Now listen: June 2026

Now Hear This is a monthly series for talent scouts where we introduce you to exciting new musical trends discovered through our innovative music discovery platform, Groover.

Each month, you'll find a diverse selection of songs from a wide range of artists from around the world, regardless of genre or geography.

Orange animal

Sounds like: a dark, gothic country ballad in the vein of Nick Cave and the Bad Seeds The Boatman's Call album era .

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

Music starts with a sound, a feeling, or just a phrase I can't stop repeating in my head. For example, our song "Hold On," which will be released on June 26th along with the full EP, started with just the sound of a certain guitar (an Orangewood with a rubber bridge), and the song just happened.

Overall, I'd describe our sound as rock and motel folk. It has blues/rock elements with a rough, nocturnal edge.

How did you come up with the title for your performance?

I wanted a name that wouldn't give away anything about what to expect. I wanted freedom musically and songwriting-wise. So I chose my favorite color, orange, and, well, adding the word "animal" just made it a little more lively.

What artists and albums have had the greatest influence on your creative direction?

Leonard Cohen, Miles Davis, and Led Zeppelin have played a huge role in how I perceive and think about music. Regarding our upcoming EP and its first single, "Place for Me," I'd say Bonnie "Prince" Billy and Feist also contributed.

What's the most interesting thing happening in the music industry right now?

Live music is anything and everything. Clubs, bars, touring bands, local ensembles—you name it. These are places where music simply belongs. Where you can experience it for yourself.

Don't get me wrong, there are many incredible and endlessly powerful elements to recorded music and the recording process.

But it is live music that brings this energetic, unbridled, human art to life.

How do you see the development of the music world in the next five years?

At first, there was a preference for AI-generated music. Then came a rebellious rejection of it entirely.

How does music help you during these difficult times?

It allows me to simply be myself. It forces me to be honest with myself. And it gives me the privilege of creating alongside truly amazing people.

My bandmates, Bill Derivan and Adam Thurman, are incredibly talented musicians. They've been with me for the past decade. They're like family to me.

And on our latest single, "Place for Me," I was lucky enough to work with the incredibly talented singer Autumn Traub, who brought the song to life. And pianist Rob Kovacs perfectly captured the depth of sound I was looking for.

Music has truly become my salvation.

Photo courtesy of Queen Anne's Administration.

Queen Anne

Sounds like: Sharp, catchy indie-pop that rocks like The Waitresses and shimmers like Olivia Rodrigo.

Interview: (Answers from Katie and Sandy)

Describe your approach to music and how you would explain to others what your work sounds like.

I have a "this meeting could be an email" mentality when it comes to songs. For example, if a song could be a short story, write a short story. If it could be a journal entry, write a journal. But some songs are meant to be songs, and I try to write those kinds of songs. And I hope that reflects in our sound: if you only read the lyrics or only listen to the instrumental, it might mislead you about what the song is about, because a song is about the interplay between those two elements. One of the reasons a song should be a song is that it can have many layers—in its composition, in its sound, in the meaning of the words. And unlike a poem, where you can sit with a line, analyze it, and then move on to the next, a song forces you to pick a thread and follow it. So it's important to our sound that we have multiple storylines - in the percussion, in the bass line, in the guitar(s), usually with the addition of a synthesizer, and, of course, in the melody and lyrics - and each of them is important to the narrative in its own way.

How did you come up with the title for your performance?

Both "Queen Anne's Lacemaker" and "Queen Anne's Revenge" were considered. Naming your band after plants is a difficult task, and naming it after a boat is even more so. So "Queen Anne's Lacemaker" seemed like the most suitable combination of these ideas.

What artists and albums have had the greatest influence on your creative direction?

In no particular order: Leonard Cohen, Joni Mitchell, The Velvet Underground and Nico , Bob Dylan, Either/Or , Nick Drake, Tom Petty, Joy Division, Depeche Mode.

What's the most interesting thing happening in the music industry right now?

I'm really excited about the democratization and globalization of music. I don't think music should be a commercial enterprise; it's a way for people sitting around a campfire to escape the thought that there might be a bear nearby. And I think it's incredible now that we can all participate in this and listen to what other people are creating, and that releasing a song into the world doesn't require anyone's permission. I also love that anyone, anywhere in the world, can listen to whatever they want. For example, I once immersed myself in the world of 90s Malaysian alternative music on TikTok, and it was amazing.

How do you see the development of the music world in the next five years?

There's a lot of concern around AI, but I'm very skeptical about the ability to replace musicians. I don't think people want to hear an "average" song that will meet all expectations; regardless of genre, what makes a great song is authenticity, inspiration, and the feeling that there's actually someone communicating on the other side of the microphone, and AI can't do that. So I hope music will become more human, more creative, and more experimental, because if you're just sitting there thinking, "How can I write a song that sounds like a summer hit?" AI can do a better job.

How does music help you during these difficult times?

Sometimes I'm overcome by a fatalistic mindset—as if there's only one path forward, and despite the many warning signs, humanity has no choice but to keep moving forward. Listening to music, and especially discovering new pieces, helps me recognize the many creative possibilities humans are capable of. We are inherently creative beings, and I think the drive to create and appreciate beauty is part of what will motivate us to right the many wrongs that exist in the world right now.

Photo courtesy of Sherif Dahrug.

Sheriff Dahrug

Sounds like: expressive piano music inspired by flowers and scents, shimmering with modal polytonality, which helped Mr. Dahroug receive the Platinum Medal of the prestigious Parisian Society of Arts, Sciences and Letters (Société Académique Arts-Sciences-Lettres).

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

The years I spent living and studying in Paris had a profound impact on my musical language. Immersed in the European classical tradition, from Renaissance polyphony to post-Schönbergian aesthetics, I gradually absorbed these worlds until they became inseparable from my own perception and composition. The result was a fluid interplay that formed a constellation of living structures, freely moving around one another.

Over time, I felt the need to express everything I had absorbed artistically and culturally. My work evolved naturally from this path, shaped both by the traditions I inherited in Paris and by my own origins and inner world. Rather than a fusion, I see it as an organic expansion of the French musical experience through the prism of my origins and what I bring to the table as a musician.

Most of my projects begin with philosophical or symbolic intuition before moving on to musical structure. I strive to allow these ideas to unfold through restrained poetic coloring, logical structural clarity, harmonic exploration, and the tension between fragmentation and melodic intensity. For me, music exists in a constant dialogue between intuition and compositional discipline.

Each album is another step toward creating an architecture and syntax where these elements converge into a unified emotional space. At the core of my work is the desire to offer something luminous and mystical—music capable of shifting from anxiety to calm, while maintaining a deeply human sense of longing and presence in the listener's soul.

How did you come up with the idea for this project?

The project arose from a profound desire to dedicate a work to the plight of the contemporary artist. I reflected on those who continue to create in solitude, at a distance, in exile—whether on earth or in their hearts—and who remain faithful to beauty despite the noise and speed of the world. There is a silent dignity in artistic devotion that deeply touches me, the resilience of creativity even in the face of uncertainty, loss, or invisibility.

From these reflections emerged the image of the artist as a solitary creator, embarking on a dark inner journey, almost like an ancient figure wandering in the darkness in search of meaning and self-knowledge. In this state of confusion and fragmentation, a female presence emerges, a symbolic figure of beauty, color, music, and awakening, through which creativity becomes possible once again.

Dreaming gradually became the central space of the work, a lucid nocturnal state where memory, sensation, color, and scent begin to intertwine. Thus emerged "Nuit du Songe" (Dream Night) "In the Colors and Fragrances of Flowers"—nine contemporary instrumental compositions woven into a single, labyrinthine opus exploring perception, memory, and inner transformation through the language of sound.

What artists and albums have had the greatest influence on your creative direction?

My creative direction was shaped by several musical and artistic traditions, which gradually converged over time. The French tradition remains central to me: Debussy, Ravel, Messiaen, and Dutilleux opened up entirely new relationships with color, resonance, harmonic space, and musical time.

I also share a strong affinity with Sergiu Celibidache's lineage and phenomenological thought in music, the idea that sound is perceived as a living presence in time and consciousness, rather than as a purely formal structure. This approach to listening has profoundly influenced my understanding of musical space, harmony, and temporal perception.

As a performer, I was also deeply impressed by artists like Ivo Pogorelich, András Schiff, and Daniel Barenboim. Their intellectual depth, freedom of thought, and profoundly human approach to music shaped my perception of interpretation as something existential.

Besides the music itself, I have always been attracted to artistic worlds that can create an inner state.

Painting also influenced my worldview, especially surrealism. In architecture, figures such as Le Corbusier, Louis Kahn, Frank Lloyd Wright, and the Japanese studio SANAA influenced my perception of space, light, silence, and proportion.

At the same time, my work has been influenced by philosophy, sacred architecture, astronomy, symbolism, and ancient Egyptian philosophy. I believe I was guided more by artistic universes and works capable of conveying mystery, depth, sensuality, and an enduring sense of human presence through sound than by individual albums.

What's the most interesting thing happening in the music industry right now?

Today, I'm most inspired by the growing opportunity for artists to create deeply personal worlds that transcend rigid stylistic categories and industrial expectations. I sense that many musicians are once again seeking sincerity, depth, atmosphere, and a meaningful artistic identity, rather than immediate consumption.

I'm also fascinated by how music is increasingly opening up to other forms of thought and perception, architecture, philosophy, visual art, symbolism, and spatial experience. Some of the most interesting works today represent complete inner worlds with their own emotional and symbolic integrity.

At the same time, I think listeners are becoming more sensitive to intimacy and authenticity. In an era saturated with noise and acceleration, there's a renewed need for music that can create a sense of human presence.

How do you see the development of the music world in the next five years?

I think music will continue to evolve toward increasingly immersive and interdisciplinary forms, as well as new modes of perception. The idea of the album as a self-contained artistic universe will likely become even more important, especially for artists striving for deeper integrity and originality.

At the same time, I believe we are entering a period of saturation, an environment of constant production, acceleration, and fragmentation. Therefore, I believe there will be a growing demand for works that restore a sense of presence and human depth. Listeners are becoming more attentive to sincerity and emotional truth, even within experimental or contemporary forms.

I also think independent artists will continue to gain increasing freedom to develop unique artistic languages outside of traditional structures. This could lead to the emergence of more hybrid and unpredictable forms of creativity, but also, hopefully, to a renewed focus on craftsmanship, listening, and the appreciation of music as something living.

How does music help you during these difficult times?

For me, music remains a way to maintain inner integrity, dignity, and depth in a world that often seems fragmented and unstable. In turbulent times, I feel that music helps restore a sense of human presence and continuity.

I am also strengthened by the need to protect art itself. Without this need, I would not be able to truly share my love of dreams or invite others into spaces where aesthetics provoke reflection and inner transformation. Through creativity, I hope to stimulate sensitivity and the desire for knowledge, because I believe that artistic experiences can inspire people to reconnect with the deeper parts of themselves.

As my own journey unfolds, I increasingly see art as something capable of creating an atmosphere of inspiration and resilience, like trees whose roots help stave off spiritual and social collapse. The act of creation becomes a way to resist numbness, maintain sensitivity, and remind us that the pursuit of beauty, self-expression, and art remains meaningful and necessary today.

Photo courtesy of Paul Louis Villani.

Paul Louis Villani

It sounds like this: A soulful interpretation of modern acoustic blues with virtuoso guitar playing.

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

My approach to music is best described as emotional honesty, rather than conforming to genre boundaries. I've never been interested in sticking to one musical genre, because we humans don't perceive life in a single emotional way. Some days feel beautiful and contemplative, while others are aggressive, anxious, isolated, full of hope, bitterness, and absurdity. It's easier for me to write music and lyrics that adhere to this honesty than to adhere to some invisible rules about how I "should" look or sound. Therefore, my repertoire encompasses industrial textures, blues, acoustic works, rock, a variety of vocal textures, heavy atmospheres, even moments that, for some, can seem almost like a soundtrack. Overall, my sound is emotionally driven alternative music, focused on tension, "atmosphere," and confrontation through introspection.

How did you come up with the title for your performance?

I've never approached it as creating a "band name" because all my recent projects (post-2020) have become increasingly personal. Using my own name feels more honest. If I release something (and I'm sure I have) that's ugly, vulnerable, aggressive, confusing, introspective, or unpleasant, I have nowhere to hide it. It's directly connected to me. I actually enjoy that responsibility. There's complete accountability in it. I just create art and live with the consequences afterwards.

What artists and albums have had the greatest influence on your creative direction?

My sources of inspiration are honestly very varied, and I'm going to indulge myself a little here!!! Andres Segovia, Guns N' Roses ( Appetite for Destruction ), Mr. Bungle (Mr. Bungle 1991), Placebo, Mauro Giuliani, Slayer ( Reign in Blood ), KISS and Ace Frehley (Destroyer and Ace Frehley's 1978 solo album), Yngwie Malmsteen ( Rising Force ), David Bowie, Led Zeppelin, The Beatles, Jeff Buckley, The Cult, Pearl Jam ( Yield ), Metallica ( Justice for All ), Prince, Steve Vai, The Smashing Pumpkins ( Machina / The Machines of God ), Living Color, Adam and The Ants, Rage Against The Machine, Russell Morris, Tim Buckley, Sepultura ( Chaos AD ), Faith No More, Powderfinger ( Internationalist ), Ren, Jimi Hendrix and Angie de Poitrine.

What's the most interesting thing happening in the music industry right now?

We live in a time when a person, sitting alone in a room, can create something powerful and present it to the world without asking permission from an industrial machine. It's incredible. Technology (including AI) scares some people, but I see it more as another instrument, an effects pedal, or a toolbox. Like any technological shift in the history of music, people will resist it until they eventually integrate it into the culture.

How do you see the development of the music world in the next five years?

That's a tough question! I think in the next five years, there will be a growing separation between hyper-produced content and deeply human artistic expression. Artificial intelligence will certainly change production, instrumentation, vocals, visuals, and accessibility, but, paradoxically, I think it will make a genuine human perspective even more valuable. Audiences are already drowning in content. People may not be looking for perfection and expensive studio recordings. They may be looking for authenticity, emotional truth, flaws, individuality, and perspective. Potentially, the artists who ultimately achieve long-lasting careers won't necessarily be the most technically polished or the most virtuosic musicians. They will be the ones who make people truly feel something.

How does music help you during these difficult times?

Music is definitely a coping mechanism for me. My dopamine, my Valium. I think a lot of people (myself included) are quietly experiencing stress, uncertainty, isolation, financial pressure, identity confusion, and emotional fatigue right now.

Writing music gives me a way to process these things, rather than letting them just sit in my head and replay them over and over again. Writing music helps me stay connected to something tangible, something unique, something that belongs only to me.

Photo courtesy of South of France.

South of France

Sounds like: psychedelic indie-pop that pulses like a night drive on a neon freeway.

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

A sonic chaos. Ha! The main thing I try to create is somewhere in the psychedelic, indie-pop, R&B-like world. I also do a lot of composition and production for film and television, so I always try to incorporate some unusual cinematic elements and textures into the music. I like to add completely incongruous instruments. Dreamy music with something bold, calm with a very chaotic sample, or just two chords around which a lot of chaos happens.

How did you come up with the title for your performance?

Despite its location, I feel like the South of France is a cool way of life or a state of mind. If this place and the atmosphere of the true South of France could embody a sound, that's the sound I'd want my own to be.

What artists and albums have had the greatest influence on your creative direction?

Guru's Jazzmatazz , BadBadNotGood, Kenny Beats, Danger Mouse, Handsome Boy Modeling School, Gorillaz, Damon Albarn, Kevin Parker, Digable Planets, Jungle, Miike Snow, 1999 Write The Future, Mike Dean, Ennio Morricone… Too many to list. Luckily, I really resonate with a lot of different musical genres.

What's the most interesting thing happening in the music industry right now?

The new music is so good that it amazes me almost every day.

How do you see the development of the music world in the next five years?

I hope the situation improves significantly compared to AI. Independent artists are becoming important market players, and it seems the situation for independent artists is improving overall, although it's still very difficult to break through and attract attention. I hope we'll see more independent artists touring on a larger scale and performing at major festivals.

How does music help you during these difficult times?

I can only hope that music will always bring people together, give opportunities to those who need them and talented people who truly deserve them, and will always stand up to the system :)

Photo courtesy of JRNXLST

JRNXLST

Sounds like: Big-time alternative rock in the vein of U2 and My Chemical Romance, performed in both English and Spanish—sometimes even in the same song!

Interview:

Describe your approach to music and how you would describe your sound to others.

My entire mission in this project is to be brutally honest about my world, both internally and externally. To break through years of pretending everything is okay and covering up wounds too deep and terrible to face, and release it all into the universe. My struggle with mental illness has manifested itself in many ways: family alienation, broken relationships, suicide attempts, evictions, job after job. My entire life, I've struggled unsuccessfully with mental illness, staring oblivion in the face with only fading hope and an inability to die. It took a lot from me. Almost everything. Even after decades of hardship, I still felt as lost and alone as my five-year-old self: a strange little immigrant from Ecuador, just trying to find a place where he could finally feel like he belonged. I've picked up the pieces of my life countless times, from heights most people only dream of, but this is not a glory story. This is the story of my time in hell and my subsequent escape. It's strange to realize that the only real solution is to face my demons and come to terms with all the nightmares and scars until I gradually learn to accept them with the same tenderness and warmth with which I accept my friends. After much deliberation, I finally decided to seek real help after a lifetime of suffering in silence. Individual therapy, group therapy, a psychiatrist. I have a whole team. A crucial part of what I will call my recovery process was asking the hard questions and mustering the courage to accept the reality of my situation. Acknowledging my role in the apocalypse. I called them my confessions. Oh, and medication. Lots of medication. I began to couch these confessions in music. Immersing myself in music became a lifeline, returning me to a world in which I believed I could truly survive. I took it all in: the pain, the confusion, the horrors of the genocide in Gaza, and let music cleanse my soul. Not necessarily to absolve my sins, but to name them so I could finally grow. And so JRNXLST was born.

How did you come up with the title for your performance?

As the title suggests, I wanted to be brutally honest about these recurring patterns in my life in the hopes that one day I could overcome them, or at least reach out to people who might know what such pain is like. The worst part of it all for me was the suffering alone, the thought of being alone with the darkness. It's paralyzing. I wouldn't wish it on my worst enemy, but I dropped the pretense and decided to lay it all out there. It was uncomfortable, but in a way, necessary, like setting a broken bone. By the end of the recording process, I felt much lighter, yet vulnerable at the same time. Living with this discomfort is infinitely better than living with all this pain, so I'm grateful for the opportunity to finally let it go. My first official release since "The Dawn" from Bedlight for Blue Eyes.

What artists and albums have had the greatest influence on your creative direction?

The bands that have had a huge influence on my life creatively and spiritually are U2, Glassjaw, Ozzy Osbourne, The Killers, Radiohead, The Clash, The Cure, The Strokes, Wilson Pickett, Otis Redding, and lately a fair bit of metalcore, like BMTH. Obviously, I'm an emo teenager. I'm obsessed with President right now, and Sleep Token's "Are You Really Ok" is constantly playing on repeat. I want to bring theatrics back to live performances, the way great bands of the past did to become truly epic. Gwar, Ghost, My Chem, Sleep Token. These bands have created their own richly detailed worlds, full of intricate storytelling. I fucking love that. JRNXLST will put everything into a live performance and create a unique and cinematic experience that is still ferocious enough to blow your mind. I've been experimenting with a lot of synth sounds, guitar tones, techno beats, Spanish influences, bought a seven-string guitar to get a heavier sound than ever before - anything that could help me bring my world to people, and I hope that these melodies will really penetrate their defenses and get into their hearts.

What's the most interesting thing happening in the music industry right now?

The most exciting thing about music right now is the changing approach musicians take to interacting with fans. Live performances and "third spaces" are once again becoming sacred, especially now that social media has stripped away any authenticity. These events aren't limited to concert venues: they're popping up in laundromats, boxing rings, Chinese restaurants, parking lots, under bridges—literally anywhere you can set up a sound system and gather friends to dance. In the digital space, the most exciting thing is a whole new concept opening up for bands (and brands) called microdramas or vertical series. This is a format where each episode is about 60-90 seconds long, and a season consists of about 40 episodes. They're dynamic, highly engaging, and cost far less than a traditional show or music video. The All American Rejects recently released a microdrama on Candyjar. Microdramas are an incredible new way for bands like mine to give fans a deeper understanding of the creative worlds we create, and to do so while keeping them on the edge of their seats until the very end.

For example, our next track, "KNGDM," is being released alongside a micro-drama I wrote—a 70-page script stretched across 40 episodes. It's one of the most ambitious projects I've ever created, and, like the music, it stems from very real and personal experiences. I'll be starring in and directing the project alongside my bandmates and an incredible international cast. Our cinematographer, Matthew Canada, is a true legend.

«"The story follows burnt-out rock star Liam Kincaid, who receives a mysterious box linked to his missing ex-girlfriend, Lily. What begins as grief, depression, and paranoia escalates into a supernatural nightmare, involving cryptic messages, bloody visions, and an underground cult of modern-day vampires who feed on fame, addiction, and despair. Ultimately, Liam discovers that Lily herself has transformed into something monstrous, forcing the two doomed lovers to commit one final, brutal act of rebellion.".

Tonally, it's truly dark and gritty music, combining elements of horror and cinematography with an emphasis on creating fully-fledged, three-dimensional characters. I wanted to create something more dangerous and gripping than a standard musical release, something that felt alive.

How do you see the development of the music world in the next five years?

In the next five years? Yeah, it seems like the entire landscape of what we know as the internet is changing every day, and many of us are calling for regulation and reform. But despite all the nonsense, no matter how bad things get, there's always that kid locked in their room with a song in their heart, a dream in their head, and a lousy second-hand instrument to make it happen. It might be romantic, but sometimes hope is all we have.

How does music help you during these difficult times?

It may sound ridiculous, but I don't care. Music saved my life. Music has connected me to all the greatest events in my life, and more importantly, introduced me to some of the most important and meaningful people I've ever met. It has become my conduit for healing and my weapon against the endless chaos happening everywhere in the world. For example, one night I was scrolling through my newsfeed and came across an Al Jazeera post where a nurse was holding a small Palestinian child. This little one was more bone than flesh, and it tore me apart. The horrific consequences of this genocide in Gaza were laid out before me in all their glory and struck me in a way never before. I didn't sleep for three days. I had sketches of my song "Halo," where I talk about my internal struggles with codependency and borderline personality disorder, but the chorus kept ringing in my ears, and I began to apply it to the situation in Palestine. You think you have a halo, but you don't know who you are... It made me think of Netanyahu and the Zionists who justify genocide and condone the murder of innocent civilians, especially children, as victims of war. It made me think of our president and the many crimes he has committed, and yet he still stands tall and proud, embodying every ounce of his nickname, "The Teflon Don." Hypocrisy is everywhere, injustice is everywhere. Music has always been a weapon of the people. A tool for raising awareness and awakening our sense of right and wrong. I decided I couldn't live in a world where I wasn't actively choosing to improve it, and so I changed the surface of the song to be dedicated specifically to the starving children of Gaza. As far as political statements go, I don't think it's all that controversial to not want innocent children to die of needless starvation. But really, I was simply asking the question: "What are we going to do?"«

At the end of every message, I see: "You don't have to be blood related to be family." I want to believe that one day we can live in a world where this ideal becomes a universal truth for all people on this planet. I don't know, until we have a common enemy descending from space, this war will never end. But still, we must keep trying. So yes, music has been my sword and my shield. I am grateful every day that I have the breath to scream, to unleash all my inner energy. In the end, that's all we can do. Scream together into the darkness.

Photo courtesy of Gabagool.

Gabagul

Sounds like: The Rapture, if they'd been more into new jack swing. A great throwback to the old DFA Records era in Brooklyn in the early 2000s.

Interview:

Describe your approach to music and how you would describe your sound to others.

My approach to music is rebellious, but also demonstrates how different genres can influence and enrich each other. I really enjoy trying to take the listener to unexpected places, while creating intersections between parts and styles that feel simultaneously familiar and inevitable. I'm never shy about showcasing my musical influences in my work, at the risk of being labeled derivative, but that's never bothered me. It's hard for me to pinpoint Gabagool's sound, but I tell people it's heavy alternative rock with elements of funk, jazz, soul, and many other genres.

How did you come up with the title for your performance?

«"Gabagul," though actually a nickname for an Italian sausage, always sounded strange and wondrous to me. Images of ghosts and goblins come to mind. I wanted my music to embody strange and powerful vibrations, and "Gabagul" somehow fit the bill perfectly.

What artists and albums have had the greatest influence on your creative direction?

As you might already understand if you've listened to my music, my musical influences are very diverse. I've been compared to bands like Modest Mouse and Mr. Bungle, but I draw inspiration from everything from The Gap Band and Steely Dan to more modern indie music like Givers and IDLES. Here are a few albums that I consider to be a big influence:

Man - Life is fantastic
Givers are in the light
Incubus – SCIENCE
Marvin Gaye - What's Happening?
Modest Mouse – We were dead before the ship sank
Mr. Bungle - California

What's the most interesting thing happening in the music industry right now?

I'm getting older (I turned 45 this year), so I feel like I'm losing touch with what's going on around me a bit. The last few things that really got me hooked were the recent wave of neo-soul artists like Anderson .Paak, Steve Lacy, and Ari Lennox (to name a few), as well as the new rock 'n' roll/post-punk bands like IDLES and Viagra Boys that are currently gaining popularity. I'm sure there are plenty of artists to admire in the underground scene around the world, but I'm just not as up-to-date on it anymore.

How do you see the development of the music world in the next five years?

Honestly, I can't say for sure. I know, for better or for worse (narrator: for worse), that AI-powered music is gaining popularity in the streaming world, but I don't think that will stop talented artists from creating unique music that will appeal to different audiences. I think producers and artists will eventually find an authentic approach to using AI as another tool, and music created solely with AI will become just another genre to be filtered. Artists who don't use AI will have a harder time breaking through, but what's new? I'd love to see guitar rock return to the mainstream. I think one thing is for sure: the next five years will be unlike anything anyone can predict—in the music world or any other industry.

How does music help you during these difficult times?

Music has long been an outlet for me, as well as a lens through which I view the world. My ideal time for myself is drinking/smoking and working seriously on weird tunes in my basement studio. But if I can use this work to speak and share a little about how I see things in the world, that's always a plus. Plus, I hope my music can inspire me and others to dance in a world that hasn't exactly felt conducive to dancing lately.

Photo courtesy of Flowanda.

Flowanda

Sounds like: Conscious hip-hop from a Bronx-based yogini whose sound recalls a failed collaboration between Kid Cudi and the Beastie Boys.

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

This might be the weirdest answer you'll ever get to this question, but still:

I never planned to be a musician. I'm a former screenwriter turned psychotherapist from the Bronx, and after years of working with grief and trauma—along with deep dives into yoga, meditation, and my own therapy—I had a profound and destabilizing mystical experience that completely changed my relationship with creativity.

Almost overnight, melodies, lyrics, and complete songs began appearing in my head, completely unexpectedly. I had no formal musical training, so in a panic, I taught myself Logic Pro and bought a MIDI keyboard because the experience was so strange and emotionally overwhelming that I needed a way to document it.

This was about 18 months ago, and it hasn't stopped. As a licensed mental health professional, I understand how strange this story sounds. But what I experienced didn't feel pathological—it was meaningful, transformative, and surprisingly logical. I've been studying the esoteric side of Kundalini yoga and tantra for about 15 years, and part of me genuinely wonders if I've stumbled upon something far beyond my understanding.

So my relationship with music is perceived less as a «career ambition» and more as an observation and interpretation of an experience that is still unfolding in real time.

As for the sound itself, frankly, I find it hard to compare it to anything pure. It's psychedelic alternative hip-hop, but also cinematic, dreamy, emotional, spiritual, funny, vulnerable, and at times a little crazy. Imagine a transformative music festival taking place in a Bronx subway tunnel at 2 AM.

How did you come up with the title for your performance?

«"Ananda" is a Sanskrit word often translated as spiritual bliss. Around the time this music began to emerge, I truly felt less like "making songs" and more like something flowing through me. Instead of focusing too much on the results, I simply surrendered to the process and continued to follow the music wherever it led. This practice is FLOWANANDA.

What artists and albums have had the greatest influence on your creative direction?

My musical tastes are honestly very diverse, so it's probably hard to categorize this project into any one genre. I'm definitely influenced by Coheed & Cambria, Kid Cudi, Leonard Cohen, DMX, The LOX, Alt-J, Loreena McKennitt, and many others. But they all have one thing in common: their music is unmistakably recognizable. None of them chased trends. They created complete emotional worlds and trusted that people would eventually find them. That's probably the most important thing I've learned creatively.

The first CD my mom bought me was "» It's Dark and Hell is Hot» from DMX, and I couldn't take my headphones off for months. This might sound weird, considering the music I'm making now, but if you listen to DMX, you'll understand how spiritual he was.

What's the most interesting thing happening in the music industry right now?

Honestly, I think Coheed & Cambria are one of the most creatively inspired bands making music right now. They've been doing this for years, working within a complex narrative, and their music is constantly evolving. And this epic story they're telling is nearing completion!

I might get criticized for this, but in my 30s, I largely moved away from hip-hop because the lyrical content simply wasn't evolving with me. Sure, conscious rap exists and always has, but it largely sacrifices the groove. It seemed like no one was creating the kind of hip-hop I personally wanted to hear: spiritual and emotional development with cool beats and melodies.

There was something wrong with being a 40-year-old hippie in Saucony sneakers listening to "Oochie Wally." And I'm not trying to be mean. The LOX and DMX protected me emotionally and helped me survive in New York when I needed to, but now I have to water my houseplants.

I also think there's a growing need for music that touches spirituality in a deeper, more vivid way. Not the ostentatious "aesthetic spirituality" we see in all those people in big fedoras, but genuine wisdom conveyed through art. Someone like Leonard Cohen could convey profound spiritual truths through song because he lived it. I saw him perform at Madison Square Garden before he died, and it was honestly like being in the presence of someone who had touched something transcendent. I don't see that in popular music anymore, especially hip-hop, and part of FLOWANANDA is my attempt to bring that depth back into music that still feels emotionally alive and sonically captivating.

How do you see the development of the music world in the next five years?

I believe that music created by artificial intelligence will push human artists to even greater emotional specificity, strangeness, imperfection, and originality. If algorithms learn from combinations of existing elements, the most valuable thing a human artist can offer may be genuine life experience and unexpected emotional truth. Perhaps the future of music is when humans become strange again.

How does music help you during these difficult times?

Music truly saved my life. It gave me the ability to express experiences and emotions that seemed deeper than words. For me, as someone with ADHD, music also feels much more immediate and tangible than, say, screenwriting, where projects can take years. A song can convey a feeling overnight.

But most of all, music gives me hope. We live in a time when almost everything seems polarized and hostile, but live music still creates moments when strangers dissolve in a shared emotional experience. It allows people to stop competing for a moment and simply be human together.

And I swear I don't work at Coheed & Cambria, but listen to "Tethered Together" and tell me if that song doesn't give you a little bit of hope that people can find their way back to each other!

Photo courtesy of Carson Bull.

Carson Bull

Sounds like: a funky country-rebel mix in the style of Bob Dylan's "Thin Wild Mercury," imbued with atmosphere Nashville skyscraper .

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

You might dance, and you might cry.

Life is a constant struggle to come to terms with what you can't control and focus on what you can. I've always believed that the catharsis of writing music and listening to music lies somewhere in between.

My approach to writing music has always been different. I think if I weren't a musician, I'd want to be a writer. I always liked poetry in school, and I really enjoyed Shakespeare when I read it. I know that might seem strange to some. I didn't know how to combine poetry, storytelling, and self-expression with music until I was about 15, when I got into Bob Dylan. I think for me, writing music has always felt like therapy and a way to understand my feelings when I can't figure out what's going on in my head.

How did you come up with the title for your performance?

Well, Carson Bull is my legal name. I've never been interested in a stage name. At least not yet... However, even though all my music is released under my name, Carson Bull, I wanted my band, which I play with, to have a name too. I just think they're some of the best musicians in the world, and they deserve it. I'm a big fan of Tom Petty and the Heartbreakers, Jason Isbell and the 400 Unit, and the Allman Brothers; so for a while, I thought it would be cool to perform as "Carson Bull and (blank)" when we played live. James Haynes (keyboards) and Josh Norfleet (lead guitar) were constantly getting comments from people at shows that they looked like brothers or cousins. I thought that was funny, so Jim suggested we perform as "Carson Bull and the Cousins." I thought that was a great idea, and it stuck. We've all known each other for so long, a little more than friends but a little less than blood brothers, that the title "cousins" seemed appropriate. I also felt a sense of guilt and embarrassment at the end of shows when people would come up to me or the guys and ask, "What's the name of the band?" To which I'd awkwardly reply, "Carson Bull..." After a few of these experiences, I was convinced my band needed a name.

What artists and albums have had the greatest influence on your creative direction?

The Eagles, CCR, The Beatles, Waylon Jennings, Bob Dylan, Tom Petty, Chris Stapleton, Bon Iver, and Tyler Childers are just a few. I still can't stop listening. Snipe Hunter Tyler Childers since it came out, and I probably listen to at least one Eagles album a day. Desperado и One of These Nights — two of my favorite albums of all time. The new live recordings they released in Anaheim in 1975 have been a constant presence on my player lately.

What's the most interesting thing happening in the music industry right now?

The demand and resurgence of physical media. Special thanks to Sturgill Simpson for the new Johnny Blue Skies album, which he released for free on YouTube without ads, then deleted after its release and only released physical copies. What Jack White has been doing with Third Man for so many years is also incredible. SUPPORT YOUR LOCAL MUSIC STORE. Nothing changes your life more than finding the perfect record, going home, listening to it, and being transported to a place where nothing can touch you. Also, more and more artists are fighting with Live Nation and Ticket Master. I think what Olivia Dean does in this regard is a role model for all artists to follow. And she just makes damn good music.

How do you see the development of the music world in the next five years?

Nihilism is a personality trait and a bad habit I'm desperately trying to break, so let me answer with hope... I think authenticity is in high demand right now, and it's only going to get stronger. I think it's great that, in order to combat the constant pressure to constantly release music and connect with fans and people around the world, people are less interested in high-quality music from world-class studios and more interested in something authentic that makes them feel something. I think, more often than not, people can spot a lie a mile away. People are people. They want to hear the humanity in your music. People are constantly reminded of their flaws, failures, and imperfections. The last thing I want to give them is something overproduced and fake to make it perfect. There's comfort in intimacy. I think music can move mountains in people's minds and hearts in that regard. I know music did that for me. I think that in a world full of phoniness, greed, overstimulation and corrupt capitalism, people are desperate for something real and authentic, and I agree with them.

How does music help you during these difficult times?

Escape. Music has always been an escape for me. The reality of life and what's happening around us can sometimes seem like an unbearable burden. Music has always been a tool for making sense of the world around us. This will never change. Words have boundless power, and combining them with melody and rhythm only strengthens them. I hope people are resilient and know that you can always fight for what you believe is right. Music is just one tool in humanity's arsenal for this.

Photo courtesy of The Hedgehogs.

Hedgehogs

Sounds like: a hazy, laconic interpretation of the blues style created by Peter Green during his album In The Skies , but closer to Slint.

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

Stephen Schoner: John and I are both Beatles fans. The Beatles' early stereo recordings had an intriguing separation of instruments and vocals. And although on the album The Hedgehogs/Winter We don't go that far, we liked to distribute the sounds across the stereo field in a balanced way, adding accents that give it kinetic energy.

We've learned a lot from John Squire of the Stone Roses and Noel Gallagher of Oasis, who create beautifully balanced guitar parts. You feel like you're suspended in the space they've defined for you. We're increasingly working on developing our guitars in this direction.

John Peyton: It's always been important to me to understand "how the sausage is made." Listening to my favorite artists, I was curious about how different sounds were created. At first, I tried to copy them with the primitive equipment I had.

I think we all share a love of good music from the 60s, 70s, and early 80s, and trying to emulate that spirit was exactly our approach. It wasn't that we were directly copying.

Steven: With the first album, you're still very new and perhaps a little more utilitarian, and sometimes, looking back, you think, "Well, I could have done this or that with that guitar or that part." But I think the colors are coming through more now. The sound is getting richer. There's less of a rough edge to the recordings. And while we have a sense of humor, we're going to temper it and let things be more elevated.

And this debut album is a true double whammy. "Yours For the Asking" is a romantic, sunny, springtime song. And "Lonely" is not at all humorous, but ghostly and beautiful. These last two songs were recorded among the last three, and you can hear their development.

How did you come up with the title for your performance?

Steven: It's from the Spinny Norman sketch in Monty Python, where one of the characters thinks he's being watched by a giant hedgehog. I absorbed Monty Python the same way I absorbed a lot of great rock music at an early age from my older siblings. We all ran cross-country in Ironton, and my brothers had a team called the Hedgehogs. Same source. I think I was copying my older brothers when I suggested that name.

What artists and albums have had the greatest influence on your creative direction?

Stephen: Regarding our new single "Lonely," we really love the guitar combination of Peter Green, Danny Kirwan, and Jeremy Spencer from Fleetwood Mac. And Buckingham too, for his balance of acoustic and electric licks on the album. Rumors , which appear and disappear from the mix just the right amount. And lately, I've been listening to a lot of Jorma Kaukonen… his electric guitar fuzz has become a very useful source of inspiration for future music.

John: For me, it all starts with The Beatles, and specifically that more experimental period after their live shows. They're the anchor for everything else for me. I lean more toward pop music, but not bubblegum house in general. After them, I'd say Pink Floyd. Again, their experimentalism and melancholy resonate with me.

Stephen: Album The Dark Side Of The Moon sets a phenomenally high bar in terms of production, songwriting, and performance. But we also love the early singles, and I think that's where John's playful slide on "Yours For the Asking" comes from. As does "Point Me At the Sky.".

John: When I got to senior year of high school, I started to appreciate new wave music more.

Steven: Stewart Copeland has a great sense of humor. His drumming has that percussive softness that we used on "Yours For the Asking." The Police are a great band for creating atmosphere and using very few instruments, but also for creating the right atmosphere. «Synchronicity» - This is an example of simple keyboard playing that can really add atmosphere.

John introduced me to early Genesis. They have such rich instrumentation. And again, the humor, those giant hogweeds and all that. Genesis's later work was a lesson in musical economy. Tony Banks could layer several simple parts on top of each other to create something powerful and rich, but also with such... again... space.

Led Zeppelin album «Presence» It made me stop perceiving vocals as the dominant instrument in a mix. A more balanced sound between vocals and instruments can produce better results.

I really liked Dungen's music. It can go from something truly beautiful and pastoral to something reminiscent of a toy box falling down the stairs. I also like Sigur Ros for their atmosphere. And Dead Meadow are also very atmospheric and creepy. I really like them.

What's the most interesting thing happening in the music industry right now?

John: An interesting thing about modern music is that I think the process of discovering new music has become much less centralized. Radio and music videos used to be the primary means of distributing new music and discovering new (and in some cases, old) sounds. Now, social media reigns supreme, and music is discovered through 15-second snippets of songs featured in short videos on Instagram and TikTok. YouTube videos can make megastars out of people who simply make music for fun in their bedrooms. With so much content out there, it can be hard to find something new you'll truly enjoy.

How do you see the development of the music world in the next five years?

John: It seems like the boundaries of genres are blurring more and more. Perhaps part of this is due to the use of new music by content creators on social media. Different styles and sounds are breaking out of their niches and becoming accessible to different demographics, and that's a good thing.

Another thing I'm noticing, and as someone who consumes a lot of content on YouTube, I'm seeing it more and more often... There's a lot of AI-generated music popping up, and I don't know what to make of it. Entire channels are dedicated to different styles of music that have never been touched by a human. Our music may be a little rough around the edges, but at least it was created by people who loved the process.

Steven: Artificial intelligence is a concern. But I think people simply won't be satisfied with music that has no one behind it. What can a machine tell a person about life? Machines and humans aren't a community. I think people will care less about a polished song from a machine and much more about the opinions of other people.

How does music help you during these difficult times?

Steven: Making the world a more beautiful place. Releasing music creates a human connection with people all over the world. Not only do you feel an emotional rush as the words and music are released into the world, released and reaching other ears, but the connection with those around you, who then support you, brings you satisfaction. You're not curing cancer, but you're sending something valuable, good, and inspiring into the world.

It's a multimedia adventure… a combination of music, art, video, and graphic design, and who knows what happens next? It's aesthetics… a serious creative endeavor and a way to become an artist and create something great with guys who were your friends long before you started recording music together.

But it's also just FUN. Few things compare to a great pop single. I mean, seriously. Like the Stone Roses' "She Bangs the Drums." Making a great record and listening to it is pure joy. Creating invisible worlds, measured not in miles but in minutes. And your people, and people all over the world, can live in this world you've created for them, right alongside you.

John: Music soothes the wild beast. It has the power to bring people absolute joy, and the world is sorely lacking that right now.

Photo courtesy of HAUSPOINTS.

HAUSPOINTS

Similar to: Mark E. Smith's Space Kids from Chorley, England, are aiming to beat the Viagra Boys at their own game.

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

Music is an unpredictable phenomenon and should be approached with extreme caution. Even those who consume it infrequently experience severe manic episodes and disorders, and for those who use it for long periods, the consequences can be fatal or even worse.

How did you come up with the title for your performance?

Use bandnamegenerator.com

What artists and albums have had the greatest influence on your creative direction?

I have a note from the decimalisation of British currency that was handed out to shopkeepers in the early 1970s, asking them to throw any shillings they had out of circulation either at a passing seagull or into a bucket of raw eggs, whichever was handy.

What's the most interesting thing happening in the music industry right now?

I don't know, has Coldplay released a new album?

How do you see the development of the music world in the next five years?

As in most industries, profits are typically taken from those who actually work and create music and given to billionaire entrepreneurs and shareholders. So, there's likely to be more of this.

How does music help you during these difficult times?

It certainly doesn't help as much as a lot of money would.

Photo courtesy of Crucifera.

Cruciferous vegetables

Sounds like: A darker, glitchier, gothic version of Garbage, though the sound is more intense and experimental than Butch Vig's work behind the decks.

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

I guess I'd describe my sound as gothic industrial pop-rock—"crunchy, ethereal, industrial music for spiders." Industrial "ugliness" mixed with ethereal, "beautiful" atmospheres and complex melodies. However, the song structures are more memorable and cohesive than is typical for these genres.

Each song is vastly different, but my album "Exostential" is a cohesive journey. It's a piercing clash of organic vulnerability and heavy mechanical armor—a sonic "exoskeleton" protecting the inner self. Growing up poor, I initially built a career in branding, marketing, and design to provide stability, which now helps shape every visual and lyrical aspect of my musical projects. This experience informs my creative process. I've always written music on acoustic instruments using pen and paper, rarely using a DAW or studio equipment except for brief periods when friends would lend them to me. Later, starting to work on production pushed me to rapidly develop these technical skills.

I start each track with piano or acoustic guitar before moving on to the computer. My goal is to blend old-school acoustic soul with a digital edge. After I've formed the melodies, chords, and lyrics, I move on to production—writing down the structure, adding synths and samples, and experimenting with textures and rhythms. I avoid standard drum kits, instead layering processed samples to maintain an organic sound even as the song becomes more electronic.

I use music as a means of psychological engineering, employing complex planning to create physical experiences. I intentionally create claustrophobic moments before they unfold into vast, ethereal spaces, evoking psychological responses to the shifting environment. This approach is particularly evident in tracks like "Pity" and "Labyrinth of Fools.".

How did you come up with the title for your performance?

The name Crucifera refers to the orb-weaving spider. Neoscona Crucifera . I've always loved insects. I collected them as a child, and even as an adult, I still can't kill a single one. Over the years, I've had three pet tarantulas, the first of which I even stuffed myself after it died. In 2021, after moving into my own house, I befriended a beautiful orb-weaving spider on my veranda, which repelled mosquitoes.

Out of curiosity, I looked up its taxonomy and immediately noticed its Latin name. "Crucifera" translates as "cross-bearer," a reference to the distinctive marking on the spider's back. I'm obsessed with religious history and metaphors—which I use in my writing, even though I consider myself a Gnostic and spiritual person, not a traditionalist. The weight of this symbol resonates deeply with me.

To me, spiders are like miniature land octopuses. They operate purely on instinct, wanting only to exist and be left alone. A spider experiences the world through the vibrations of its web and the ground, rather than the way humans do. This serves as a beautiful metaphor for how I perceive reality. This connection also inspired the title of my debut album, Exostential. It embodies the philosophy of the exoskeleton: the biological necessity of creating a hard outer shell to protect a vulnerable, living core. I am a chronic existentialist. My music is about overcoming the heavy chaos of past trauma, grief, and abuse, and weaving these brutal frequencies into a silver-lined web. It is about creating industrial armor to protect that divine inner spark from a world that can be incredibly cold.

What artists and albums have had the greatest influence on your creative direction?

While I approached this project completely differently (accidentally) and didn't follow any specific plan, I do acknowledge that certain artists have influenced my sound and creative direction. As a listener, I've always gravitated toward the gothic and industrial side of music. My music features elements reminiscent of the aggressive industrial and electronic hard rock of Skinny Puppy, Nine Inch Nails, Wumpscut, Marilyn Manson, and PIG. I also admire the seminal goth rock and darkwave of Bauhaus, Sisters of Mercy, Christian Death, and Switchblade Symphony, as well as the dark synth-pop of And One. Additionally, metal bands like Pantera contribute to my understanding of intensity, and Ecstatic Fear inspires me to create symphonic atmospheres in my work. These diverse influences shape my approach, even if unintentionally, creating a rich backdrop for the distinctiveness of my music.

Now, about popular artists I love and who might be familiar to many: from the age of three, I was obsessed with 80s music, and then with alternative music from the 90s. I've always been a fan of The Cure, Depeche Mode, and Prince, as well as Bush (especially Razorblade Suitcase), Hole, and Nirvana. I've definitely been inspired by women like Madonna, Cyndi Lauper, Stevie Nicks, and Dolores O'Riordan from The Cranberries.

There aren't many artists these days who truly move me, but I have an immense appreciation for those who do: incredible women like Halsey, Bishop Briggs, and Lady Gaga, and I adore Bright Eyes. I respect these creators because they define their own creative direction, write their own music, and are instrumentalists who control their own visual and sonic universes. This is exactly how I work as a solo producer, managing every frequency and every pixel of the transmission. You can tell when an artist truly feels something in their voice and eyes. This beautiful pain becomes rare and is sacrificed for technical mastery or image. I deeply admire how they boldly assert their creative direction, write their truth, and shape entire worlds from their visions. Inspired by their dedication, I bring the same intensity to my life as a solo producer, guiding every aspect of my projects with conviction.

What's the most interesting thing happening in the music industry right now?

The most exciting thing right now is the creative resurgence of dark music that's uncompromisingly human and raw. I've noticed pieces with gothic and industrial DNA popping up here and there. I would never have heard these sounds in the mainstream before. Some old goths might want to limit this, but I welcome it. This world is for the future, and we must strive to create the best possible environment in every way, including artistic and creative, so that future generations have easy access. We're seeing a shift toward unfiltered, visceral music. It's the perfect counterweight to the fear that AI has "cleaned up" the industry. By blending digital architecture with my acoustic roots, I'm trying to bring back a more grounded, human approach to music. I hope many will follow my example. It proves that, although the instruments change, the core of a song should remain a pure, unadulterated human message.

How do you see the development of the music world in the next five years?

I see the next five years being defined by a global movement toward interdisciplinary independence. Authenticity will become the primary value. As AI becomes more widespread, the value of the individual artist, capable of everything from the first handwritten note on the piano to the final master recording, will grow. From my home studio in New Jersey, I hope to inspire aspiring musicians. I want to show that you don't need a major label or a huge budget to create a truly immersive, world-class experience.

I believe we're moving toward an "organic-digital hybrid," where technology enhances the human spirit rather than replaces it. My plan for the next few years reflects this shift. I have an EP scheduled for release later this year, and I have nearly two albums' worth of songs in the works. I'm also focused on expanding my presence in the scene through collaborations with other independent goth and industrial artists. This includes everything from songwriting and guest vocals to live performances and remixes. Ultimately, I see the industry moving toward a "great decentralization." Creative sovereignty will be the only way to maintain a pure, unadulterated connection with the audience.

How does music help you during these difficult times?

For me, music is therapy, survival, and ascension. I spent 26 years building my design career simply to survive. Finally taking a risk and sharing this vulnerable side of myself means everything to me. In a world that seems increasingly difficult—where we are bombarded with the noise of war, systemic negativity, and a general lack of empathy—music is a way for me to process it all. It's a medium I use to transform grief, loss, and the isolation of alienation into something valuable.

I remember vividly how difficult it was to struggle as a young woman, not only for physical survival but also feeling completely lost in a sea of people who seemed only interested in the superficial side of life. It can be a very lonely state, deeply feeling the world's pain and simultaneously finding beauty in every little thing. I hope my music resonates with those who are currently experiencing the same darkness. I'm especially thinking about young women, because many of their idols' lyrics seem to only scratch the surface of relationships, sex, or love. I want to show them that there are deeper, more complex ways to understand their reality and find their voice. My art is my armor, a way to stay grounded when the world seems to be losing its humanity, and I hope it helps others find the strength to create their own.

Photo courtesy of Chavar Donte.

Chavar Dontey

Sounds like: Cosmopolitan indie soul from the heart of Echo Park in the spirit of Nourished by Time and Twin Shadow.

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

My approach to music is to be myself—honest, vulnerable, and simply trying to capture what I hear. I see music as many layers and how they can come together to tell a story. I think of every song as a movie. I play all the instruments myself most of the time, but sometimes I collaborate with songwriters on parts I've written. This has always been the case. Early in my career, several of my college bandmates played on what I call "the lost album" (I lost the hard drives), and I have plans to do something similar again someday.

I've also been fortunate to work with some amazing people on post-production. I finished all my songs with my good friend Dylan at Portia Street Studio in Echo Park. Dylan Ely mixes, and we both record music—some there and some in my own studio. Steve "B" Baughman does all the mastering and finishing touches. I also work with Seffan Hale "TrippieSteff" on the artwork and animation—we have a pretty well-oiled system.

I describe my music as a multi-genre, evolving cinematic journey—a multi-dimensional soundtrack to the stories and emotions behind each song. Genre-wise, I'm influenced by so many musics that I easily switch between jazz and classical, as well as new wave, industrial, electronic, rock, and soul.

The song “I've Got My Mind Made Up” sounds like alternative pop/alternative R&B/atmospheric electro-pop. Honestly, I've always had a hard time defining the genre of my music because there are so many nuances that make it unique. For context, I could imagine myself touring with Dijon, Blood Orange, Mk.gee, and Clairo. It would also be cool to share the stage with Thievery Corporation and Nourished By Time.

I've been backstage with Thievery Corporation twice now—their tour manager, Jeffrey Travatan, is a good friend and a fantastic tour manager. On the tour bus, their bassist, Dan Africano, and I had a wonderful conversation about mechanical watches. It's moments like these that inspire me and make the idea of touring together especially meaningful.

How did you come up with the title for your performance?

Chavar Dontey is my first and middle name; that's what my family has called me my whole life. Legend has it that my aunt named me that, though I'm not entirely sure if that's true.

Which artists and albums have had the most influence on my creative direction?

I was greatly influenced in my youth «Purple Rain» и «Thriller» . The cinematography of those Prince and Michael Jackson releases was simply mind-blowing. Kraftwerk, Duran Duran, Wham!, Culture Club, Thomas Dolby, Zapp and Roger, Run DMC, LL Cool J, The Beastie Boys, The Jackson 5, Al Green, and Marvin Gaye. I learned a lot of this from family members. When I started playing guitar, I discovered Jimi Hendrix, Sly and the Family Stone, Nirvana, Rage Against the Machine, Radiohead, Tribe Called Quest, 2Pac, Biggie, Wes Montgomery, Pat Metheny, Jim Hall, Bill Frisell, Maurice Ravel, and countless others.

What's the most interesting thing happening in the music industry right now?

I think people crave authenticity in music, and as someone who has always followed their own, authentic path, I'm thrilled about that. It's great to see people wanting to buy vinyl, CDs, and other physical media from artists, as well as attend concerts to develop a deeper connection with music and bands. I also find it amazing how indie artists are finding ways to forge their own path directly to music fans—like the early algorithmic growth and saves we're seeing with this new single.

How do you see the development of the music world in the next five years?

I see more and more bands and music fans finding alternative venues and direct access to fans. This doesn't mean traditional routes will disappear, but unconventional methods will make touring bands more accessible and allow them to make a living. Things are changing rapidly right now, but I think artists and bands performing live will have a real opportunity to create long-term success through a genuine connection with their audience.

How does music help you during these difficult times?

Music has always been an integral part of my life, down to the molecular level. It gives me a sense of purpose and peace. Completing songs can be a bit excruciating—there's a sense of accomplishment. I can't imagine my life without it. Receiving messages about how the music I create helps others makes it all worth it. It's quite amazing to see photos of people writing my lyrics on their jeans. It's so important to me to get these songs to as many people as possible. I feel like so many people needed these songs to help them cope, just like I did, and still do.

Photo courtesy of Moondrive.

Moondrive

Sounds like: A lo-fi synth symphony overlaid with slowly evolving electronic pop that feels like a lost transmission, lost in the atmosphere.

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

I'm fascinated by contrasts. Elegance meeting skeletons in the closet: everything is visible if you look closely. I think it's a great analogy for a living being, everyday life, life itself, society as a whole. Frankly, I'm not a big fan of describing my own work of art. I've always believed that if it's necessary, either the art is weak or you're addressing the wrong audience. And if a work passes both of those tests, then perhaps it begs the question—how can I answer that? That would be terrible.

How did you come up with the title for your album?

Regarding the album title Everything That Is Gone : It's essentially a collection of perspectives, people, impressions, thoughts, observations, and musings about everything. And most of them are gone—not necessarily in the past, just gone. I like to joke that it's the complete opposite of a concept album. There's no concept other than birth, death, and what's in between, before and after. Or maybe that's the concept, since it apparently encompasses everything. A great excuse, huh?

What artists and albums have had the greatest influence on your creative direction?

I listen to everything, but when I started writing this album in earnest, I had a clear direction: classical contemporary music, orchestrations, pop singers, electronic avant-garde, experimental music. This combination seemed like the right language for what I wanted to say. For the first time, I wasn't looking for specific inspiration in specific records—it just happened throughout my life, through thousands of albums. I just had to follow directions. It was strange. I think I was lucky—I started enjoying listening to music again because I didn't feel the need to borrow from anyone.

What's the most interesting thing happening in the music industry right now?

Honestly, I haven't been listening to much new music lately. From what I see, a lot of it seems monotonous—the same textures, the same structures, the same mood. But I think the most interesting thing is that artists who refuse to compete still exist, working on the periphery, and they're more interesting than ever precisely because they're not fighting for a place in the center. The real work happens in the background.

How do you see the development of the music world in the next five years?

Artificial intelligence. That's the short answer. Making music will become so easy that anyone can do it—it's already possible, and it's only going to get easier. So I think two things will be important: the ability to perform music live, because people will continue to seek an empathetic connection with a real person on stage, or with a hero they can dream about and share. We're moving toward a world where the most important skill will be artistic direction—knowing what to create, having the taste to shape it, and having the courage to show your face in the work and say, "This is what I want to say." The machine will do the rest. The question is whether that will be liberation or capitulation. I don't know yet.

How does music help you during these difficult times?

I hope so.

Photo courtesy of Pryti.

Preeti

It sounds like this: A captivating blend of Deftones-style alternative metal and Halsey-inspired pop, creating a unique crossover project.

Interview:

Describe your approach to music and how you would explain to others what your work sounds like.

I write music for people who don't fit into a box, and that's always been at the core of my music. I don't try to be something I'm not, I just focus on what comes out of me. I don't care what the latest trends are; a guitar chord is in a song when I wrote it because it struck a chord with me. It's meant to move me. My sound is melancholic, cinematic, dark, yet hopeful. My music combines elements of alternative, emo, and metal with electronic influences. It also features elements of metalcore and post-hardcore.

How did you come up with the title for your performance?

It was a very simple decision, my name is Priti.

What artists and albums have had the greatest influence on your creative direction?

Linkin Park introduced me to metal back in high school. Hybrid Theory album came out when I was a teenager, and it changed everything for me. I love pop music, but I never felt like it captured me, but this one did. Deftones also had a huge influence on the creative direction of my music. The album's melancholy Fumbling Towards Ecstasy Sarah McLachlan touched me. Finch – What it is to Burn , Staind – 14 shades of gray . I also listen to a lot of metalcore. The first album was Bury Tomorrow, Portraits, was produced by my producer Justin Hill. I was obsessed with that album and really wanted to work with him, and he's produced all my music since I started making music. Saosin's self-titled album has always been one of my favorites, it's soulful and memorable. John Mayer has been a huge influence on me in terms of songwriting, the quality of his lyrics is amazing, and although it's so different from what I do, I always want to improve as a songwriter.

What's the most interesting thing happening in the music industry right now?

I'm very excited about the current rock and metal revival. It's always been there, but like everything else, the industry is driven by trends, and we're our own trendsetter.

How do you see the development of the music world in the next five years?

I think talent will once again be the determining factor. I think there will be even more pushback against artificial intelligence and companies that make money by posting AI-generated tracks on digital platforms. I think the music industry will have to constantly adapt given the current global climate, because with rising energy prices, will large-scale touring by major artists be viable in the event of a long-term shortage?

How does music help you during these difficult times?

I love music so much that I have bands and artists who lift my spirits and help me cope with difficult situations. Sleeping with Sirens' "An Ending in Itself" came just when I needed it; it's amazing when such coincidences happen. I also love listening to bhajans and mantras (or, as I call them, mantras). I've found that it helps me stay calm.

Photo courtesy of Thirsty Curses.

Thirsty for a curse

Looks like something in between Heat Treatment by Graham Parker and The Rumour and Anodyne From Uncle Tupelo, the birthplace of college radio, Raleigh, North Carolina.

Interview (frontman Wilson Getchell answers):

Describe your approach to music and how you would explain to others what your work sounds like.

Thirsty Curses' music spans a wide range of genres, but generally falls into the broad rock 'n' roll genre.

Music journalist Jeff Yerger once wrote something along the lines of, "Thirsty Curses has a gritty, '80s indie-rock-inspired sound, as if The Replacements had more piano." I've always liked that description.

Thirsty Curses has a raw, rock 'n' roll sound that blends punk, power pop, alt-country, grunge, and prog rock. Much of their material clearly has punk undertones. Besides The Replacements, we've also heard compilations featuring the Dresden Dolls, Elvis Costello, Marshall Crenshaw, The Old 97s, The Hold Steady, Jeff Rosenstock, Ramshackle Glory, and Queen.

People also often say that my voice sounds like Adam Duritz. (We've also gotten a couple of Tom Petty comparisons, but I always suspected it was just because of my blonde hair.).

I grew up listening to a lot of 60s and 70s music, which certainly had a big influence on my songwriting. While I would never compare us to The Beatles or The Beach Boys, those two bands certainly had a huge influence on my writing and the sound of Thirsty Curses.

How did you come up with the title for your performance?

I've been joking for years that «"Thirsty for Curse"» — it's basically a witty way of saying «"alcoholism"» . But that's not all.

Name Thirsty Curses reflects how desire, appetite, anxiety, etc. pull us towards what we think we need, but often also contain the seeds of our own destruction. Thirsty Curses — this is a reference to those patterns of behavior that haunt us throughout our lives and which we only vainly resist (or openly accept).

The title Thirsty Curses is a perfect fit for this project, reflecting the philosophy underlying the material. Many of Thirsty Curses' songs combine cheerfulness and despair, often with a thread of existential crises that runs through much of the music. But there's also a considerable disregard for hardship, accompanied by wry optimism and humor.

So while there's certainly a tinge of pessimistic fatalism (or realism, depending on who you ask) to many of the songs, there's also a good sense of humor and unbridled fun.

What artists and albums have had the greatest influence on your creative direction?

Punk rock has definitely influenced my songwriting a lot over the years, too. When I first started out in music, it was mostly punk bands. In high school, I was really into Operation Ivy, Less Than Jake, Crass, The Dead Kennedys, Against All Authority, and so on. But for me, there's The Beatles, Brian Wilson, and then everyone else.

For the last couple of years I've been obsessed with Brian Wilson and the Beach Boys since the Pet Sounds album. I've always been a Beach Boys fan, but until recently I'd listened to nothing but Pet Sounds . Albums Friends , Love You , Adult/Child и Smile Brian Wilson's have become my favorites and have probably had a significant influence on my recent songwriting.

But over the years, some of my favorite bands and influences include Modest Mouse, Deer Tick, The Replacements, The Silver Jews, Dresden Dolls, Ramshackle Glory, Wilco, The Old 97s, Guided by Voices, Bomb the Music Industry, Ween, Jonathan Richman, Sonic Youth, Velvet Underground, etc.

My album of the year 2024 was The Past is Still Alive group Hurray for the Riff Raff (second place was taken by Manning Fireworks (from MJ Lenderman) (I'm from North Carolina too!).

My album of 2026 was West End Girl Lily Allen. I also recently stumbled upon a little-known but really cool indie/punk band called Ugly Cowboys. They're amazing. Check out their song "Nancy.".

What's the most interesting thing happening in the music industry right now?

The resurgence of physical media (vinyl, cassettes, and CDs) is quite an exciting phenomenon. I was surprised to see students buying so many CDs these days. I certainly didn't expect such a development. Of course, this surge in physical music purchases seems to be mostly limited to the music lovers among us, but it's a welcome development nonetheless.

In recent years, I've noticed that a significant portion of the public also craves thoughtful and authentic music. Perhaps this is partly a reaction to the low-quality music created by AI. However, this is just my guess, not supported by any data.

But individual stories scattered here and there inspire optimism. For example, I was already quite fascinated by Brian Wilson's work when he passed away last year. But I was surprised by the outpouring of condolences, thanks, and so on, from all walks of life, from real life to TikTok.

If we can get kids to start hanging out in rock 'n' roll bars again and drinking more, then we'll really be on the mend.

How do you see the development of the music world in the next five years?

Frankly, I have no idea, but it is clear that the world of music and the «music industry» (music cartel?) face many problems and challenges in the near future, and the most obvious and urgent of them is the development of artificial intelligence.

I'd like to think that most people wouldn't want to listen to such bland, soulless music, but on the other hand, I've found that in recent years, a lot of human-created, mainstream music has become rather soulless and meaningless. Most music consumers no longer care whether their favorite artists write their own songs or play their own instruments. It essentially doesn't matter. So I'm not overly optimistic that the public will reject machine-generated music. At the same time, I've sensed some of the resistance I mentioned earlier, but I'm not sure it reflects a general trend. Perhaps it's simply a countercultural phenomenon. But we'll see.

I know there will always be musicians striving to create, and an audience hungry for thoughtful, inspiring, organic music. I just don't know what percentage of the music world will be consumed by AI, etc. I know it won't be the entire music world, and it might end up being very little. I also know that, in any case, there's little I can do about it except keep doing what I do. So I'll just keep making music and hope for the best (and take every opportunity to poke fun at AI-generated music).

There's a line in our new single, "Starting to Remember How Much I Forgot," that feels so appropriate: "We'll just have to wait and see how it all ends. We'll just have to wait and see where we end up when we land.".

How does music help you during these difficult times?

For me, songwriting has always been therapeutic and a way to process issues in my personal life and the world around me. In recent years, I've noticed that more and more of my songs are focused on the latter. I've definitely felt for some time now that society is falling apart.

A few tracks from our upcoming album Thirsty Curses'’ Frank-N-Stein — these are essentially my attempts to make sense of the uncertainty and chaos of our era (for example, «Starting to Remember How Much I Forgot,» «Fifths/Minors,» «Dramatic Moments»). From our previous album ( «"Music is a Scam »") The songs "Bombs Away", "Foot in the Door" and "Reading & Writing" touch on similar themes.

I also perceive music as something transcendental and timeless. In this sense, music serves as a kind of anchor or support when everything else seems unstable.

Music also gives me something useful and positive to focus on. It's a healthy anchor. The more I focus on music and engage with it, the less prone I am to self-destructive behavior.

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Preeti

Thirsty for a curse

Interesting to know

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