope you guys enjoy this new record from us as much as we enjoyed making it. There were a lot of magical moments in the studio this time around, moments that I feel couldn’t be re-created, even if we tried. I definitely feel it’s the best record we’ve made so far.

Justin Smolian The new single off of Can’t Find The Brakes is the incredible tune, Coming Home, which officially drops on November 18! Can you give us the VH1-Behind the Music origin story on this gem of a ditty?

Hey, this is Justin Smolian from Dirty Honey. The ‘VH-1 Behind the Music story’ for ‘Can’t Find the Brakes,’ for me, at least, and wejust kind of played all of our favorite songs. And one of the songs we played was a song called “Loud Love” by Soundgarden. Marc [LaBelle] had come to the gig also, and he said he had some other songs, but he texted me the next day and he said, hey, what was that Soundgarden song you guys played? I loved it. And so I was like, oh, well, let me try and write something kind of in that vein.

And so after messing around with it for about an hour, I came up with the riff. ‘We can’t find the brakes, and I don’t think I played it for him until we were somewhere in Switzerland on our tour about a month later. After soundcheck,Marc and I got the music together up in the dressing room. I think it really came together when we were in Australia. I don’t even know if we were planning on it being on the record, but it really took on a new life once we put another hour or two into the studio. We came upwith some great lyrics, Jaydon helped out a little bit with the melodyon the chorus, and it just turned into an absolute banger that we’re super proud of.

Nick DiDia is the producer on Can’t Find The Brakes. What was it like for the band to collaborate with this highly respected producer?

Nick is an awesome guy to work with. He’s actually very chill. I have never worked with Rick Rubin, but I imagine it’s the same kind of mentality. Nick doesn’t really tell you to do. He’s really good at being in tune when you’re on to something and telling you to follow that, or if he thinks that something is not great, he’ll also tell you that. But he’s not too controlling as far as what you’re playing. He just helps you make really good choices in the studio, and obviously like he’s worked with some of my favorite bands like Rage Against the Machine. Tim Conifer is one of my favorite bass players, so getting to ask Nick how Tim got that sound, and then kind of replicating him, but doing our own thing, it was just a really special experience for me, so I’m very grateful to work with a great producer like Nick.

How is Can’t Find the Breaks similar to Dirty Honey’s first EP? How is it different?

Well, we’ve definitely got some classic Dirty Honey riffers and rocker songs on the album. But I think we’ve expanded the breadth of our repertoire a lot on this new record. We’ve got some groovier tunes, we’ve got some more soulful songs. We’ve got an acoustic ballad.

It’s really just like the next step for us. It’s like Dirty Honey 2.0. I’m very proud of this record. We have a new drummer, Jaydon Bean who is one of my best friends in the world, and super excited to have him on board. Jaden’ is an amazing singer also, so he’s brought a lot to the band as far as vocal harmony arrangements and being able to execute it live. So, I think anybody who’s a fan of Dirty Honey is going get everything they wanted, - classic Dirty Honey, plus a lot more. So I’m excited for everybody to hear it and get the feedback on it.

Leading up to the November 3 release of Can’t Find The Brakes, Dirty Honey will be embarking on a massive North American tour! Can you give readers a hint or three as to what kind of a show they can expect from Dirty Honey on this highly anticipated tour?

The show has definitely stepped it up a lot. We’ve got bigger production, lights, we’re doing a couple of acoustic songs in the set, and about half the set is new material.It’s a bigger production, and it’sreally exciting. We’re playing better every night, and every day we’re getting better. I can’t wait to see what it looks like, give it a month in the tour, once we’re used to the big production and how to work with it.

Any final thoughts you’d like to share with the readers?

Just check out the record. I think everybody’s going to be really excited and I’m just excited to hear everybody’s feedback. So, thanks for checking it out. November 3rd. November 3rd. Can’t Find The Breaks.

Louis Michot We’re very excited to be speaking today with acclaimed fiddler, songwriter and lead vocalist for Grammy-winning sensation Lost Bayou Ramblers, Louis Michot; greetings and salutations, Louis!

Before we meander down the proverbial musical Q&A pathway - and now that autumn is nigh upon us - how was your summer of ‘23?

The summer was long and hot! But we made the most of it with a Midwest tour thru Chicago, St. Louis, Little Rock, Memphis, and Houston, plus a July residency at The Maple Leaf in New Orleans.

Now the weather has finally turned and we’re enjoying some good outdoor venues.

Major congratulations on the freshly-minted new release of your debut solo album Rêve du Troubadour! Can you talk about some of the things which inspired this incredible solo turn?

I never really meant to make a solo album, but I had been recording my own new material throughout the pandemic, and when it came time where I asked some of my fellow Lost Bayou Ramblers and Melody Makers to come record some tracks, they convinced me that this new material was more of a solo project than anything, and I finally embraced my own name and decided to move forward with Rêve du Troubadour.

We’re big admirers of the gem of a tune Boscoyo Fleaux which is from the new album. This song also happens to be the very first single off of Rêve du Troubadour. What made this little gem the perfect choice to introduce listeners to the new LP? Boscoyo Fleaux is avery personal experience, about me walking alone into the swamp across the street from my house, and the metaphorical meaning of me walking out alone creatively. It speaks of my beliefs, and how one has to navigate life standing in both confidence and humility. The song also narrates my creative process, and uses animal imagery to represent the spiritual lessons I’ve experienced along the way, and the song is bookended by the call of the Ivory Billed Woodpecker, the bird my father has been searching for since the 1970s. He and his colleagues have recently published evidence that has helped keep the species off the extinction list, which I also liken to the Louisiana French Language and how it can be really hard to find as a living language if one doesn’t know where to look.

What was it like working alongside such collaborators and special guests such as Bombino and Leyla McCalla on Rêve du Troubadour?

When I first recorded Le Cas de Marguerite, I knew immediately that my dream guest would be Bombino, but that it would be highly unlikely

to have him perform on the track as he lives in Niger, Africa. But alas, he came to Louisiana a few months later to perform on tour, and agreed to come record and even stayed at the house for a few days!

I then got Leyla McCalla to join me on vocals on that same track, and lay down some cello on Souvenir de Porto Ricoalong with String Noiseand Bryan Webre. Even though Leyla and I have become close friends over the years, it still took until the very end of the recording window to find a time that worked for both of us, as we’re both parents to three children and have full touring schedules. I was also thrilled to have guests such as Quintron, Shardé Thomas of Rising Stars Fife and Drum, Dikcie Landry, Langhorne Slim, String Noise, and Corey Ledet join in on the album.

Did you have any jitters branching off from the Lost Bayou Ramblers to create Rêve du Troubadour?

Not really, it was kind of perfect timing, as we still perform regularly with Lost Bayou Ramblers, but I’ve retired multiple other bands over the last few years for different reasons, and as is true for many musicians, it takes a diverse roster to stay busy as a full-time musician. In the start of 2020, I had 9 bands I was performing with and managing, and now it’s just Lost Bayou Ramblers and Louis Michot, which is a nice change of pace. The repertoire on Rêve du Troubadour is so different from the Lost Bayou Ramblers set, that we actually had to make multiple rehearsals to prepare to perform the new material live, which is something we never do for Lost Bayou Ramblers as most of our writing inspiration hits live on stage or in the studio.

Speaking of the Lost Bayou Ramblers, Kirkland Middleton from that band engineered and mixed Rêve du Troubadour. What was your collaboration process like with Kirkland while working on the album?

Kirkland and I have been producing music together since 2016, when he came no to record my entire 12 show residency at The Stone in New York’s Lower East Side. Since then we’ve recorded multiple projects together, and working with him on this album was really appropriate as he was able to commit from start to finish, and follow my needs and notes as they arose. We left no stone unturned on this project, and really obsessed over the details, which is not always easy to do in studio environments as time is expensive and engineers are busy with multiple projects.

I started the recordings of many of these tracks myself, using a 4 track reel-to-reel and a 4 track Protools setup in my dry-docked houseboat turned studio from 2020-2021. Then in 2022 I turned the engineering over to Kirkland at Mark Bingham’s Piety Studio, which happened to be in my front yard, so the entire album was produced on my land here in Prairie Des Femmes, Louisiana. It was so nice walking a few hundred feet with my instruments in hand to go to sessions, and really added to the feel of the record, and not having to drive an hour or more and always be on the clock.

Rêve du Troubadour is seeing release via Nouveau Electric Records.

What makes Nouveau Electric the perfect record label for you and your music?

I started Nouvea Electric Records back in 2018, for projects like this that are part of the niche Louisiana French creative realm, as they have a hard time finding national exposure with such a regional genre and the linguistic barrier. I never envisioned that I would release my own solo album, but now that the label is 5 years old, I was lucky to be able to bring my resources together for this release, which came right on the heels of another important release, Corey Ledet Zydeco’s Médikamen, a Zydeco album sung purely in Kouri-Vini, a creole dialect very specific to our area which Corey has been learning from his family.

On the heels of the release of Rêve du Troubadour, can fans look forward to seeing you on the touring/performing circuit?

Yes! We have been working hard to tour this album with performances across the country, and have even produced a visual show with the lyrics to the songs displayed in Louisiana French with English translations, which ahs been an amazing experience. People have expressed to me how much of a different experience it is to be able to understand the subject matter of the songs, and as this new repertoire is lyrically extensive, it made complete sense to include a visual and lyric element.

We’re finishing off our first year of touring as Louis Michot with a run to New York, NY and New Haven, CT, as well as a few shows in Texas and Louisiana, and already have plans for more national tours in 2024.

My live band consist of the bas and drums of Lost Bayou Ramblers: Bryan Webre on bass-six, synth, and 404 sampler, and Kirkland Middleton on drums, triangle, and SPD sampler. We all play multiple instruments, and the set is really fun and dynamic.

Who inspires you musically?

My musical inspiration comes from far and wide. I love all kinds of musics, from the musics of other cultures internationally, to jazz and blues here at home, and of course I draw a lot of inspiration from some of the older recordings made in Louisiana in the Cajun and Zydeco realms. The historic repertoire included in the Louisiana French music genres is really diverse, and includes influences from the peoples that make up our region, including local Native American tribes, French, Spanish, African, German, and all types of cultural fusions that have come from living in the same region of hundreds of years.

When working on Rêve du Troubadour, what did your creative process generally look like? Was there rhyme and reason, or was it a little more freewheeling than all of that?

My writing process on this album was unique for each song. Some songs like the title track Rêve du Troubadour and Acadiana Culture Backstep came from hearing melodies in my dreams, and waking up and recording them. Other songs like Le Cas de Margurite and Ti Coeur Bleu came from real life stories that hit me in the form of rhyme and melody, and I kept writing till they were complete. The creation process on the album is as diverse as the songs themselves.

At the end of the day, what do you hope folks walk away with after listening to Rêve du Troubadour?

As a musician who has been writing and performing music in Louisiana French for lover 25 years now, Rêve du Troubadour represents a new step in the ability to expand the use of language in music, and to continue to evolve the artform beyond what we know as traditional musics in South Louisiana. The writing style I was raised with in traditional Cajun music is based on a a melody and two set sof verses, usually four lines each, and sometimes repeating the same verse twice, and usually sings of love and loss. With this album, I bring a personal perspective to the songs, and include both modern and historical stories, which allows me to tap into a deeper vocabulary than typically used in traditional songs. I think it is important to expand beyond the familiar writing patterns, partially for the sake of evolving the music to stay relevant, and for the language as well, as so many beautiful words and sayings become obselete as time pushes forward. The music has been the biggest vehicle to keep the language alive in South Louisiana, but it has to evolve out of it’s own comfort level to stay fresh and keep future generations interested. I created this album mainly for myself and to fulfill my own creative needs as a lifelong artist, but I hope that music lovers locally and internationally are able to dive deep into the sounds and lyrics in these songs.

Honey Island Swamp Band

We’re super-excited to be speaking today with acclaimed New Orleans-based blues/roots/rock quintet extraordinaire, Honey Island Swamp Band; greetings and salutations, gang! Before we dive into the proverbial Q&A mosh-pit, could you each say ‘hi’ and introduce yourselves to our ever-inquisitive readers?

Hey, I’m Aaron Wilkinson. I suppose I’m the fearless leader of this crew!

Major congratulations on your upcoming sixth studio album, Custom Deluxe, which is set to

premiere this coming October 27 wherever fine records and CDs are sold! Aaron, what served as the inspiration for Custom Deluxe?

We recorded the album over the space of several years, so there were a lot of different inspirations.

Covid happened right smack in the middle of it, so that was obviously a big influence. We did this record in bits and pieces here and there as we were touring around the country. So more than anything, I think it was inspired by the people and places we were interacting with over those years.

How is Custom Deluxe similar to past music from Honey Island Swamp Band such as Demolition Days?

How is it different?

I was discussing this with our bassist, Sam Price.

As he points out, the music on this new record really reflects the changes in the band lineup since Demolition Day. The addition of Lee Yankie on guitar and Chris Spies on keyboards has evolved our sound, bringing some different elements into the mix, and you can certainly hear that on Custom Deluxe. But it’s still a Honey Island record, through and through.

In your humble opinion what differentiates Custom Deluxe from the distinguished competition on the 2023 music scene?

I can’t speak to what anyone else is doing, but I think we just try to be honest with our music and ourselves. We’ve been doing this a long time, and we’re not trying to craft any particular image or come across as anything other than who we are. I think people find that refreshing.

On the heels of the release of Custom Deluxe, can fans look forward to catching Honey Island Swamp Band on the touring and performing circuit?

Yes! We will kick things off with the Big Easy Cruise this November. It’s going to be a blast with a bunch of our funky friends from NOLA. Then, the plan is to hit the US hard in the early part of 2024, before heading back to Europe next summer.

We’re tremendous admirers of the “Gone” tune off of the freshly-minted Custom Deluxe LP! Is there a VH1-Behind the Music secret origin story on this amazing gem of a tune?

I wrote this song pretty much entirely while driving our old tour bus home - from New York, I believe it was. Often when we finish a tour a long way from home, someone has to drive through the night, while everyone else sleeps in back, and I actually enjoy that. I do a lot of writing behind the wheel; I guess it makes the hours go by. Anyway, I got the idea for this one somewhere around the Tennessee/Georgia line, and by the time we got back to New Orleans it was pretty much done.

You produced Custom Deluxe alongside acclaimed producer Jack Miele. What was that collaboration process like?

Jack is an old friend and trusted collaborator. He

co-produced two of our early records (Wishing Well, 2009, Good To You, 2012). When you’ve worked together as much as we have, there’s a level of trust and honesty that just makes it really easy and fun to take chances and be creative.

Custom Deluxe is making its debut on the record label Color Red! What makes Color Red the perfect home for Honey Island Swamp Band and their music?

Eddie Roberts from the new Mastersounds and Chris Spies, our keyboardist, have been friends forever. So when Eddie started Color Red, Chris and I flew out to Denver and recorded some demos out there. One of those songs, “Second Son,” ultimately ended up being on Custom Deluxe. Some of the other sessions we did for the record also took place in Denver, and Eddie joined us as a guest on those.

So, it was just a natural fit to go with Color Red, and we couldn’t be happier to be part of the label.

Who inspires you musically?

I like anything throwback. From Little Feat to Curtis Mayfiled to Steely Dan. I went through a big Gram Parsons phase when we first started Honey Island.

If I’m relaxing, I’m probably listening to reggae or rock steady, The Ethiopians or Burning Spear. So I think all that filters through to what we write. I’m into plenty of current artists as well. Love Jason Isbell, My Morning Jacket, everything that Iron and Wine has ever put out.

Honey Island Swamp Band is based out of the Big Easy, New Orleans! How do those roots inform the sound of the band?

Our music is influenced by everything from rock to blues to jazz to reggae to bluegrass. You can find all of that on the streets of New Orleans at any given time. So I think we are just a reflection of the many influences that make New Orleans music so special.

At the end of the day what do you hope music lovers walk away with after giving many-a spin to the new Honey Island Swamp Band LP Custom Deluxe?

I genuinely hope they’ll find some inspiration in the songs. Hopefully, they’ll share it with friends and come out to see us play next time we’re nearby.

It’s a crowded space out there these days for independent artists, so we really appreciate the support from all our fans!

L.A. Wade

We’re very excited to be speaking today with acclaimed author and filmmaker L.A. Wade! Before we dive in, how has Fall 2023 been treating you?

I’ve been having an amazing year. 2023 is especially significant for me because I turned 50 on October 11 which made it truly special. I’m thrilled to announce that I’m releasing my second book and my first short film this year. In addition to that, I’ve had the opportunity to do some traveling and have been brainstorming innovative ways to inspire and address important issues often overlooked, like the proverbial elephants in the room.

Congratulations on the double release of your very anticipated second book The Adventures of a Recovering Sex Addict Vol. 2: Friends with Benefits but Mostly Liabilities as well as the short film Thirsty AF: The Adventures of a Recovering Sex Addict! What inspired you to follow-up on 2022’s The Adventures of a Recovering Sex Addict?

When I penned the first volume, “Married Men and F**K Boys” it was always my intention to continue the series. I’m an adventurer at heart, and my life is brimming with a wealth of untold stories. I’ve coined the genre of my book series as “Self-Help Erotica” because it reflects the transformative journey of individuals in recovery. This is a time of deep introspection and taking responsibility for one's actions. Having lived a long and eventful life with numerous unexpected plot twists and turns, these books serve as a dynamic interplay between the personal and the relational aspects of my experiences. My own journey of recovery has allowed me to process the tragedies and comedies of my life, offering readers and audience members a chance to view themselves with unfiltered honesty and to nurture compassion and empathy, not just for themselves but for the world around them.

Tonally, how is The Adventures of a Recovering Sex Addict Vol. 2 similar to the first book? How is it different?

That’s an excellent question. My first book primarily revolves around the dating adventures that follow my divorce. On the other hand, “Friends with Benefits, but Mostly Liabilities” delves deeper into how trauma can profoundly affect various types of relationships, be they platonic or intimate. It shines a light on what some individuals are willing to endure in their quest for connection and a sense of belonging. Similar to my first book, the story in “Friends with Benefits, but Mostly Liabilities” continues to feature the wild and adventurous sexual escapades of Cali Church, the main character. These escapades become an integral part of her journey towards recovery, where she often finds herself bartering sex for love.

The Adventures of a Recovering Sex Addict Vol. 1-2 are based on your own real life struggles. Has mining the emotional highs and lows served as a bit of catharsis for you?

Yes, expressing my life story in this way through writing and filmmaking has served as a cathartic process on multiple fronts. It has facilitated an emotional release for my unexpressed emotions like pain, anger, and sadness. It has promoted a lot of self-reflection, allowing me to gain deeper insights into how my experiences have shaped my life. It has also helped me reframe perspectives around my trauma. Sharing my stories empowers me and others, giving us a feeling of control over our narratives and creating validation and connection with others who’ve had similar experiences, this helps in feeling less isolated.

Throughout your writings, you’ve exhibited such grace and humor while speaking on subjects which many people are hesitant to engage in a dialogue about. Where does this warmth and humor come from?

Throughout most of my life, I’ve frequently been told that I possess a sense of humor. However, whereas I used to assume that people were laughing at me, my writings now suggest that perhaps they can laugh with me. I hold a genuine affection for people and warmly embrace our diversities. I maintain a belief that at our core, we are inherently good, and I endeavor to treat individuals with a commitment to fairness. This disposition may be partly influenced by my astrological sign, Libra, but is undoubtedly grounded in my relationship with God. Additionally, I’ve often received feedback about my caring nature, and I’m genuinely pleased that my intentions are increasingly aligning with my actions. In the past, my view was clouded by trauma, making it difficult to perceive clearly, but I am incredibly grateful that the weight of those burdens is gradually diminishing.

Is it too early to ask if The Adventures of a Recovering Sex Addict might ultimately turn into a trilogy?

Nope, I’ve already initiated the process for Volume 3. My overarching objective revolves around garnering the interest of a network or production company, recognizing the inherent worth of these narratives and transforming them into a continuous television series. The intricacy and depth of my books offer an abundance of creative opportunities for a writing team to explore the multifaceted nature of the characters who weave in and out of my life. I’m genuinely enthusiastic about the possibilities that lie ahead.

On the same day as the release of The Adventures of a Recovering Sex Addict Vol. 2, you have a short film set to premiere entitled Thirsty AF: The Adventures of a Recovering Sex Addict - Congrats again! Can you give our readers a hint as to what they can expect with the short film?

Both the book and the movie promise to take you on an emotional journey, guiding you to reflect on facets of your own life where you may have tolerated unwelcome circumstances, while also learning how to move forward despite the circumstances. In the book, you'll find yourself both cheering for and fearing alongside the main character. The movie serves as an initial introduction to the characters we aspire to evolve over time. You’re in for an enjoyable experience, leaving you begging for more!

You directed Thirsty AF: The Adventures of a Recovering Sex Addict.

Was this something which you enjoyed and would you like to direct more in the future?

Directing was an incredibly enjoyable experience, and it has sparked my enthusiasm to further develop and enhance my skills in this area. I currently have a documentary and a reality TV show concept that I'm eager to explore in terms of directing and producing. Additionally, I’m actively working on another book titled “Finding the North Star” which explores themes unrelated to those of my previous work, and I aspire to adapt it into a feature film.

The prospect of collaborating with a seasoned director like Ava DuVernay is a dream that genuinely excites me. I recognize that I have much to learn, and with a more substantial budget and a team of individuals specializing in their respective roles, it will undoubtedly streamline the filmmaking process. Independent filmmaking can be quite challenging, and assembling the right team is crucial. I was fortunate to have individuals like Carlos Anthony, my co-producer and grant writer, as integral parts of the team. Our Director of Photography, @MovieMakingMitch, and the editor, Wale Sholubi, along with the main character, Sheronna Osbourne, who is also a director, played a significant role in bolstering my confidence and enriching my experience as a director.

Literary-wise, who inspires you?

I have a strong affinity for self-help literature, and I tend to focus a significant portion of my reading on personal development and spiritually enlightening authors. I’ve found inspiration and guidance from authors such as Iyanla Vanzant, Brene Brown, Sarah Jakes Roberts, and Steven Furtick.

Recently, I became a member of a book club known as “The Black Girl Magic Makers” which comprises women actively engaged in various aspects of the entertainment industry. I was graciously invited to this group by one of my closest friends, the talented actress Oluniké Adeliyi, who also serves as an Executive Producer on our current project. I feel truly blessed to be part of a community of individuals who are making remarkable strides in their respective careers. Our inaugural book selection is Isabelle Wilkerson’s “Caste” chosen following the release of Ava’s new project, “Origin.”

At the end of the day what do you hope readers and viewers walk away with after reading The Adventures of a Recovering Sex Addict Vol. 2: Friends with Benefits but Mostly Liabilities as well as watching Thirsty AF: The Adventures of a Recovering Sex Addict?

I hope that people can broaden their perspectives and foster greater compassion and empathy by gaining a deeper understanding of the intricacies that shape our interactions within diverse communities.

Louis Michot

We’re very excited to be speaking today with acclaimed fiddler, songwriter and lead vocalist for Grammy-winning sensation Lost Bayou Ramblers, Louis Michot; greetings and salutations, Louis!

Before we meander down the proverbial musical Q&A pathway - and now that autumn is nigh upon us - how was your summer of ‘23?

The summer was long and hot! But we made the most of it with a Midwest tour thru Chicago, St. Louis, Little Rock, Memphis, and Houston, plus a July residency at The Maple Leaf in New Orleans.

Now the weather has finally turned and we’re enjoying some good outdoor venues.

Major congratulations on the freshly-minted new release of your debut solo album Rêve du Troubadour! Can you talk about some of the things which inspired this incredible solo turn?

I never really meant to make a solo album, but I had been recording my own new material throughout the pandemic, and when it came time where I asked some of my fellow Lost Bayou Ramblers and Melody Makers to come record some tracks, they convinced me that this new material was more of a solo project than anything, and I finally embraced my own name and decided to move forward with Rêve du Troubadour.

We’re big admirers of the gem of a tune Boscoyo Fleaux which is from the new album. This song also happens to be the very first single off of Rêve du Troubadour. What made this little gem the perfect choice to introduce listeners to the new LP? Boscoyo Fleaux is avery personal experience, about me walking alone into the swamp across the street from my house, and the

metaphorical meaning of me walking out alone creatively. It speaks of my beliefs, and how one has to navigate life standing in both confidence and humility. The song also narrates my creative process, and uses animal imagery to represent the spiritual lessons I’ve experienced along the way, and the song is bookended by the call of the Ivory Billed Woodpecker, the bird my father has been searching for since the 1970s. He and his colleagues have recently published evidence that has helped keep the species off the extinction list, which I also liken to the Louisiana French Language and how it can be really hard to find as a living language if one doesn’t know where to look.

What was it like working alongside such collaborators and special guests such as Bombino and Leyla McCalla on Rêve du Troubadour?

When I first recorded Le Cas de Marguerite, I knew immediately that my dream guest would be Bombino, but that it would be highly unlikely to have him perform on the track as he lives in Niger, Africa.

But alas, he came to Louisiana a few months later to perform on tour, and agreed to come record and even stayed at the house for a few days! I then got Leyla McCalla to join me on vocals on that same track, and lay down some cello on Souvenir de Porto Ricoalong with String Noiseand Bryan Webre. Even though Leyla and I have become close friends over the years, it still took until the very end of the recording window to find a time that worked for both of us, as we’re both parents to three children and have full touring schedules.

I was also thrilled to have guests such as Quintron, Shardé Thomas of Rising Stars Fife and Drum, Dikcie Landry, Langhorne Slim, String Noise, and Corey Ledet join in on the album.

Did you have any jitters branching off from the Lost Bayou Ramblers to create Rêve du Troubadour?

Not really, it was kind of perfect timing, as we still perform regularly with Lost Bayou Ramblers, but I’ve retired multiple other bands over the last few years for different reasons, and as is true for many musicians, it takes a diverse roster to stay busy as a full-time musician. In the start of 2020, I had 9 bands I was performing with and managing, and now it’s just Lost Bayou Ramblers and Louis Michot, which is a nice change of pace. The repertoire on Rêve du Troubadour is so different from the Lost Bayou Ramblers set, that we actually had to make multiple rehearsals to prepare to perform the new material live, which is something we never do for Lost Bayou Ramblers as most of our writing inspiration hits live on stage or in the studio.

Speaking of the Lost Bayou Ramblers, Kirkland Middleton from that band engineered and mixed Rêve du Troubadour. What was your collaboration process like with Kirkland while working on the album?

Kirkland and I have been producing music together since 2016, when he came no to record my entire 12 show residency at The Stone in New York’s Lower East Side. Since then we’ve recorded multiple projects together, and working with him on this album was really appropriate as he was able to commit from start to finish, and follow my needs and notes as they arose. We left no stone unturned on this project, and really obsessed over the details, which is not always easy to do in studio environments as time is expensive and engineers are busy with multiple projects.

I started the recordings of many of these tracks myself, using a 4 track reel-to-reel and a 4 track Protools setup in my dry-docked houseboat turned studio from 2020-2021. Then in 2022 I turned the engineering over to Kirkland at Mark Bingham’s Piety Studio, which happened to be in my front yard, so the entire album was produced on my land here in Prairie Des Femmes, Louisiana. It was so nice walking a few hundred feet with my instruments in hand to go to sessions, and really added to the feel of the record, and not having to drive an hour or more and always be on the clock.

Rêve du Troubadour is seeing release via Nouveau Electric Records.

What makes Nouveau Electric the perfect record label for you and your music?

I started Nouvea Electric Records back in 2018, for projects like this that are part of the niche Louisiana French creative realm, as they have a hard time finding national exposure with such a regional genre and the linguistic barrier. I never envisioned that I would release my own solo album, but now that the label is 5 years old, I was lucky to be able to bring my resources together for this release, which came right on the heels of another important release, Corey Ledet Zydeco’s Médikamen, a Zydeco album sung purely in Kouri-Vini, a creole dialect very specific to our area which Corey has been learning from his family.

On the heels of the release of Rêve du Troubadour, can fans look forward to seeing you on the touring/performing circuit?

Yes! We have been working hard to tour this album with performances across the country, and have even produced a visual show with the lyrics to the songs displayed in Louisiana French with English translations, which ahs been an amazing experience. People have expressed to me how much of a different experience it is to be able to understand the subject matter of the songs, and as this new repertoire is lyrically extensive, it made complete sense to include a visual and lyric element.

We’re finishing off our first year of touring as Louis Michot with a run to New York, NY and New Haven, CT, as well as a few shows in Texas and Louisiana, and already have plans for more national tours in 2024. My live band consist of the bas and drums of Lost Bayou Ramblers: Bryan Webre on bass-six, synth, and 404 sampler, and Kirkland Middleton on drums, triangle, and SPD sampler. We all play multiple instruments, and the set is really fun and dynamic.

Who inspires you musically?

My musical inspiration comes from far and wide. I love all kinds of musics, from the musics of other cultures internationally, to jazz and blues here at home, and of course I draw a lot of inspiration from some of the older recordings made in Louisiana in the Cajun and Zydeco realms. The historic repertoire included in the Louisiana French music

genres is really diverse, and includes influences from the peoples that make up our region, including local Native American tribes, French, Spanish, African, German, and all types of cultural fusions that have come from living in the same region of hundreds of years.

When working on Rêve du Troubadour, what did your creative process generally look like? Was there rhyme and reason, or was it a little more freewheeling than all of that?

My writing process on this album was unique for each song. Some songs like the title track Rêve du Troubadour and Acadiana Culture Backstep came from hearing melodies in my dreams, and waking up and recording them. Other songs like Le Cas de Margurite and Ti Coeur Bleu came from real life stories that hit me in the form of rhyme and melody, and I kept writing till they were complete.

The creation process on the album is as diverse as the songs themselves.

At the end of the day, what do you hope folks walk away with after listening to Rêve du Troubadour?

As a musician who has been writing and performing music in Louisiana French for lover 25 years now, Rêve du Troubadour represents a new step in the ability to expand the use of language in music, and to continue to evolve the artform beyond what we know as traditional musics in South Louisiana. The writing style I was raised with in traditional Cajun music is based on a a melody and two set sof verses, usually four lines each, and sometimes repeating the same verse twice, and usually sings of love and loss.

With this album, I bring a personal perspective to the songs, and include both modern and historical stories, which allows me to tap into a deeper vocabulary than typically used in traditional songs. I think it is important to expand beyond the familiar writing patterns, partially for the sake of evolving the music to stay relevant, and for the language as well, as so many beautiful words and sayings become obselete as time pushes forward. The music has been the biggest vehicle to keep the language alive in South Louisiana, but it has to evolve out of it’s own comfort level to stay fresh and keep future generations interested. I created this album mainly for myself and to fulfill my own creative needs as a lifelong artist, but I hope that music lovers locally and internationally are able to dive deep into the sounds and lyrics in these songs.

Gone Stereo

We’re very happy to be speaking today with acclaimed Punk Rock 5-piece band Gone Stereo; greetings and salutations, gang! Before we dive down the proverbial Q&A musical rabbit hole, could you each say ‘hi’ and introduce yourselves to our ever-inquisitive readers?

Well hello, my name is Matty and I provide the vocals.

Mike here, and I play the bass Chris, six stringer flinger and almost harmony singer Josh, lead licks Jason, I just keep everyone in time.

Major congratulations on your freshly-minted new single I’m So Sick which is paired with its backing side Cool Kids! Matty, what served as the inspiration for this rousing new anthem?

When I was writing the lyrics for I’m So Sick, I had a lot on my mind. I was dealing with a falling out with some very close friends, I was frustrated, disappointed and felt stuck in this perpetual circle. I was so sick of my thoughts and

would sit there and wonder, when was all of this just going to go away? I recall showing everyone a rough demo and once the guys added their magic to it, it became one hell of a catchy tune. I’m truly delighted that through these lyrics, I get to share my feelings with everyone.

Mike, no less of a respected powerhouse than John Naclerio did the producing honors on the I’m So Sick single while Chris Badami did the mixing. What was the collaboration process like between the band with John and Chris while in the studio working on the single?

John is a wonderful person and he is very patient as an engineer. He makes certain that you’re giving him only the best performance and that it is on point.

Nowadays, it is more convenient and cost effective just laying down your own guitar tracks at home, but having that extra set of ears and knowledge is what makes the recording process much, much better.

Chris has also been around just as long as John and he has worked on several similar projects. We didn’t get to sit with Chris as we did with John, but Chris understood the changes we wanted to make in the mix and always was able to give us several versions to listen to. The recording and mixing process is definitely an undertaking, but with John and Chris’s credentials we were confident that they would supply us with a great record, which they did!

Chris, I’m So Sick is released via Negative Progression Records. What makes Negative Progression the perfect home for Gone Stereo and their music?

So Negative Progression has been super supportive of our releases. Seth has really been instrumental in getting our music into ears so-to-speak. He’s also full of ideas. I know he has had his hands in the DIY punk rock scene for decades, with the label active on and off throughout that time. He’s got a good ear for melody, loves a syrupy chorus. I’m glad we got the chance to put these songs out on a label with such a talented and diverse roster and rich history.

Jay, how is I’m So Sick and Cool Kids similar to past music from Gone Stereo? How are they different?

I wouldn’t say either of those songs are that different from any other song we wrote. I’m So Sick has a cymbal pattern in the choruses that definitely makes it stick out from all the rest and Cool Kids is a great Pop Punk song.

Both are great songs which do make them similar to what we have written in the past, but both songs have parts that make them stick out from all the rest.

Matty: I’m inspired and influenced by so many different musicians, groups and styles of music. Some of my all time favorite punk bands are Screeching Weasel, Face To Face, MXPX, and Goldfinger. I am also a huge oldies (50’s & 60’s) and country music fan. I have a very diverse playlist of music on rotation Mike: I’ve got a pretty varied list of musical influences… those that have influenced my bass playing most include Operation Ivy, Bouncing Souls, Bad Religion, NOFX. But also other genres…Curtis Mayfield, Primus (Les Claypool), Violent Femmes and Led Zeppelin to name a few. Huge fan of old school rap!!

Matty, Gone Stereo hails from Long Island, New York.

How do those roots inform the sound of the band?

Today and throughout the years, Long Island has brought us some amazing music. For example and genre specific, LI brought us bands such as The Movielife, TBS, Bayside, IATA, Silent Majority and more recently Koyo, Lunacy Commission, Bitters and Distractions, Half Dizzy the list is just so large. Then of course you’ve got Billy Joel, The Stray Cats, etc. I just like that we’ve added Gone Stereo to the list of bands from Long Island!

Mike, with the release of the new single, what do plans look like for a full-length Gone Stereo album in 2024?

Nothing is confirmed for a full length yet, but it has been discussed... keep an eye on this space.

Josh, with the release of the new single, can fans look forward to catching Gone Stereo on the touring/ performing circuit in the coming weeks and months?

Chris, I’m So Sick features original artwork painted by punk rock legend Mark DeSalvo of NOFX and Lagwagon fame. What’s the story behind how Mark came to be involved with the new single?

Well it’s not “new news’ ‘, but Jay has stepped away from the drums. We will miss him for sure and can’t thank him enough for his contribution to our group and of course his friendship. We just onboarded Nick Ivanoff, our new drummer. Currently we are writing new material while laying down the foundation with Nick. As of now, we have a show booked on Long Island on 12/1/23 at the Amityville Music Hall with Lil Lotus, Makeout and Sace6 so if anyone is reading this and you’re from Long Island, see you at the show! In the meantime, be sure to follow us on instagram.com/gonestereo or on any of our social platforms for updates!

I think it was one of those things where we were like do you think he’d do it? Can’t hurt to ask right? Here we are. Working with Mark to get our vision and ideas across was super easy. Dude is an absolute gentleman, and was super accommodating of our tiny little band’s requests. So cool. I mean he was responsible for so many of my favorite record’s covers. It’s surreal to me that we got to work with him. And to have the original painting hanging up at his exhibit this month in the Punk Rock Museum in Vegas? How fucking cool is that?

A question for all of you: Who inspires you musically?

Jay, at the end of the day what do you hope listeners walk away with after giving many-a-spin to the new Gone Stereo single I’m So Sick and Cool Kids?

Chris: I’m a huge REM fan, the Ramones were super influential to me, and those mid 90s punk records on Lookout, Fat, and Epitaph, bands like Operation Ivy, Green Day, Jawbreaker, NOFX…

I would like listeners to come away with the joy of listening to 2 kick-ass songs As simple as that.

Fred Hostetler

We’re excited to be speaking today with acclaimed indie artist, American musician, singer-songwriter and author Fred Hostetler; greetings and salutations, Fred! Before we dive into the proverbial Q&A mosh-pit, how is the freshlyminted Pacific Northwest autumn of 2023 treating you?

Ah, tis’ a beautiful fall. The colorful leaves are falling and I enjoy the crunch of walking on those grounded dried leaves. I played five local gigs this month in small venues and two outdoors in the cool but sunny late afternoon, all of which were very satisfying.

Major congratulations on your incredible new single Rain Walking which is set to be released this October 25! What inspired this beautiful new tune?

I live in a very small town where you can jaywalk or stroll down main street without worry about being arrested or being hit by a car. I try to walk twice a day and it clears my mind. I often remember things as I’m walking and that is how the song came into being. I might add that it is often raining here in the Pacific Northwest in the USA. As you well-know, rain creates certain different moods in different people. For me there is a certain bittersweet quality to it that brings out both joy and sadness from past experiences.

section. Or see if the lead guitar might come up a bit 2:35 -2:43 the guitar line that answers the vocal might come up or ‘just brightened a taste’, but I don’t want to mess up what is there.

3:27 Lead up or is it too messy to work there as the tracks goes out.

How is Rain Walking similar to some of your past music such as You Don’t Know What You Don’t Know? How is it different?

“You Don’t Know What You Don’t Know’ was called an anthem for our times done in .what one reviewer called psychedelic blues style. Rain Walking is more personal, moody but somehow joyful and universal.

On the heels of the October 25 release of Rain Walking, can fans look forward to an EP or LP release from you in 2024?

Absolutely! Maybe even by December but more likely around Jan 10, 2024. Rain Walking is the title track and it will also include two singles from 2023. Orphan Blues and Where is Bob Marley.

You self-produced Rain Walking. What are the benefits to serving as your own producer?

What does your touring/performing dance card look like in the coming weeks and months?

Total control over the content of the song without outside interference. But it is a lot of pressure to go it alone and there is plenty of room for failure.

I don’t leave the island where I live that much. As I said earlier I played in September and have some upcoming local solo acoustic dates. Nothing else is planned right now.

In your humble opinion, what differentiates Rain Walking from the Distinguished Competition on the 2023 music landscape?

Who inspires you musically?

There’s sort of a 90’s rock kind of ambience to it. But two reviewers compared the song with John Lennon Mind Games era. Of course that’s going back in time even further. There is so much out there right now by talented artists. Where I fit in can be seen by those few people who actually listen to more than 30 seconds of music.

Veteran performers who have that spark and carry on through all kind of difficulties and family life. Taylor Swift breaking down barriers and standing up to dubious record company practices. John Forgerty getting his songs back, and the tremendous output of indie artists worldwide. Young people here on the island who try to find a way to express themselves live and experiment with the use of social media to promote their music and themselves.

Rain Walking was mixed by the capable hand of Eric Troyer who also provided additional vocals and keys on the new single! What was your collaboration process like with Eric while working on the new tune?

Eric Troyer founded ELO Part 2 with former members of the original band, which is now known as The Orchestra. We grew up together in northern Indiana and played in bands on the West and East Coasts. He has recorded with the John Lennon, Celine Dion, Kiss, Meatloaf, etc. Because I produce myself, I’m delighted to hand the final mix over to someone with great experience and fresh ears and whom I know! He helps tweak things and makes up for my engineering faults. Sometimes requesting me to redo or add another track. Here is an example of long distance mixing from opposite coasts: Rain Walking Mix notes for Eric: :23 -Lead guitar disappears for a moment :59 - Lead guitar line a touch low 2:02 -lead guitar a touch low again 2:12 - right after vocal Rain Walking , maybe that bubbling synth thing could be heard through that

You hail from Goshen, Indiana and now hang your fedora in the beautiful state of Washington. How do those seemingly disparate roots inform you as an artist and as a person?

I would say the roots are not that disparate. So many people here in the Pacific Northwest trace back to midwest locales.

I even have relatives scattered all over this area. There is a rich and diverse creative vein to life and music here. The confluence of gospel, blues, folk, jazz, rock (in all its diverse forms) creates a forest of potential experience and enjoyment.

So I feel relaxed but challenged at the same time even though I am not in an urban environment.

At the end of the day, what do you hope listeners walk away with after giving many-a-spin to Rain Walking?

It would be great if they simply could relate to the song enough to see that our efforts and failures and the resulting growth can end in the resolve to keep walking through it all, one step at a time. Still standing, moving on with a sense of gratitude for an experience thathas ripened into a valued moment in time.

Patricia Rae

We-re super-excited to be speaking today with acclaimed and award-winning actress Patricia Rae; greetings and salutations, Patricia! Before we meander down the proverbial celluloid Q&A pathway, how have the dog days of the summer of 2023 been treating you?

First of all— thank you for having me! I have been keeping myself busy. If you haven’t heard we are in the middle of an actors strike.

So I have been actively picketing with a group of motivated Latinas.

Our group is called “Latinas Acting Up”. Please come out and join us on the strike line. Also, I have been very busy with my weekly podcast “Believe This” that I co-host with Chris Crim.

Major congratulations on the freshly-minted podcast Believe This which you host alongside the ever-brilliant Chris Crim! For anyone not in the know, can you explain what the Believe This podcast is all about?

Its a weekly conversation featuring spirited, good faith debates on a variety of hot topics, social issues, politics, health and entertainment, from our opposing points of view. Sometimes we agree, and generally we don’t. The point is to create a safe space to have the hard conversations, and still remain civilized.

What are the origins of Believe This? Is there an E! True Hollywood Story you could share with us on how this extraordinary podcast came into being?

Thank you for all the nice praise. I had been itching to do a podcast focused on health, as I am a Reiki healer, but I felt overwhelmed with the competition. Cris, whom I know form Twitter was looking for a co-host for a new podcast, after his podcast “Come Get Sum” and put it out there, literally on the internet. I answered the call.

When we were spit balling ideas for the podcast, I mentioned that I felt that we weren’t having honest discussions, on hard topics anymore. And I really wanted to be able to voice my thoughts on subjects that were important to me— without fear of being “unfriended.”

In this day and age of seemingly everyone feeling they need to pick a particular side and the feeling of growing rifts between folks due to political or ideological differences in opinions, what can Believe This do in order to help bring people together versus wedging them further apart?

This podcast creates a safe space to have those sensitive conversations… the ones where we don’t necessarily agree, because we don’t all see things from the same perspective, while allowing for an organic deliberation, free of judgement.

What has your collaboration process with co-host Chris Crim been like on Believe This?

Nothing less than amazing. He is thoughtful, and generous, and very insightful, but most of all he is very kind. We just have a really good rapport. We have fun with each other, and we never get mad.

When we don’t agree on a topic, we give each other the respect to have our own opinion. Believe that! Funny thing is Chris lives in the mostly conservative state of Florida and he leans left. I live in the super liberal Los Angeles and my views lean slightly moderate. So we both have plenty of topics that bate us intellectually and emotionally, because of the geography. It makes for really spirited debates in every episode.

And sometimes we agree on issues, believe it or not.

Especially when it comes to issues on children, being both parents.

What differentiates Believe This from the Distinguished Competition on the present day podcast scene?

In a societal climate full of discourse, shaming, blaming, and judging, our goal with this podcast was to have civilized conversations on controversial issues, in an effort to expand each other’s perspective. “Let’s agree to disagree.” And have fun with it too. Nobody out there is allowing for this difference of opinions.

Remember debate team? You were encouraged to argue your point, and find the evidence to support it. That’s what we do.

We try and validate why we feel a certain way on a subject by supporting it with critical thinking. But let me clarify, that we never claim to be experts on an given subject. We are just really passionate people who need and avenue to express that passion, sans the fear of cancellation.

You’re also a well-respected producer in the ntertainment industry along with being an accomplished actress. Do you have a preference between these two crafts, or is it all apples and oranges, creatively-speaking?

I’m an artist. My purpose in life is to create. I don’t judge myself on the process of how that translates at any given moment. Whether it’s on a canvas, on paper, or helping produce someone else’s vision, or talking about current events on a podcast. I just create because that’s my happy place. We as humans are creative by design. We create life. We create art.

Acting-wise, who inspires you?

The greats. Meryl Streep, Helen Mirren, Jessica Chastain, Robert DeNiro, Nicholas Cage. Too many to name.

Can you give our ever-inquisitive readers a hint or three as to some of what they can expect with future episodes of Believe This?

As long as there are politics and social issues on the horizon, we will have plenty of fodder… but I’m sure we will get into the primary debates, the Trump indictments; we’re exploring the resurgence of police hirings in LA and across the country, and updates on the SAG/Aftra strike, of course. We are looking into the Bill Gates foundation that is said to be hoarding seeds.

We are also planning for a whole health episode. Lot’s of controversial and fun topics coming up! We like to focus on positive stories as well. We just featured an entire “feel good” episode.

Are there some topics that Believe This won’t tackle and attempt to find common ground on, which might be a little too incendiary?

Nope. Bring it. If we edit ourselves in terms of subjects, it would defeat the purpose of the podcast. We want to have the hard conversations, that make people uncomfortable. We encourage our differences of opinions. We recently had an author on, who helped us unravel “Rape Culture”. At the end of every episode, Chris and I encourage our listeners to weigh in and give us feedback at btpod4u@gamil.com .

At the end of the day, what do you hope audiences walk away with after experiencing Believe This?

A broader sense of perspective. I created a space space where I could think for myself and challenge or question the status quo.

Our message for young people in particular is this; Think for yourself. Be curious. Ask questions. Formulate your own ideas and don’t be afraid to voice and share them. We need to get away from shaming people for who they are and how the think. That you can believe.

Jon Geiger Major congratulations on your amazing new album which just premiered worldwide, Jon Geiger: Live At Harvelle’s! What inspired you to tackle a live album at this point in your career?

Thank you so much! My heroes were always the men and women who played live, and poured their hearts out and could do it live every night and never mailed it in and reached for that standard of lifting people up through their voice and their instruments and their passion… So I feel like Live is a perfect way to put across what I do… I’m also very much ready to be expanding the areas that I come to play live in, so I’m looking forward to finding the right booking representative and/or management to play broader itineraries both here and overseas and I am very much ready to do that. So that was a factor as well, because I felt that a live album would show any potential people in those positions what they can count on from me every night if they took me on to put me out there that way .

How did you specifically land on the decision to use the far-famed Blues club Harvelle’s in Santa Monica, California to record Live At Harvelle’s? Were there ever any other venues in contention for the live record, or was Harvelle’s always your bird?

I love the history of Harvelles and its’ place as a Launchpad and a Home for the greatest blues players in Southern California, they’ve all come through there, and the people who run that place worked so hard to keep it going through the pandemic and to stay committed to live music rather than simply changing their operating to a simpler dj type system… They were committed to live music and at a certain standardand in this genre, and the best way I can say thank you and to support the community that supports me out there, is to do my best to tear it up in a three set performance under their roof and have the energy that comes from that history be a part of whatever came across in the live performance… It’s a thank you to Harvelles, and it’s also an act of pride… I’m proud that I have an association with a place of that standard and I’m honored… There’s a definition of success that I always loved which is to have the respect of those whom you respect… I appreciate that they have let me know that they value me and what I’m putting out there, or that I try to put out there every time… And I’m grateful.

We’re excited to be speaking today with acclaimed Blues guitarist and vocalist Jon Geiger; greetings and salutations, Jon! Before we meander down the Q&A musical pathway, how has the freshly-minted autumn of 2023 been treating you?

It’s an exciting year, I have some great musicians I’m so thankful to have playing with me and I’m very happy about how the music’s been sounding and going over!

What makes a successful live album in your opinion?

The absence of vanity, and an emphasis on cutting a vein and pouring out every thing that one can in order to be a live wire for the audience… Mistakes and all … if it is in the pursuit of passion played and given…

When one is more focused on being in the moment and trying to lift people up… then it’s not about the licks that you can play, or how fast you can go or how

perfect everything ends up starting or stopping or the solo ends up being… The success of a live album in my opinion is in the passion and in the risk-taking all in the effort to be a LiveWire and to be completely vulnerable in that pursuit in order to touch people who are out there and give whatever one can to them… The greatest live albums in my view have that come across loud and clear…

In your humble opinion, what differentiates Live At Harvelle’s from the Distinguished Competition on the 2023 music scene?

With all due respect, the only answer I can give to that is that it is whatever I do that may be of value as far as my take on the music, my take on my influences and how I tend to put it all together in the arrangement of songs, and however I happen to sing, and however I happen to play…

And to approach dynamics etc.… In the end, I don’t believe in music as competition… I believe that at its’ best, one has to strip away the skin of influences and hopefully has ended up with one’s own voice… And then that is inherently the differentiation, since there is no better or worse, there is just the personality; the values, the manner of communication and what One has to say… And there may be a ton of other… And there are a ton of other… Musicians out there who have come to their own voices, and are generously sharing it forward for audiences all over… And in the end the ones for whom your voice connects to are the ones for whom you’re meant to be able to connect to, and to have an opportunity and a privilege to be able to move them… and hopefully have some value for them in whatever effect you can through the music. The distinguished competition I’m sure are specific voices and I am one more voice, and that’s what differentiates “Live at Harvelles”… If people feel something for and from the way I approach Music, then that is all I can offer…

We’re tremendous admirers of the tune I Dream which is off of the Live At Harvelle’s LP. What inspired this original gem of a ditty?

Well I was driving through quite a set of storms and, unbeknownst to me at the time, tornadoes, in Texas going from a show I had played and on the way to the show I was going to play and it set up a metaphorical connection to me lyrically with the storm of relationship… When things get real, and you don’t know how things will turn out… my mom was a writer and a playwright, and once one has a stage set as far as circumstances and then a stream of consciousness of what one feels and what one draws as parallels poetically but authentically… A dramatic scene or story may emerge… This was the beginnings of, and the basis for, the song… And thank you.

Who inspires you musically?

The list is quite long… And has been growing since I was 12 lol… These days I still turn to my original influences who captured the heart, soul and passion of the 15 year old in me who heard “Live at the Regal” by BB King or the Layla album with Eric Clapton and Duane Allman and Cream … As well as those in jazz such as Jim Hall, John Coltrane and Miles Davis… Peter Green… both his playing as well as his singing, and on that note definitely the voice and singing of Gregg Allman… Contemporary artists would definitely be Tedeschi

Trucks band… In the end, the contemporary artists who catch my ear and inspire me tend to be drawing from the same breadth and manner of influences that - even if they weren’t the exact same artists that they were listening to, they encompassed similar approaches and values and attributes…

With the October 13 release of Live At Harvelle’s, can fans look forward to catching you on the touring/performing circuit in the coming weeks and months?

Yes yes yes! And the one request I have is that if you like what I do -and you know somebody else who might like what I am putting out there, well we live in a social media world and that is the basis of where draws and followings get passed along…

And the venues that I play will only increase as more people are interested in coming out and hearing it… So the request is that if you find me on YouTube or Spotify or my website jongeiger. com or Instagram @jongeigermusic etc, please share it forward to anyone that you know who might also enjoy or feel something from what I’m doing… Because I’d love to play for everybody out there who might find that I’m hitting the right notes for them -in all senses for what means something to them… And then there’s more places that I will come to and that I can play and more touring and performing I can do… And I promise you this, I will give you everything I’ve got every night! And I can’t wait to! I live to play live!

You grew up in New York and currently hang your dusty fedora in California. How do those seemingly disparate roots inform you as an artist and as a person?

Well it wasn’t just where I grew up but when. I grew up in New York City as a child in the 70s and into the 80s… And it wasn’t about status and it wasn’t about income and it wasn’t about material things, the currency in my neighborhood was integrity and passion and loyalty and commitment and hard work… And those are my roots and I find that they travel well… they live inside me, reaching for that standard in the way I go about trying to respect and honor the music and my teachers, mentors and inspirations; those who set the standard for the music that I love, and in the way to go about working on one’s skills in order to honor that music by trying to be the best you can be, to not steal from others but to find one’s own voice and to work your ass off to be able to honor those who worked their asses off and inspired me to go on this path…

At the end of the day what do you hope listeners walk away with after giving Jon Geiger: Live At Harvelle’s many-a-spin on their hi-fi systems?

Feeling… I hope that they walk away with feeling something…

And something that can be returned to… And that moves them.

Final - SILLY! - Question: Favorite live album - Sam Cooke at the Copa, Johnny Cash at Folsom Prison or James Brown Live at the Apollo?

Sorry, “Live at the Regal” BB King, “Live at Fillmore East” Allman Brothers and “Wheels of Fire” / “Goodbye” Cream - Not a silly question… This stuff changes lives… It changed mine :-) thank you so much for your interest… Sorry for changing the choices but… I’m from New York City, what do you want? lol Fuggedaboudit !

Catbells We’re excited to be speaking today with acclaimed Dream-Pop chanteuse and auteur Catbells; greetings and salutations, Catbells! Before we dive into the Q&A mosh-pit, how has the freshly-minted autumn of 2023 been treating you?

Hi, thank you for having me! Growing up on the East Coast Autumn had a really special feel to it ... here in LA it means that the heat has turned up, which is not my favorite. I would much prefer a cold autumn with leaves changing colors rather than the very hot and dry weather we get each year here. But I know the cooler weather is coming!

Major congratulations on your gorgeous new LP Partly Cloudy which is set to drop this October 27!

What served as your inspiration for this incredible new full-length debut album?

Thank you so much. There were a lot of different types of inspiration that made their way into the songs from the LP, one way or another. Everyday life events, as well as memories and nostalgia, feelings of regret and remorse, sadness and heartbreak but hopefully some silver lining in there too.

Partly Cloudy was produced by Billy Mohler. What was your collaboration process like in the studio with Billy while working on the LP? It’s a really great process working with him as a producer. Billy is immensely talented and also has a very positive attitude, which is a good counter to my sometimes gloomy and sullen disposition. I am able to bring in demos, consisting of just voice and acoustic guitar, and talk about the songs before getting into the production and recording process which has been really helpful. He has great ideas and a knack for bringing things to life.

In your humble opinion, what differentiates Partly Cloudy from the Distinguished Competition on the 2023 music landscape?

I try to not compare myself, even on social media, to other artists because it is a slippery slope, the amount of great music coming out is astounding, and I am just happy to be in my own world creating and putting out music, because I love to make music and for no other reason.

Partly Cloudy is being released via SQFT Records.

What makes SQFT Records the perfect home for you and your music?

SQFT is an imprint that Billy Mohler started, and artists that want to put out their music independently with that imprint can do so. For me it’s the perfect home

because there is complete artistic and creative freedom, no rules or boundaries.

Who inspires you musically?

That is an ever changing answer depending on my mood and day ....I am often haunted by themes, lyrics and melodies of songs I heard as a child, that had strong imagery that has stuck with me. Childhood memories are so closely intertwined with songs, those songs definitely inspire me!

As a singer and songwriter, which generally comes first for you - The lyrics or the music?

When writing songs I seem to be always writing the lyrics and melody first, and then fitting and finding the best chords under that.

We’re big admirers here of your first single, Fade! While we have you here, can you talk about the amazing music video for this haunting melody and what went into making it? The music video for the tune is one of the most unforgettable that we’ve ever had the good fortune of viewing!

Thank you, I appreciate that so much. The video was something I made cutting and pasting images I liked together, and playing around with iMovie for the first time…. it was always meant to be something temporary like a placeholder. I had another video professionally made by someone that I shared on YouTube too…but for some reason the first video ended up just feeling more like the song I guess, and I am grateful for everyone who has watched and connected with it and with the song Fade (Rainy Day Demo).

On the heels of the release of Partly Cloudy, can fans look forward to catching you on the touring/performing circuit?

I have a lot of anxiety about performing live, it’s something I do enjoy once I am there, and would like to do more of it, but getting myself to do it is the hard part. I did two shows this past Spring, one at The Smell DTLA, and one at The Paramount in DTLA. Maybe I will book more, but right now I am not sure…

At the end of the day, what do you hope listeners walk away with after giving many–a-spin to your brilliant debut LP Partly Cloudy?

I am happy if someone feels something while listening to it. It is a big personal step for myself releasing this, and if someone connects to it at all, then that is all I can really ever hope for.

Photo Credit : Tim Schaeffer

Ashlei Foushee We’re super-excited to be speaking today with acclaimed actress, writer and producer Ashlei Foushee; greetings and salutations, Ashlei! Before we meander down the proverbial celluloid Q&A pathway, how do you feel about the recent resolution of the WGA strike, being a respected wordsmith yourself?

run and I’m excited to work with them all again in the future!

Love the intro! I’m very excited about the resolution we’ve reached with the writer’s strike. That is a big win.

Now we just need to finish strong. SAG-AFTRA is next up, and let me tell you something about actors. We are not only professional performers, but also professionals in patience. We will not stop until we can reach an agreement that gives us the equity we deserve.

I come from a very colorful family. I suppose I was just the first one to take the show on the road! My dad loved to tell stories of how I used to stay up past my bedtime putting on one-woman shows in front of an audience of stuffed animals. My parents recognized that passion and put me in dance class early on. I’m forever grateful for their support. The week after I turned 18, I moved to Southern California to pursue acting, and here we are!

Major congratulations on your upcoming turn in the feature motion picture On Fire which recently premiered in theaters nationwide on September 29! For anyone not in the know, can you explain what On Fire is about and how your character of Kayla figures into the proceedings?

Yes! On Fire is a gritty drama about a family trapped in a forest fire and their fight to make it out. I play a young, somewhat naive 911 operator who is new to the job.

She becomes pivotal in the family’s story as they work together to find safety.

Did you know as soon as you saw the Ron Peer and Nick Lyon script for On Fire that this was a production you wanted to be a part of?

Oh yeah. The story is so real and relevant, who wouldn’t want to be a part of it!

Your directors for On Fire are the remarkable Peter Facinelli - who also acts in the film - and Nick Lyon.

What was your collaboration process like in working with these two talented people? Are they what some actors might call “an actor’s director”?

They were both so great to work with. Nick is very supportive and collaborative. He’s a big fan of improv and finding new things within the lines and the scene. I felt so free to explore and try different things. I worked with Peter a lot in post-production and that was also a cool experience. He’s an actor just like me, so we speak the same language. I’m so proud of what all of us were able to create together.

You go toe-to-toe with some of the very best actors in entertainment in On Fire, including the likes of Peter Facinelli, Asher Angel, and Lance Henriksen. What was it like exercising your own considerable acting chops alongside this band of accomplished thespians?

All of my scenes take place in isolation, so I wasn’t able to work with them as much as I would have liked. It’s been great getting to know them more during our press

How did you become fascinated with the world of acting?

Is there an E! True Hollywood origin story you could share with our ever-inquisitive readers?

Your first work came in the form of 2011’s short film Camp Little Club. Any special memories of that freshman production?

Yes! Camp Little Club was actually a film I created while working with Kids in the Spotlight, a non-profit organization that holds a summer camp for foster youth to develop and produce their own movies. That experience is what I remember most when thinking about that film.

Which actors and actresses inspire your own work?

Oh man, what a question! I love actors so much. I could write a book but the first that come to mind are Denzel Washington, Reese Witherspoon, Angela Basset, Robert Dinero, Philip Seymour Hoffman, Edward Norton, and Margot Robbie. I’m rambling, and the list goes on forever, but we can start there.

You directed a 2018 episode of Jax + James. Is directing something which we can expect to see more of from you in the future?

Yes! I’m finishing up my first feature script and I plan on directing it!

What’s next on your actor’s dance card? Can you give readers a hint or three as to what projects you have forthcoming?

Unfortunately, the strike has my lips sealed. Hopefully when we reach an agreement, I’ll have great news to share!

Final - SILLY! - Question: Favorite movie about the making of movies - Living In Oblivion, The Player, Ed Wood or Barton Fink?

I’m actually going to throw in a different one, The Disaster Artist. That is meta-art at its finest!

@afoushee

Host e h t f o h t n o M

Daniel Augustin

We’re super-excited to be speaking today with acclaimed Haitian American actor, director, writer, and musician extraordinaire Daniel Augustin; greetings and salutations, Daniel! Before we mosey down the music and celluloid Q&A pathway, how has the freshly-minted autumn of 2023 been treating you?

It’s been interesting to say the least. The season’s been quietly promising and hopeful, despite the confusion of what’s going on with the industry. It’s been an extremely useful time to pivot, to heal, to educate and to connect with myself and loved ones. I’m grateful.

Getting the ball rolling, you’re well-known for your star-turn in the HBO Max comedy series Rap Sh!t, but you’re also a respected Hip-Hop artist with an amazing discography under your belt! For those fans that might only know you through your acting prowess, what songs would you suggest they check out from your music to give them a fair idea of who you are as a musician?

You can always go on YouTube for the first tape and miscellaneous records that found their way to the surface (whether completed or not), but I’d tell them to follow me on Instagram.

Prep for the new shit. Pre-download what’s about to hit the stores next.

You’re a Haitian American born in Fort Lauderdale, Florida.

How do those seemingly disparate roots inform you as an artist and as a person?

I’ve gotta say discipline. Haitians who come here from Haiti don’t play about work. There would be times growing up when I wouldn’t see my mom for three days in a row because she had multiple jobs and none of them intersected with my schedule.

Being from Haiti, what music from that country turns you on as a fan and as an artist?

The homie Daniel Prophete just put me onto Medjy when he sent me this record called Konsèy, but before that, Coupe Cloue’s catalog is wild.

Word ‘round industry campfire has it that you’re currently hard at work on a slew of new music - Congrats! Can you give fans a hint or three as to what they can look forward to with the music you’re currently working on?

Visuals, story, fun, flirtation, seduction, big business, big play, big r&b energy.

How is the new music which you’re hard at work on differ from some of your past music such as I’m Sorry 4 the Delay?

How is it similar?

Similar wherein I’m going to work with some of the same musicians when and where possible, but it’ll be different because I’m going to be working with a lot of others. The first tape probably should’ve been a diary. This is going to still be playful and personal but I’m more confident about getting surgical and this feeling adult. A lot has changed since that tape.

What can you tell our ever-inquisitive readers about the Tough Love Series/YouTube Channel Kinfolk: The Series for

which you serve not only as a director and editor, but also as a producer and director of photography?

True labor of love, true collaborations. I remember while filming this I told my reps not to bother sending me any auditions for the three months we locked in to film. Above the line, the actors made this bigger than the page. Sh’Kia knocked the script out the park, but each of the actors knocked this out the park and they flowed with me as the director. It was a very intimate filmmaking process based on our shooting schedule.

I filmed the show on my own so I did the audio, the lighting and cinematography. As I was setting up, the actors were connecting, the actors were working out the scene and I believe it shows on screen. Below the line, I got to collaborate with so many amazing creatives. Anthony Misiano was my right hand when it came to the edit. He supported me when I hit a creative breakdown, I love that guy. The tone and music of the show is where I had some of the most fun. My wife and I really felt like some family dynamics feel like a circus so that was our way in. While working on my album, I set up a live rehearsal and met some musicians from Berklee College of Music. Daniel Prophete and Somesh Das really helped spin up the cotton candy that is this sweet ass soundtrack. I’m actually VERY excited to create an official soundtrack for the show because I’m incredibly proud of the work that all the artists put in. Somesh and I worked very closely whether remotely or at his home studio while carefully crafting the tone of this show.

How does your own Haitian heritage play into Kinfolk: The Series?

I don’t think it shows… Through my mom and aunt, I learned that a lot of Haitians show their love through the way they cook for you. They’ll take the day off if they have to so that they can come correct with what’s on the table and that’s something I did in my own way. I remember my wife and I doing pre-production from March - July, and in July & August I told my reps not to bother sending me anything because I was going to be putting in work. I didn’t give myself a role in the show, I focused heavily on working with the other performers as their lead supporter, fan and cheerleader.

With new music forthcoming from your corner of the universe, can fans look forward to catching you on the touring/ performing circuit in the coming weeks and months?

Hell yeah. I wanna see y’all pull up on me. Everything’s on the gram.

You’ve worn so many different hats, creatively-speaking. Do you have a preference between acting and music, or is it an apples/oranges kind of thing?

Fruit platter vibes. A career of feasting is more my preferred taste.

You’re a big advocate of men’s health. What drives this passion on your part?

I just want to live well. Physical health, mental health, spiritual health. I think it’s so easy to take health for granted when life takes over and your career, kids or personal goals come into play. What’s most interesting is that we can’t really enjoy any of these things unless we have our health.

Christina Sandsengen

We’re super-excited to be speaking today with acclaimed classical concert guitarist Christina Sandsengen; greetings and salutations, Christina! Before we meander down the musical Q&A pathway, how has the freshly-minted autumn of 2023 been treating you?

It has been really hectic but also good. I’ve done a recording with orchestra which I look forward to release, working on my next album, and done a lot of work related travels.

Congratulations on your recent album release, Solace! What served as the inspiration behind this mesmerizing new LP? The music on “Solace” is about grief, death and “hiraeth” - which means a deep pain or longing. It was painful experiences that inspired the music on Solace, and I wanted to give sound to the emotions like anger and intense anxiety. Through the album, I aim to confront these dark feelings openly, challenging society’s tendency to avoid discussing it in an honest way. I hope that my music can be of help to people in desperate situations, and that they feel less alone. All too often people find that they do not get the help they need, and if they do get it, it is often not in time. There are far too many mistakes in the Norwegian healthcare system, in everything from how people are met to the investigation phase and the treatment. People take their lives because the system doesn’t work, and these are hard facts.

Once it is like that, then we know that art can help to comfort give solace - in hopeless situations. Just being touched by art can help ease some of the bad feelings many people have.

Solace marks your debut as a composer; congrats again!

Were there any nerves or any bouts of anxiety when deciding to compose the new album, or did this all happen quite organically?

Yes, it was very nerve wracking! To pour something that personal out on a record, and going so outside my comfort zone was a process, but I felt it was time to rip off the bandaid. I have always broken out a little from the typical classic, and gone a little outside the lines in the way I have played. I know the rules of classical music well, but for me it is more important to play from the heart and according to what feels right to me. I also intentionally bend rules, to create somewhat a disturbing feeling.

Who was your producer on Solace and what did the collaboration between artist and producer look like in the studio?

My dear friend and producer Fredrik Falk is very creative and innovative with a great ear and talent for noise music and sounds. That’s why I wanted him as producer on the Solace album. He was so great and managed to understand on a deep level what I wanted to do and what my intentions with the album was. We did a lot of field recordings and went back to the studio where he worked on the sounds and enhance the different atmospheres and the beauty of the classical guitar as an instrument.

We’re big admirers of the jaw-droppingly gorgeous track After off of your new album Solace. What’s the story behind this little

gem of a ditty?

After is about the feeling you get after a funeral for example.

When it has been a bit hectic organising everything in all the grief and shock, but you keep going because you have to. And after the funeral is finally over you sit there with an immense empty feeling, feeling like in a void of darkness and everything seem hopeless. It’s also inspired by Norwegian folk music.

In your humble opinion, what differentiates Solace from the Distinguished Competition on the 2023 music scene?

I think Solace is a crucially honest album where I use different elements to not only express but also trigger.

Who inspires you musically?

Leo Brouwer, J.S Bach, Mayhem, Edvard Grieg and John Cage.

How is Solace similar to some of your past music such as Shades & Contrasts? How is it different?

“Solace” is very different from what it is on my previous album “Shades & Contrasts”, where it interpreted the works of other composers. I wanted to make a raw, honest portrait of that feeling of trembling, tumbling—when something almost mythical takes hold of your chest, so you are hardly able to breathe. But when I was a girl, I discovered that my guitar can breathe for me, that it can make a language beneath language.

On “Solace”, my playing style, i.e. the way I have recorded the guitar, is sometimes what you would call «ugly». This is on purpose. There are some powerful chords and slaps in strings here and there, and those slaps have to do with temper, anger and anxiety, and it was important to me to have that in there.

We (the producer and I) often had takes where it was too «polished» that we had to delete and rather chose the «ugly» ones, just because of what I wanted to convey.

Can fans look forward to catching you on the touring/ performing circuit in the coming weeks and months?

I will do a tour in Turkey in the winter, and I have a European tour in the summer. Before the European tour I have something planned in LA. Other than that I’m focusing on my next album.

Solace was released via Naxos Records. What makes Naxos the perfect home for you and your music?

(No comment).

What do you have coming up in music for 2024? Have you already began to cast your creative net out for new inspirations?

I want to be a voice for other classical musicians and performers, and inspire others to compose in this genre. I am especially passionate about making people discover the classical guitar, and see the beauty and colours of this unique and sometimes overlooked instrument.

Farideh

We’re very excited to be speaking today with acclaimed and very funny - comedian and musician Farideh! Before we dive in, how has 2023 treated you so far?

2023 has been wonderful! I feel like 2023 has been a year where I know what I’m doing. I spent 2020-2022 a little lost, I quit my music career because I was tired of touring and leaving my kid at home when I was on the road. I had no idea what I was going to do. I started making content because it felt like fun, then in December 2022 I went viral with my comedic song “You are such a good dad”. It was clear my music career wasn’t over, and that my comedy career had just begun.

Major congratulations on the upcoming release of your anticipated debut musical comedy album The Motherload!

Can you give our readers an idea of what they can expect from the album?

The Motherload is an album of 16 songs that reflect the largely invisible life of mothers. From the resentment we feel towards our husbands around the division of labour, to the frustration we feel when our kids won’t eat, each of the songs touches on the funny in those everyday moments.

The Motherload touches on the trials and tribulations of motherhood. Was it challenging to “find the funny” on these touchpoints, or did it come quite easily for you?

It was easy to write these songs because I live those trials and tribulations, and so do my friends. My child is 8 now, so I’m not in the fire of parenting a child who is under five. Those years are so hard. I think the distance from the hard times makes it easier to find the funny. When I was a new mom, I was just surviving. It would be very hard to write these songs if I was still in the thick of it.

The Motherload features some very funny tracks. Listening to the album, it feels like there easily could be another sixteen songs. Can we expect a second album with the tracks that maybe didn’t make it to this first album?

I definitely think another album is coming. We don’t see or hear about the journey of motherhood in music or movies, When I’m writing songs, I have this incredible opportunity to write about feelings and frustrations that no one else is writing about. In our society, there is nothing less cool than a mom. We see her as this out-of-date character that has no past, or future. Which is of course, not true. The sixteen songs I have written for The Motherload feel like just the beginning of what I could write about.

In an era which feels very sensitive and electrically charged, is it difficult as a comedian to tackle hot button issues which sometimes divides audiences?

Sometimes I worry people will misconstrue my critique of patterns in our society as me “hating men”. I do get those sentiments in my comment sections but sometimes people will misunderstand you on purpose.

I also worry that my privilege in life will have me blindly make a joke that is insensitive. One thing I love about the online sphere is that we’re seeing so many comedians reflect, apologize and do better. That normalizes the reality that we’re all going to make mistakes. My hope is if/when I say something in the future that isn’t in keeping with my values, that I will be humble, apologize, and learn to do better next time.

Who inspires you, comedy-wise?

I love artists like Bo Burnham, Tenacious D and The Lonely Island. I’ve been looking at what they do for songwriting and performance ideas with songs. I also love comedians like Tig Notaro, Steve Martin, and Sindhu Vee. In addition to your music career, you are known for your personal storytelling and engaging videos. For those who may not be as familiar with this aspect of your career, can you talk about how you became a viral internet sensation with your videos?

After I had quit music and was creating comedy videos for social media, I enrolled in a comedy class. In that class, I learned that the strongest students weaved their other skills of impressions or acting into their stand-up routines. I realized I was leaving music at the door because I didn’t see music in my future.

Inspired by this lesson, I started attempting comedy songs.

My first comedic song was about an entirely true accident where I licked bird poop while out for a walk. The next song I wrote was inspired by my annoyance that folks would walk up to my husband when he was pushing the stroller to tell him he was “such a good dad”. No one came up to me when I was grocery shopping with our kid. Yet, he was celebrated for doing the bare minimum.

When I posted the song “You Are Such a Good Dad”, it went viral and became clear that my next career path was a blend of comedy and music.

How do you top The Motherload? What’s next for you?

I have been really busy writing songs for The Motherload so I haven’t had the chance to create as much video content as I would like. I’m really looking forward to getting back to setting up my camera and making silly videos in my kitchen.

I’m also working on a live show. After 20 years of experience performing, I can’t wait to meet and connect with my audience in person on stage.

We’re big admirers of The Vacation Song off of The Motherload! What’s the secret origin story of this song?

I’ve noticed that my audience especially LOVES when I sing about the division of labor in the home. It was summertime and I was reflecting on where the division of labor between moms and dads seems the most apparent. One of those situations is vacation. All that work that goes into planning, packing, and prepping is invisible and it largely falls on the shoulders of moms.

After I wrote that song and shared it with my husband, he said the song made him uncomfortable. “That is what happens for us at vacation. You do all the work and I drive the car”. It led to a great consultation for us to reflect on the division of labor in our home and on vacation.

At the end of the day, what do you hope listeners walk away with after listening to The Motherload?

I hope moms feel seen. I hope they listen to this album and can laugh at all the challenges they face and know they are not alone in their struggles. We’re all out here doing our best.

Structure Sounds

We’re super-excited to be speaking today with rightly acclaimed Providence, Rhode Island Punk Rock band Structure Sounds; greetings and salutations, gang! Before we dive into the Q&A mosh-pit, could you each say ‘hi’ and introduce yourselves to our ever-inquisitive readers? a.) Hi I’m Rob. I play bass. b.) Hi I’m Adam I play Drums. c.) Hello I’m Sean I play guitar and sing in Structure Sounds d.) Hey i’m Zach I play guitar and sing Kudos and accolades on the upcoming October 20 release of the Structure Sounds mesmerizing and altogether rockin’ debut album Light Up Your Sorrow! Sean, what’s the story on how this incredible premiere LP came into being?

Sean: It actually came in two parts. 2020 gave everyone a lot of time at home. It has become a cliche, but like many other musicians this was a time to really dive into old song ideas from the past. Some of these songs date back to my teenage years. In 2021 I started getting together with Adam to flesh these ideas out and that became our first batch of songs. We recorded five songs in July of 2022 and loved the way they turned out so we felt the need to extend this into a full LP booking another session for early 2023.

Sean, Light Up Your Sorrow is being released via Wiretap Records. What makes Wiretap the perfect home for Structure Sounds and your music?

Sean: Over the years I have played with several Wiretap artists in my previous band including moonlighting as Divided Heaven’s bass player. When looking for a home for our LP I asked several friends how they felt and they had nothing but great things to say. Rob (Wiretap) has a great ear and offers the support and expertise we need to launch a new band. We are stoked to partner with them.

Adam, backtracking just for a moment: What’s the VH1-Behind the Music secret origin story on how Structure Sounds came together to form the incredibly tight band which we hear to amazing effect on Light Up Your Sorrow?

Adam: Sean and I met a long long time ago when I was playing in another band with his brother called The Down and Outs.

Maybe 5-6 years after I had stopped playing in the band I was desperate to get back into music somehow. I had always wanted to be in some kind of project with Sean, so when I ran into him at a Bouncing Souls show I brought up the idea of jamming together sometime. We ended up getting together to jam a few songs he had been working on and it got pretty good

fast, we just needed two more people. He had suggested that we try out his friend Zach on guitar. He thought that since Zach was an amazing guitar player and since he had a little different background musically then us, he could bring a different element to the band. Was he ever right, Zach ended up being the perfect fit, so we just needed a bass player. I had suggested asking my friend Rob who I had played in a thrash band with back in college called Shred The Past. I told him Rob was an awesome dude and great bass player too.

Ironically, on our way to a Bouncing Souls show, I played a bit of what we had been working on and asked Rob if he’d be into playing even though he was already in another band. He was into the idea and we brought him on board. We became a cohesive group really quickly and were having a lot of fun with it!

Rob, do you have a favorite tune off of the Light Up Your Sorrow LP, one which you’re quite enamored with?

Rob: My favorite song keeps changing, but I always come back to 2030. It’s a really fun song to play. I love singing the back up harmony parts and the bass part is really fun too. The layered vocals at the end of the song are awesome as well.

It’s just a really fun, catchy song.

A question for all of you: Who inspires you musically?

Sean: I am the biggest Bad Religion nerd. Something about the mix of energetic songs and catchy melodies gets me every time. I am always a sucker for a good hook. I am also heavily inspired from classic songwriters like Tom Petty and the Motown sound. “Don’t bore us to get to the chorus” as they say! I also pull musical inspiration from the community around us. In my last band The Scandals we opened/toured with many of my biggest influences. What made an impact on me was the realization that there is no “us and them” in the punk community. These bands opened the doors for us and held it as we entered.

Rob: I’ve always been really inspired by MxPx and their singer/bassist Mike Herrera. He’s a great songwriter and writes great bass lines too, but he also seems like a really nice guy and that is important to me, even though I don’t know him personally. MxPx has been my favorite band for like 25 years or so. They’re a hardworking band and I am continually impressed by their efforts and it’s really inspiring. The list goes on though. I draw inspiration from all sorts of bands. Bands like Bad Religion, Suicide Machines, Incubus, Skeletonwitch, AFI, Kid Dynamite, Local H, Operation Ivy, and Tegan & Sara to name a few.

Adam: My favorites are what I consider to be mostly classic skate punk bands. I love bands like NOFX, Pennywise, Good Riddance, Face To Face, The Bouncing Souls, Pulley, The Vandals, the list could go on and on. A lot of my drumming and vocals background comes from listening to and playing along with those bands. A Wilhelm Scream too, probably my favorite live band of all time.

Zach: My musical inspirations are all over the map, and before Structure Sounds I played in a lot of bands that were more on the indie side of punk, so I’m definitely channeling a lot of Replacements and Dinosaur Jr. In my playing with this

band as well as some Screaming Females, Mannequin Pussy, Menzingers, and Gaslight Anthem.

Sean, with the October 20 release of the premiere LP can fans look forward to catching Structure Sounds on the performing/ touring circuit?

You can likely catch us every few months at Dusk in Providence.

It has been our primordial office space! We are also looking at doing a few festivals and short runs in 2024. LIkely East Coast but would love to stick our feet in the Pacific Ocean at some point. Not ruling out renewing our passports either!

Zach, who was the producer on Light Up Your Sorrow and what did the collaboration between band and producer look like in the studio?

Zach: We recorded at No Boundaries Studios in North Kingstown, RI with Chris Piquette, who I can’t speak highly enough of.

Chris was really able to help us sculpt the sound we wanted in the studio. He’s got an incredible musical sensibility, he’s one of those people who can play literally any instrument and has an incredible ear for detail in every aspect of the recording process.

He gave his opinions if he thought something wasn’t working without being dictatorial, and gave constructive advice that really ended up making the record even better.

Zach, how do the Providence, Rhode Island roots inform the sound and energy of Structure Sounds?

Zach: Providence is a small city, I know it’s kind of cliche to say, but all the musicians seem to really know each other. There’s something about that familiarity that lends itself to a certain kind of collaborative sound that definitely is at the core of our energy as a band. Also, because Providence is decidedly less “cool” than bigger cities, there’s a lack of pretension we’ve absorbed that I think really informs our sound. We’re under no illusions that we’re reinventing the wheel with our music, but that gives us an element of freedom that makes our songs more spontaneous, propulsive, and just plain fun.

Rob, what do you hope listeners walk away with after giving many-a-spin to the Light Up Your Sorrow LP? Rob: I hope people want to keep listening to the record and I hope the songs get stuck in their heads like they do mine. Maybe we’ll become someone’s new favorite band. That would be cool.

We love this band and put a lot of time and energy into this record so I just hope people like it as much as we do.

Adam, what does the creative process generally look like for Structure Sounds when coming together to create new music?

Is it a formal and structured process, or is it a little more freewheelin’ than all of that?

Adam: I’d say that it’s a little mix of both. Sean is the main songwriter of the group with a few Zach gems sprinkled in. We usually start with a really strong backbone and basic structure of a particular song then each add our own touches to it to make it come together. Vocally we all throw in our thoughts on harmonies and the like. I’d say Zach has the most “free reign” with his lead lines and solos since he’s great at it and pretty much the only one who can do what he does.

Hollow River

We’re excited to be speaking today with acclaimed Pop-Punk Rapper and multiinstrumentalist extraordinaire Mark MacDonald who is best known throughout the world by his far-famed nom de plume Hollow River; greetings and salutations, Mark!

Before we dive into the Q&A mosh-pit, how has the freshly-minted autumn of 2023 been treating you?

Autumn has been great! This is my favourite time of year - its perfect sweater weather outside. I tend to find the summer a bit too hot so spring and fall is when I thrive. I also just got back home for Canadian Thanksgiving so that got me into the spirit of the season.

Congratulations on the recent release of your newest single and music video Loved Me Like A Book!

Starting from the top, what inspired this amazing gem of a tune?

I wanted to do something lyrically different. At the time I was in a songwriting class and I was having a discussion with the teacher about how I didn’t like to write love songs. I couldn’t find a way to write something that felt like a new idea until I got the idea of using a book as a allegory one day when I was reading. It was a soft cover that I had cracked the spine

on to read easier and the pages from the middle were starting to fall out. I realized one of the things I love most about art is how you can totally fall in love with something and you get to take the best parts along with you in your everyday, which is a totally acceptable thing to do with a book but obviously a much more nuanced and sad thing when thinking about past friendships and relationships. Humanizing the book helped give depth to the narrative and the story behind the lyrics.

The production of the music video for Loved Me Like A Book sounds as if it were a very hands-on affair for you! Can you talk with our ever-inquisitive readers about how the music video was shot?

For sure! I had my band up to Canada for a week so that we could practice our live set (which RIPS) and we had gotten through the material faster than I was expecting to, so we took advantage of the opportunity and threw up some cameras. The whole thing took about 4 hours to film and then I edited all the footage on my Mac. Directing and editing film is not really my area of expertise but a couple google searches got me where I needed to go.

Who did the producing honors on Loved Me Like A Book?

I did. I had a really great team including my band as well as Henry Reinach who helped engineer the drums and the bass at Power Station in NYC, but we were all working towards my vision. So lucky to have such awesome and talented friends in my corner, couldn’t do this without them. The guitars were all recorded up in my studio in Canada and I did the vocals there and then I recorded the background vocals in mat apartment in Boston. I actually used to do a lot more producing songs for other people before the pandemic and then my focused shifted to working on my own material.

We’ll see if I get a chance to get back into the working the next few years.

Who inspires you musically?

Word ‘round industry campfire has it that Loved Me Like A Book is but an appetizer for the main course, a full-fledged EP from you entitled We’re Going To Be OK which is set for release this October - Congrats again! Can you give fans a hint or three as to what they can look forward to with the newest EP?

You opted against finishing up your tenure at the Berklee College of Music in order to fully pursue your musical ambitions. What went into this decision and will you ever return to Berklee to complete that remaining semester?

Yes! The We’re Going To Be OK EP will officially be dropping on Halloween! It’s six songs themed around change, loss, and self reflection and I’ve been working on it for close to a year. I am so happy to finally be sharing these songs with everyone. Make sure to listen through to the end, the album closer includes a lot of lyrical Easter Eggs form the record.

In your humble opinion, what differentiates the We’re Going To Be OK EP from the Distinguished Competition on the 2023 music scene?

I think I bring an exciting blend of rap and early 2000’s pop punk that’s missing from the scene right now.

We’ve seen rappers become Pop Punkers and younger pop punk bands with a modern sound collaborating with rappers but I don’t think there are many people doing it the way I am and saying things the way I say them. I spent a lot of time crafting an authentic voice that is uniquely my own.

So much! I have some mentors that are hugely inspiring, specifically my songwriting teacher George Woods. In terms of other bands there are a lot of great acts in the punk scene right now.

Magnolia Park keeps dropping banger after banger and EP after EP, their work ethic is totally inspiring and makes me want to try and work just as hard while keeping a high standard. I’m also really digging the latest Bearings record, I think the whole think is well written and has some great production choices.

There was a lot that went into this. I had said for a long time that I was not attending Berklee for the piece of paper, I was attending for the experience and to learn as much as I can. Being a musician isn’t like being a doctor, you don’t need a piece of paper proving your qualifications.

Your skills are your qualifications, and while school can be a great way to get those skills and build a creative community there is nothing magic about the piece of paper itself.

I was pursing a double major and was at a point where I had completed all my fourth year seminars for my programs - I had essentially done everything I cared about and came there to do and at the same time I felt that I had created something really special and something inside me told me that I needed to take a full swing on this NOW. Not in a year from now, I needed to take a risk on myself.

On the heels of the October release of your new EP, what does your touring/ performing dance card look like?

There were also some health concerns that went into the decision. Berklee requires you to be proficient in an instrument but I had put these classes on hold due to injuries. I had been over practicing that caused major health problems and stopped me from being able to complete the guitar classes I needed to. But I didn’t attend Berklee with the goal of being the best jazz guitar player of all time.

Hometown show in Boston is getting organized soon and the band is hoping to get a string of shows up the east coast going for 2024 so we can show as many people the record as possible in person

Maybe I’ll get the chance to finish off those classes someday, but I won’t be sad if I never get that chance. I learned so much while I was there and it was time for me to move on.

2023 has been a busy year for you musically speaking.

Has this been by design, or is this just the way the creative cards have fallen?

With the new EP We’re Going To Be OK, can an LP be very far off? Perhaps sometime in 2024?

I also think that seeing us live helps to put everything into perspective as the audience can see me rap and play the guitar at the same time.

Design, really a lot of hard work from the last few years paying off all at the same time. The work has been nonstop the last year or two to make this happen as I am independent and don’t have a manger but I have a great team with my bandmates and engineers I work with to help make these tight deadlines the past year.

The EP in October will be my third EP I drop in 2023!

No LP plans as of now. Right now I’m trying my best to build my trust with my audience and earn that right to do an LP and have people listen from front to back. For now EPs are a fun middle ground that I’m happy with.

Adrenaline Kings

Hi guys, welcome to VENTS! How have you been?

Hanging in there – thanks for asking!

What can you tell us about the title and meaning behind your most recent release?

The song is called “The Grand Tour” and it’s relatively self-explanatory: it’s an ode to the video game Gran Turismo. And it’s also pretty good to drive a real car to! www.youtube.com/watch?v=0N2ElVf6wzI&ab_ channel=AdrenalineKings How was the recording and writing process?

I’ve had most of this song in my head for years. When it finally came time to make it into a reality, we worked out the details, then our drummer Florian (Hartl) did all the engineering, and I finished all the lyrics on a road trip to Italy before recording the vocals with Viennese producer Norbert Leitner and then having him mix and master it.

Where did you guys find the inspiration for the song and lyrics?

I’m not a major gamer, but I spent a lot of time playing Gran Turismo when visiting my brother in Toronto years ago. That’s where the original idea came from, and the rest of it came together while speeding down the Italian motorway!

Will you be hitting the road this year?

We’re currently booking shows and will publish them as the dates come in.

What else is happening next in your world?

The next single after “The Grand Tour” will be something fun: it’s a cover of the Backstreet Boys classic “Larger Than Life” that we’ve given the hard rock treatment to. It’s already in the can and we’re debating whether to come up with a fitting choreography for the video. :-D

Callider Hi guys, welcome to VENTS! How have you been?

Stefan Lange / Callider: Hi man, I am doing awesome. Very happy about the release of the first singles, streaming numbers and playlist entries are good.

What can you tell us about the title and meaning behind your most recent release?

Stefan Lange / Callider: My debut album is titled “Southern Stars”. On the one hand, this reflects the stars in the sky of the German south, where I as a native Bavarian come from. In melodic death metal, everything is always ‘Northern,’.

But well, I happen to be ‘Southern’ instead, haha. On the other hand, the album title stands for the “Southern Stars” over the Pacific Ocean - landmarks of the Polynesian navigators that the song “Cadettes And Navigators” is about.

How was the recording and writing process?

Stefan Lange / Callider: Writing took place as a one-man show mostly during the pandemic, although I had written some material before already however only got to finish it up then.

Regarding production: At this point first of all a huge thanks to my producers and guest musicians. Without this record would never have come about. Callider is indeed a solo project, but that doesn’t mean that I does not mean that I do everything myself and alone. However, I give quite narrow guidelines and have a very precise idea of the result. I was lucky enough to work almost exclusively with professional musicians who were able to quickly deliver what was required. I enjoyed working in the studio a lot.

Where did you guys find the inspiration for the song and lyrics?

Stefan Lange / Callider: I am inspired by things and emotions that I go through in everyday life. I also take deep inspiration from travelling and taking up local history and connecting it to the presence. The vast changes in society, technology and culture occurring over only few generations time and time again make it hard for me to spin my head around and keep me enormously inspired.

Will you be hitting the road this year?

Stefan Lange / Callider: Since I am a family father and team lead in the electronics industry, I can not really plan and deliver anything live.

This is just out of my possibilities time-wise and financially. But lets see, I am not old and grey yet, maybe further down the road…

What else is happening next in your world?

Stefan Lange / Callider: I am currently producing a new album which will be released about in one or two years. It has got some more rocky aspects and also two very fast and heavy tracks so there should be something in it for everyone. I am also working with a small brass ensemble for two of the tracks which is quite rare in the metal scene and quite exiting.

Keeping it to a reasonable level though, haha don’t worry.

Illusions of Grandeur Hi guys, welcome to VENTS! How have you been?

Thank you for having us, we have been great, 2023 has been an amazingly busy year for the band!

The Dien tour continued throughout 2023 taking us all over the United States in into the UK playing festivals and clubs including the famed Iron Maidens “Cart & Hores” where IOG wrapped their European your in June 2023.

What can you tell us about the title and meaning behind your most recent release?

Yes, we recently released a new single “Midnight” it is the next step for Illusions of Grandeur, the 1st single from the forthcoming album “The Siren Rises” which the band hopes to have in release by early 2024. “Midnight” again takes the band musically into unfamiliar territory.

You can hear our new single Midnight here: https://youtu.be/ vLNdfUGkbQM?si=VjVAypv_QqrF-jOT Illusions of Grandeur new single is on all streaming platforms and available on CD single at shows https://songwhip. com/illusionsofgrandeur/midnight How was the recording and writing process?

Illusions of Grandeur’s main music writer is Bassist CM Carroll with lyrics and melodies provided by The Siren. The entire band participates in the arranging and recording process and each member, as songs are produced add elements into it to create the overall song and sound. IOG is continuously writing, normally demoing 30-35 songs per album then finding the songs that carry the story and sound of the record.

Like Illusions of Grandeur’s 1st album “the Songs of The Siren”, “The Siren” album is a continuation of the overall Siren Saga. The new album “The Siren tells the 2nd part of the story as The Siren and Band head into the underworld to faces the challenges and defeat hades on their quest to return The Siren to Mount Olympus.

Illusions of Grandeur’s latest album “The Siren” was recorded mainly in their private studio, Valley Road Recoding in Lancaster, PA. Vocal overdubs and additional tracking were done at multiple studios across the United States such as Sunset Sound and Western Audio in Los Angles and Silk studios in New Orleans, LA. Additionally the tracks Falling, and Demons were Co-produced by David Ivory at Ivory Sound Studios. The final mixing and mastering were done at Valley Road Recording.

Where did you guys find the inspiration for the song and lyrics?

Illusions of Grandeur’s influences come from many genres of course starting with metal; like Korn, In This Moment, Metallica, Avatar and evanescence. Each member draws off their individual influences as well which are varied from The Siren’s love of Classic rock like Janis Joplin and heart to CM’s love of The Smiths, Supertramp Soundgarden.

IOG feels this just adds to the sound and allows the band to explore a lot of themes in their music.

The idea of Illusions of Grandeur is to create a world and tell the story of “The Siren” and her journeys. IOG’s love of both history and Greek/Norse Mythology felt that this was the best medium way to create a world for “The Siren Saga.” IOG feels that when listening to music or seeing a live show you should be able to immerse yourself in that moment and take a journey of your own with the band.

Will you be hitting the road this year?

Illusions of Grandeur is a live band. We love being in the studio and creating, but on the love, stage is where the band really comes alive! Illusions of Grandeur’s live show “The Siren Saga” draws its story line from the concept albums “the Songs of the Siren prt1” and “The Siren prt2”. Acting out the songs and story on stage amidst a light and video show.

IOG’s fan’s known as The Siren Nation are amazing, supporting both in America and Europe.

What else is happening next in your world?

2024 will see the release of Illusions of Grandeur’s “The Siren Rises pt1: Raven Witch” which will continue The Siren Saga from the previous two albums, taking The Siren further into battle with hades.

Illusions of Grandeur’s The Siren Tour continues through the remainder of 2023 into 2024.

Come see The Siren Saga Live and check out our latest single and video “Midnight”: https://youtu.be/vLNdfUGkbQM Illusions of Grandeur new single is on all streaming platforms and available on CD single at shows https://songwhip.com/illusionsofgrandeur/midnight Illusions of Grandeur is available on all social media and streaming platforms: Facebook: https://www.facebook.com/IllusionsOG Band camp: https://illusionsofgrandeur.bandcamp. com/ Instagram: https://www.instagram.com/iogmusic/ Twitter: https://twitter.com/iogband TikTok: https://www.tiktok.com/@illusionsog

Solnedgang Hi guys, welcome to VENTS! How have you been?

Thanks, it’s been going really well since the release of the first single! The response has been exclusively positive, which is really encouraging.

What can you tell us about the title and meaning behind your most recent release?

The single is called ‘Nornir’, and the aim of the track is to take the listener on a journey inspired by Norse mythology.

The different parts represent the nornir/ norns (‘weavers of the world’) and the valkyries who choose which fallen warriors should go to Odin’s Valhalla and Freyja’s Folkvangr. Being an instrumental track I would be amazed if anyone got that from just listening to it, but that’s the meaning behind it at least!

How was the recording and writing process?

It was very fluid overall. I’ve been working on several tracks simultaneously, so if I got a bit stuck on one track I’d work on another one for a while. For ‘Nornir’ I decided to keep it quite simple in terms of structure, so that made it a bit more straight-forward than some of the other tracks. Generally, I tend to just sit down and start playing, and it’s usually the first thing I play when I pick up the guitar that will end up in a new song. It almost always starts with a simple riff, or just a few notes that sound interesting. I’ll work on that until I’m happy and I’ll then record that and improvise over it. The song tends to grow organically from there.

Where did you guys find the inspiration for the song and lyrics?

For the debut album the main source of inspiration – conceptually speaking – has been Norse mythology, and specifically the afterlife. Musically, I take inspiration from loads of different artists, but the key ones to mention would be Mono, Explosions in the Sky, The Ocean and The Cure.

Will you be hitting the road this year?

Unfortunately not, I’ve got no plans to play live at all – at least not yet.

What else is happening next in your world?

Just working on getting the album ready for release later this year, and I’m planning another single before that. Writing and recording for the album is mostly done, but there are still some things to finalise before mixing and mastering.

Hi guys, welcome to VENTS! How have you been?

Yeah, we’ve been good, busy, but good!

What can you tell us about the title and meaning behind your most recent release?

“Rock star” is the title (although it hasn’t been released, just yet!) it’s basically as it says on the tin. The meaning behind the song is about playing in a band, having fun with your mates etc but also about the times that aren’t so great. This is whether you are an established artist, or not.

How was the recording and writing process?

Recording was pretty straight forward to be honest. We pretty much nailed this song from the very start, so there wasn’t a lot of changes made, before we went into the studio. I think (Nath) I wrote this song in about ten minutes, so those songs are always easy to put music to.

Where did you guys find the inspiration for the song and lyrics?

I was listening to a lot of “The Strokes” at the time, so I think that shines through, with regards

to the music. The lyrics…well I think every band has written a song about what it’s like being in a band and whether you will ever become famous or not.

Will you be hitting the road this year?

We definitely will try and get out and about in 2024.

Possibly record another single or go all out and maybe even record an album.

What else is happening next in your world?

At the moment, we are about to release our new single before the end of the year, so please keep an ear out for that. We are doing lots of interviews at the moment as well and the plan is to try and book some new shows for 2024. If you see us at a gig, come and say hello!

Kurt Allen We’re super-excited to be speaking today with acclaimed blues-rock singer and songwriter Kurt Allen; greetings and salutations, Kurt! Before we dive into the Q&A mosh-pit, how have the first few days of the autumn of 2023 been treating you?

It’s been great so far, nice and warm everywhere we have been the last few weeks, I prefer warm weather.

We’ve been getting some great publicity, I can’t complain.

Major congratulations on the new album Live From The Red Shed! What served as the inspiration behind this gorgeous new LP? It was a suggestion made by a member of our team. It was still kind of in the middle of the pandemic when it was recorded, full on touring still wasn’t possible. It was kind of a way to keep our name out there and fresh in people’s minds. Whiskey, Women & Trouble came out in September 2020 and we weren’t able to tour to support it. So we just decided to record and drop Live from The Red Shed.

You’ve got an upcoming October 6 performance of the Kurt Allen Band at Little Bear Saloon in Evergreen, Colorado which is all part and parcel of your barnstorming tour meant to spread the word far and wide of Live From The Red Shed! Can you talk about

this new tour and where it goes next after the Little Bear Saloon?

We are touring quite often again, thankfully! We try to stay on the road as much as possible. We love to play, and playing out on the road is the best way to do it in my opinion. After Little Bear, we go to The Buzzard’s Roost in Lamar, CO. on October 7th, then will be in Cross Plains, WI. At The Red Mouse On October 13th, Laurie, MO October 14th at Great American Campground & Dive Bar, then 10 days in Florida to close out October.

How is Live From The Red Shed similar to some of the past music of the Kurt Allen Band? How is it different?

It’s similar because it’s our music, there are a couple tunes off both our previous studio albums. It’s different because this was our first Live album. On our previous studio albums we have had keyboards, horns, background vocals and other tricks. For this one it’s just the three of us. It’s more raw and indicative of what yourgonna get when you see us live.

What are the essential ingredients for a successful live album?

A good show first and foremost, a good recording, sound engineer, if you have all those things and everyone is having fun, from there it just kinda flows.

Can you introduce to our ever-inquisitive readers some of the other talented musicians that lent their musical alchemy into making Live From The Red Shed a reality?

It was myself on guitar and vocals, Greg Schaberg on Drums and Vocals, Bill Morlan on Bass and vocals. We sent it to our friend Scott Abrahamson in Des Moines, IA. To do the mixing and then sent it off to the world famous Muscle Shoals Studio for mastering.

What differentiates Live From The Red Shed from the Distinguished Competition on the 2023 music scene?

All music is different, every artist has their own tendencies, phrasing, and style. Our stuff has a lot of Funk undertones that I don’t hear as much from some artist.

Who inspires you musically?

I have so many influences, Alvin Lee, Rory Gallagher, Joe Bonamassa, Eric Gales, James Brown, Rival Sons, Clutch just to name a few. I have always been a student of music and draw my influences from many places and actively try to combine as much as possible while still keeping it simple and grooving.

As a singer and songwriter, which generally comes first for you - The lyrics or the music?

It varies, sometimes the hook comes first and then I’ll come up with music and lyrics to go along with it.

Sometimes I will come up with a riff and write lyrics and a hook to that. It really depends on the day, mood and what is going on around me.

Did you handle the producing honors yourself on the new LP? And, if so, what are the pros to acting as your own producer?

I’ve handled the producing on all of our albums thus far. I don’t know what the pro or cons are because, to this point, I haven’t worked with an outside producer.

I’m looking forward to hopefully working with some top notch producers in the future and then I’ll have to get back with you. lol At the end of the day, what do you hope listeners walk away with after giving many-a-spin to Live From The Red Shed?

I hope they enjoy they album enough that they will come see us live. There is no substitute for catching us live. There is plenty left off the album that they will experience live. Interaction with the audience, on stage and off. The power of the live performance, the smiles on our faces and energy coming from the stage. We truly hope, if you enjoy this album, catch us live if you have the opportunity. We will do our best to have you leaving feeling like you got a great show.