Author: Joey Rochert

Ervin Munir, The Interview Series.

Ervin Munir

Hello, Ervin! What inspired the theme of seizing opportunities and pursuing aspirations in “Chase The Moon,” and how does it resonate with your personal experiences?

This song reflects my music career to date. To make it in the music business you need to take risks artistically and physically (by putting yourself out here) to create a unique impression and to get known. Fear is what has held me back in the past and I feel like I’m finally conquering it. 

Can you walk us through the creative process behind “Chase The Moon,” from its inception to its final production?

The trigger for this song was a thriller series I was watching on Sky TV. The protagonist said “Let’s chase the moon” or something like that. I stopped watching and went immediately to my studio and began writing. 

I hit on a theme of travelling to exotic places as a metaphor for taking risks, and began writing the lyrics. I felt that it needed to be a simply structured song to more easily get the message across. 

I sang a melody in my head for the first line and a chord sequence emerged.

It was one of my quicker songs to write. 

Collaborations often bring fresh perspectives and new dimensions to music. How did working with Aeron Z Jones on lap steel and mandolin accompaniments influence the sound and feel of “Chase The Moon”?

I play this song live a lot, so I was already happy with the acoustic version. But Aeron’s sensitive playing of the mandolin and especially the lap-steel guitar gave the studio version much more depth and interest. He also played a bit of classical guitar on it I think and that little solo is really nice. I really like working with Aeron in the studio. I recommend him.

“Chase The Moon” seems to mark a significant evolution in your musical style. Could you share any intentional artistic choices or explorations you made in this single that differ from your previous releases?

It’s one of those things that I don’t want to investigate in depth because it feels fragile and I might break it. I haven’t done anything consciously to change my musical style. 

That said, these days  I am more willing to explore sounds beyond the acoustic soundscape I usually use. This doesn’t really show itself so much in “Chase the Moon” but is more obvious in some of the other singles, and the album, I’ll be releasing later this year. 

With the release of “Chase The Moon” and the promise of more music to come, what overarching message or journey do you hope to convey to your audience through your upcoming releases, including the anticipated second album?

I think people will see an evolution in style over time, and like both the stuff on “Broken Compass” (2023), and the stuff on the new album. Most people that follow me know I am on a journey and they have been impressed with what they have heard so far. I hope they continue to follow me as I take more risks and chase the moon on this journey. 

Photo Credit: Ervin Munir.

Marsha Swanson, The Interview Series.

Marsha

Marsha, your album ‘Near Life Experience’ has been celebrated for its emotional depth. Can you share with us the personal journey or experiences that inspired the creation of ‘Love’s Not Late’?

This song was originally written as an ode to my mum for her 70th birthday celebration. I wanted to deliver a timely message of love that could properly capture the key values that I had learned from her. One of these was the value of creativity as an essential life force. The other was the high priority she placed on being a mother. The original first lyric of the song was “You taught me how to be a mother”. Later, when Producer Henry Thomas chose it for inclusion on the album, we agreed to change the lyric in order to broaden its relevance to “you taught me how to love another”. Whilst all love, including romantic love can equip us with the deepest fundamentals needed for approaching life and all its hardships, there is something unique about a mothers love in terms of its unilateral beginnings. It is how we first learn to love when we are dependent and do not know how. This has an extra societal relevance because if we have learned it from our earliest beginnings we have a ready-made blueprint for easier repetition later in life. It’s never too late to learn later of course, it’s just harder than for those lucky enough to have been born into it.

Critics have praised your ability to convey deep emotional themes through your music, particularly in ‘Love’s Not Late.’ Can you walk us through your creative process when tackling such profound subjects?

My process for this song was slightly atypical in that I knew the theme I wanted to write about before sitting at the piano. This is opposed to the majority of songs which start with me discovering the theme via finding the chords that feel emotionally in synch or a good match with how I’m feeling. The process of writing the lyrics is the same for me the majority of the time.  I sing whatever sounds come into my head whilst forming the melody and then I pay close attention to the first words that emerge from free association. I suppose it is the singing equivalent of the psychological mental process that occurs in therapy. The rest of the song normally flows after those first lyrics have crystalized and then I can start to shape it from there.

In ‘Love’s Not Late,’ you explore the theme of love as a healing force in the face of life’s uncertainties. How do you envision your music impacting listeners on a personal level?

I can only extrapolate from the purpose that it served me when writing it. If it helped me to get something universal but complex clearer in my mind, I can hold the possibility that it might do that for someone else. I am always interested to know whether others connected to any aspects of it whether lyrically or musically and I would anticipate that it would be interpreted in a variety of different ways. 

The instrumentation in ‘Love’s Not Late’ is rich and dynamic, with layers of piano, strings, and a spirited guitar solo. Could you elaborate on how you collaborate with your musicians to achieve such a vibrant and cohesive sound?

On a practical level, a lot of this is down to what happens in the pre-production stages. There is a long process of song shaping, honing and structure before introducing other instruments.  The first band rehearsals are primarily dedicated to the rhythm section. The recording stage which follows is where other instruments are introduced into the arrangements such as the guitar and strings. A vocal guide is laid down for the band to mirror the emotional map of intensity and then choices are made over where to bring the instruments in and out. We will be looking at where to build the track and where to create more space according to the narrative. Vocal harmonies are added to enhance particular lyrics and everything is refined further once again at the mixing stage. On top of this process, the performance of the musicians is very much down to their emotional sensibilities as well as the relationships between band members which all goes into the final mix! This particular group of musicians were chosen for their capacity to lend themselves to the key communication and message of the song as much as for their technical abilities.

Photo Credit: Marsha Swanson.

Cloud, ‘Room’

Cloud

Words By Emily Kowalczyk.

‘Room’ by Cloud beckons us into a transcendental voyage where the boundaries between reality and imagination blur into a kaleidoscope of sound. The opening guitar lures us in like a siren’s call, setting the stage for an adventure into the depths of musical enchantment.

But ‘Room’ is not content to merely captivate; it evolves, it transforms. Like a phoenix rising from the ashes, Cloud’s vitality infuses every note, guiding the track through a metamorphosis that leaves you spellbound. Each layer of sound is crafted with precision, building upon the last to create a symphony of color and texture that dances in your mind’s eye.

And just when you think you’ve reached the pinnacle, ‘Room’ ascends even higher, reaching a radiant crescendo that defies description.

You can stream below.

Photo Credit: Cloud

Julia Thomsen, ‘Beauty’

Julia Thomsen

Words By Joey Rochert.

In the ethereal expanse of classical composition, where each note is a brushstroke upon the canvas of the soul, Julia Thomsen’s ‘Beauty’ emerges as a serene gem, resonating with the tender essence of spring.

With delicate keystrokes, Thomsen paints a landscape of tranquility, inviting us to wander through the verdant pastures of our imagination. The piano becomes her vessel, carrying emotions as fragile as blossoms in the breeze, each melody a whispered secret shared with the heart.

As the first strains of “Beauty” unfurl, one cannot help but be enveloped by a sense of serenity, as if the very essence of spring has been captured within its melodic embrace. “Beauty” also finds its home amidst the celestial gathering of talents in “Harmonies of WoMen,” a compilation album celebrating the prowess of female pianists from across the globe.

You can take a listen below.

Photo Credit: Julia Thomsen.

Marsha Swanson, ‘Gustav Mahler’s Letter of Intent & Alma Mahler’s Lament’

Marsha

Words By Joey Rochert

Marsha Swanson’s “Gustav Mahler’s Letter of Intent & Alma Mahler’s Lament” stands out with its timeless tale of love, longing, and the complexities that bind two souls together. Spanning generations and emotions, this track duo delves deep into the tumultuous relationship between Gustav Mahler and Alma Mahler.

With an intimate connection to the Mahler legacy as a distant descendant, Swanson brings a unique perspective to her interpretation of their story. Through a careful blend of Gustav’s impassioned letters and Alma’s heartfelt lamentations from her diary entries, Swanson weaves a narrative that is as haunting as it is captivating.

The first track, “Gustav Mahler’s Letter of Intent,” serves as a poignant portrayal of Gustav’s fervent devotion to Alma. In stark contrast, “Alma Mahler’s Lament” presents Alma’s side of the story—a lamentation of love lost and dreams shattered. Swanson’s emotive delivery imbues Alma’s words with a sense of sorrow and resignation. Also, the melancholic melodies blend seamlessly with Alma’s poignant reflections, creating a hauntingly beautiful ode to a love that was destined for tragedy.

You can take a listen below.

Photo Credit: Marsha Swanson.

Cloud, The Interview Series.

Cloud

Hello, Cloud, Let’s talk about your new single, ‘Runaway Train’, what is the meaning? 

I chose this title because the powerful guitar sounds and drum beats dive into the dark side of humanity.

Which artists in the current industry inspire you the most?

Dave Grohl. He has had success with two legendary bands: Nirvana and Foo Fighters.

What is the best thing about being a musician in 2024?

My song ‘Runaway Train’ is featured in various outlets.

Is there a certain place you often go to write? E.g a certain room, or environment?

Anywhere. ‘My room’, ‘on the way home from work’ and ‘in my dreams’.

What is your first memory of music? 

Ozzy Osbourne, who I saw on MTV when I was about 10 years old.

Photo Credit: Cloud.

Tanya Walker, The Interview Series.

Tanya Walker

Hello, Tanya, Let’s talk about your new single, ‘Good Days, Bad Days’, what is the meaning? 

I wrote the song when I was 32 so some time ago. I had just come out of a painful breakup and was re-focusing on my music again – and at the same time feeling regretful about things I had not yet achieved in my life.

I went away on a  3 day meditation retreat where I had the opportunity to notice the thoughts and emotions that are constantly changing within us  and was able be with and accept them – recognising that just like the seasons or changing weather – our  emotions are the same –  like the sun follows rain, if we can be with our more painful emotions they will lift to reveal the light within us. It’s also about there being no point to regret, as we will miss the beauty of the present moment.

Which artists in the current industry inspire you the most?

Joni Mitchell is still being discovered by younger artists and she had a huge influence on songwriting when I first began at 16 years old. The tender, poetic expressiveness of her lyrics and the way her voice then expresses their meaning captures my heart and I am in awe of everything her music is.

Kate Bush , although an artist from the past, has also been a huge influence in my life and I really respect her ability to keep progressing with her music to recreate herself and still be relevant. I love blasting her music, singing at the top of my voice and doing some free movement around the living room!

Billie Eilish I think is an incredible artist, especially for her age. Profound songwriting for such a young age and the textural quality of her voice is spellbinding.

What is the best thing about being a musician in 2024?

After COVID I don’t think we can ever take for granted being able to perform with fellow musicians to a live audience. So playing live will be great in 2024. I won the Global Talent Is Timeless songwriting competition in 2023 and towards the end of the year recorded my winning single at Abbey Rd which has just been released. I’m really looking forward to 2024 being about building on this success and connecting with new listeners through more new releases and a small UK tour. I cant wait!And every year I get older, I feel more relaxed when gigging live, meaning I enjoy the whole experience that much more!

Is there a certain place you often go to write? E.g a certain room, or environment?

Strangely  I get some great ideas in the car and end up recording myself on my phones voice record. I think it’s because part of my brain is driving so its preoccupied with that and there is no pressure to come up a with a song so it just naturally arises. My favourite place though is most definitely on my upright piano which dates back to 1830 and which belonged to Gustaf Holst’s piano accompanist (who helped him write his works in later years which he was unable to do due to arthritis). Its been passed down through the family and has the most beautiful harmonics and resounding sound which inspires many songs!

What is your first memory of music?

Singing ‘Lully, Lullay’ whilst playing the main part of Mary in the school Nativity when I was 5!

Photo Credit: Tanya Walker

Unveiling the Future of Music Software With VELCOA

VELCOA

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VELCOA isn’t just a tool—it’s a revolution. Crafted by a team of industry insiders who eat, sleep, and breathe beats, this platform is poised to take your music game to stratospheric heights.

So, what’s the lowdown? VELCOA isn’t just another run-of-the-mill software; it’s your backstage pass to success in the music biz. Say goodbye to chaotic schedules and missed opportunities—VELCOA’s Release Manager is your secret weapon for planning, executing, and dominating every aspect of your musical journey.

From meticulously planning releases to managing your finances with the precision of a seasoned producer, VELCOA’s Release Manager puts you in the driver’s seat of your career. With its intuitive interface and cutting-edge features, you’ll be orchestrating your success like a maestro in no time.

But wait, there’s more! VELCOA’s Project Manager is your trusty sidekick in the hustle and bustle of the music industry. Customizable workflows, robust financial tracking, and task management capabilities that rival the best in the business—VELCOA’s got it all. Whether you’re navigating a single album release or orchestrating a full-blown marketing campaign, VELCOA keeps you on track and on top.

And let’s talk about the Expert Lab—a goldmine of industry knowledge curated by the brightest minds in the biz. From mastering marketing techniques to navigating the legal labyrinth of copyright law, VELCOA’s Expert Lab is your one-stop shop for leveling up your music game.

But perhaps the cherry on top is VELCOA’s Notes feature—a versatile tool for capturing ideas, organizing thoughts, and bringing your musical vision to life. Whether you’re penning lyrics for your next chart-topper or brainstorming killer marketing strategies, VELCOA’s got your back.

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Start you free trial of VELCOA here.

Follow VELCOA on Instagram here.

Saskia Griffiths-Moore, ‘Imagination Baby’

Saskia Griffiths-Moore

Words By Joey Rochert.

Saskia Griffiths-Moore’s latest single, ‘Imagination Baby,’ is a journey into the realm of creativity and self-discovery. With a blend of pop-folk melodies and heartfelt lyrics, Saskia transports us to a world where barriers dissolve, and imagination reigns. From the first notes, the feel-good vibes ooze out of this heavenly release, inviting you to get lost in its infectious rhythm. As Saskia sings about unleashing creativity and removing obstacles to fulfill one’s potential, her message resonates deeply, urging us to embrace their inner muses and explore the limitless boundaries of their imagination.

Her vocals, infused with sincerity and warmth, leave an imprint, drawing us closer with each note. There’s a sense of liberation in the air as ‘Imagination Baby’ unfolds, inviting you to dance freely in the realm of possibility.

You can take a listen below.

Photo Credit: Saskia Griffiths-Moore.

Ervin Munir, ‘Oh Why’

Ervin Munir

Words By Joey Rochert.

Ervin Munir’s latest single, “Oh Why,” encapsulates the essence of introspection and contemplation, inviting us into a realm of profound questioning and reflection. As part of his recent album “Broken Compass,” this track emerges as a force to be reckoned with, interlacing poignant lyrical themes with skillful musical textures.

At the heart of “Oh Why” lies a piano melody, its emotive notes intertwining with Ervin’s lyrics to create a deeply resonant experience. As the song progresses, a subtle yet evocative guitar arrangement emerges, adding layers of depth to the auditory experience.

Ervin Munir’s vocals are nothing short of delightful, infusing each lyric with a soulful sincerity that lingers in the mind long after the song has ended. His delivery is imbued with genuine emotion, effortlessly conveying the weight of the existential questions posed within the song.

You can take a listen below.

Photo Credit: Ervin Munir.