Marsha Swanson is the progressive pop star who keeps on delivering! Here she explores nostalgic feelings with ‘Still Remember’. Her vocals are divine and potentially her most compelling yet as she serenades the soul from the start. Also, the music is beautifully put together with many mood shifts occurring as it progresses.
‘Still Remember’ dips in and out of sad and happy realms. It is a journey with us one minute being taken down a pathway of longing before then being propelled forward with a joyous momentum. It is a great offering from Marsha Swanson and one to add to our collection!
I think we have all probably experienced being in the company of someone who asserts “My way or the highway”. Sometimes this can be a strength, an ability to know oneself well and to preserve healthy boundaries. At other times, where collaboration is required, a lack of flexibility and an inability to compromise can be self-limiting.
Working in different bands and song-writing set-ups over the years, I have observed both ends of the scale. I have also seen similar issues played out in the work place of family and friends as well as in romantic relationships or families with their children. When I wrote this song, I was thinking about people who have particularly fixed rigidities/rules about what they will do or won’t do for a variety of different reasons. I was interested in exploring the fine line between someone’s will and their capacity when it comes to change. Some people have the will but not the way and vice versa.
I was also interested in the question of influence and how far a positive relationship can go towards expanding a person’s window of tolerance. Sometimes, we experience people who appear to be great enablers of change in others. In contrast, we can experience other examples where there is still no leg room, even in emergencies! It takes time as well as different settings to learn where the boundaries are. It is easy, however, to either over-estimate or under-estimate a person’s capacity to be either fixed or fluid.
How does “My Rules” fit into the theme of your album “Near Life Experience”?
The ambition to really live as opposed to nearly live, is not about fulfilling all your dreams, travelling the world or bungee jumping. It is about living life consciously. Whilst there is much that we cannot control, by being as self-aware as we can, it means that the choices we can make are more likely to be authentic. This extends not only to ourselves but in interaction with other people. When applying this within the context of “My Rules”, I am reminded of the Serenity prayer “Grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference”.
What message do you hope to convey with this song?
To bring out the complexities of these issues so that people can reflect further on their own experiences. To encourage thinking around when and whether self-imposed or external rules are either helpful or a hindrance.
How did you approach the song-writing for “My Rules”?
Like the majority of songs that I write for myself (as opposed to commissions or songs for other artists), it literally wrote itself very quickly. When I have been thinking about something for a long time, it is always brewing like a tea in the background. By the time I come to sit at the piano, it usually means there is something I am ready to express. Once I have found the chords that fit the emotion I am feeling, it won’t be long before a few useable lyrics pop out in-between random words that I sing whilst focussed on the melody. When I pay close attention to what words do emerge, I am then able to filter out the important ones and grasp what the song is about. From this point on the rest of the words will follow quite easily.
What can fans expect from the official video for “My Rules”?
A lot of fun and humour! When adults become stubborn or blocked in their thinking, whether in a band, board meeting, or political battle, they can appear regressed, much like playground antics! Just as there is a difference between a healthy challenging of authority, versus complete inability to take direction, there is also healthy artistic integrity, versus a devaluing of other people’s contributions. Humour can be a useful way of gaining perspective, so I thought this would be a good way of telling the story. We interchange the same dynamics (a figure of authority, alongside a rule breaker and a bystander) within two different settings commonly associated with rules and hierarchy. There is also the backdrop of a literal tug of war, which is also the metaphor running through the song and video. It illustrates the central premise, which is the underlying question of whether any movement will be possible with someone who struggles to compromise.
Marsha Swanson, the progressive-pop artist with countless stand-out releases now under her belt charms us again with new single ‘Homeward Bound’. As a fan of Marsha’s it has been refreshing to witness her growth as an artist over the last few years and her new album, ‘Near Life Experience’ just keeps on giving.
‘Homeward Bound’ is highly narrative driven as are a lot of Marsha’s songs. This is one of her trademark qualities now as an artist because you know with each one there will be a message within it which has a prevalent factor. Moreover the way she manages to incorporate real-life experiences into her music is inspiring.
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.
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.
Henna Uoti brings the pop raw with new song, ‘Poison or Remedy’. It is not every day we come across a track quite like this one, and it immediately struck us with its magnetic power! Henna from Finland is in flying form in terms of vocals, and she steps it up a gear with this new arrival, which is her first sung in English. Her vocals sail through the air as the music demands attention in the background.
As the track progresses, it becomes more impactful, with a vocal narrative that hits home with poignancy. Henna speaks honestly about love, relationships, and the delicate balance between assertiveness and sensitivity.
Marsha Swanson has gifted us a breath-taking new progressive pop album, ‘Near Life Experience’, and we simply cannot get enough of it! Falling head over heels for Marsha with her previous singles, she has been teasing her new album for some time and now it is here, it is not one to miss!
‘Near Life Experience’ is a trip through life, it explores various avenues with compelling tales which relate immediately. Also, her vocals smash through the music with a confidence which is akin to the top players in the music scene.
‘Thanks Coincidence’ by Francesca Luker is a hot new release which is perfect for the new year. This new EP is all about finding positives in unexpected occurrences and Francesca from Bristol hits the nail on the head with her delivery.
Featuring five tracks, all which have a mouth-watering texture, this EP is one to fall in love with immediately. Her vocals shine brightly as she stuns with her impressive vocal range. Also, her storytelling leaves room for thought as she speaks about the complexities of love, life and everything in between.
Stream below. More updates from Francesca Luker here.
LostsOfficial knocks it out of the park with his new single, ‘Do Me Dirty’. This latest offering from the Canadian singer joins a long list of pop favourites over here, and he reminds us of singers at the top of pop.
‘Do Me Dirty’ closely resembles many tracks on the Billboard Top 100, but one thing, in particular, makes it sound out: LostOfficial’s ability to make us relate to his story. Moreover, his lyrics speak about wanting to love again but being stuck due to the hurt caused by a previous relationship.
At only 19 years of age, LostsOfficial stands tall with this release, and it is a sign of what to expect from him in 2024.
Hello, Lost Blonde, Let’s talk about your new single, ‘Wide Awake’, what is the meaning?
Wide Awake is the last song off my EP, “Do You Feel The Same?”. This song is about being so enamored by the “what ifs” of a new relationship. You are anxiously waiting to see if the person you are crushing on feels the same.
Which artists in the current industry inspire you the most?
Bebe Rexha, Taylor Swift, and Katy Perry for sure!
What is the best thing about being a musician in 2023?
I would say you can have success as an independent artist without a label. There are so many resources now available to indie artists and platforms to share music on, which makes it a bit easier to get your music out there!
Is there a certain place you often go to write? E.g a certain room, or environment?
I love writing at night. I feel like my best ideas come literally at midnight haha. I will usually grab my phone while I’m lying in bed and record the melody I’m humming into my voice memos so I can go to the piano the next day and start adding lyrics. Honestly any room with a piano will give me inspiration.
What is your first memory of music?
My first memory of music is listening to my grandma play the piano when she’d come and visit. She was a professional piano player, and I just remember the sound filling up the room…so many different textures and colors I couldn’t stop listening. I think that really sparked my interest, hearing how many different melodies someone could come up with or play!
